This morning i had this lovely little brassy latin break in my head. Ba-dum, ba-dum, ba-dum, ta-ra, ta-ra, or something. Nice and jazzy. It was sampled by… ah… um. Bugger. But originally it was from… ah. Definitely bugger.
I could hear the whole thing in my head and it was a good few bars long. But i just couldn't get it. For the first time in several years, i was totally stumped by my morning song.
Now at lunchtime it is totally gone, so i shall never, ever know what it was. Instead i shall suffer from a vaguely disquiet feeling for the rest of the day and hang my head in shame.
Thursday, June 22, 2006
Wednesday, June 21, 2006
Chris Morris - Motherbanger
ORIGINATION Select flexi disc
LAST LISTENED TO some years ago
CHANCE OF WAKING TO IT miniscule
RATING
Yes, that Chris Morris. Brass Eye, The Day Today, Jam. In the early '90s, before any of this, indie rag Select put out a free flexi disc of his work. It was, i believe, recorded specifically, and began with a spoof radio show, titled Wayne Carr In The Afternoon. It fired some very accurate shots at noxious, moustache-wearing cretin Steve Wright (who was quite popular at the time) and his idiot followers.
Next, there was the infamous phone interview with journo-fool Piers Morgan, where Morris pretended to be Bono. Morgan was convinced to print in The Sun that U2 where going to be supported on tour by NWA, that they would co-perform One Less Bitch at Alton Towers, that they had always been a black dance band and that they were going to quit after the tour.
The disc ended with a song. In this case the joke was at the expense of the Pixies and took the form of a reworked (and very reworded) version of their tune This Monkey's Gone To Heaven. Musically it was a spot-on take. Lyrically Morris was at his close-to-the-bone best. None of it is a fitting subject for an innocent music blog. However, just to give you a taste here's the last line: 'embalmed her dying body for necrophilia'.
The man is twisted. Thank god.
LAST LISTENED TO some years ago
CHANCE OF WAKING TO IT miniscule
RATING
Yes, that Chris Morris. Brass Eye, The Day Today, Jam. In the early '90s, before any of this, indie rag Select put out a free flexi disc of his work. It was, i believe, recorded specifically, and began with a spoof radio show, titled Wayne Carr In The Afternoon. It fired some very accurate shots at noxious, moustache-wearing cretin Steve Wright (who was quite popular at the time) and his idiot followers.
Next, there was the infamous phone interview with journo-fool Piers Morgan, where Morris pretended to be Bono. Morgan was convinced to print in The Sun that U2 where going to be supported on tour by NWA, that they would co-perform One Less Bitch at Alton Towers, that they had always been a black dance band and that they were going to quit after the tour.
The disc ended with a song. In this case the joke was at the expense of the Pixies and took the form of a reworked (and very reworded) version of their tune This Monkey's Gone To Heaven. Musically it was a spot-on take. Lyrically Morris was at his close-to-the-bone best. None of it is a fitting subject for an innocent music blog. However, just to give you a taste here's the last line: 'embalmed her dying body for necrophilia'.
The man is twisted. Thank god.
Tuesday, June 20, 2006
The Rolling Stones - You Can't Always Get What You Want
ORIGINATION Let It Bleed
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT mucho high
RATING
This is not my favourite Stones song and it probably never will be. But as a song it is perfectly realised. The slow build up through the gradual addition of instruments is nothing short of perfection. It seems rather pointless to describe fully the whole of this build up, as it is so well known. Instead i will single out a few particular moments that stand out.
First up is the crystal-clear diction of the choir at the opening, which never fails to bring a smile to my lips. This is followed wonderfully with a bare guitar, the sheer simplicity of which almost gives the impression of the song drawing breath before its climb. It also works as a great contrast to the very proper choir. The organ embellishments after the line 'I went down to the Chelsea Drug Store' are restrained but add a lovely touch of soul. Later, with the choir returning for just a few bars in anticipation of the climax, the song just steps up a gear, showing its power and depth. Then there are the piano rolls near the climax and finally the climax itself, particularly Charlie kicking into double time on the fade. Just wonderful.
Today i also noticed for the first time the quietly-mixed bongos that appear a few minutes in, which mesh with the drums to add just one more texture to this complex weave. This depth of layers is just one more great thing about the song.
As i wrote to being with, this is not my favourite Stones song. Only Gimme Shelter or Sympathy For The Devil will ever be that. This song, however, will never be less than third best.
And i've not even mentioned the resignation-to-redemption truth of the lyrics, that the music echoes and which drives home the utter correctness of the song's message: you can't always get what you want, but sometimes, if you try, you might get what you need.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT mucho high
RATING
This is not my favourite Stones song and it probably never will be. But as a song it is perfectly realised. The slow build up through the gradual addition of instruments is nothing short of perfection. It seems rather pointless to describe fully the whole of this build up, as it is so well known. Instead i will single out a few particular moments that stand out.
First up is the crystal-clear diction of the choir at the opening, which never fails to bring a smile to my lips. This is followed wonderfully with a bare guitar, the sheer simplicity of which almost gives the impression of the song drawing breath before its climb. It also works as a great contrast to the very proper choir. The organ embellishments after the line 'I went down to the Chelsea Drug Store' are restrained but add a lovely touch of soul. Later, with the choir returning for just a few bars in anticipation of the climax, the song just steps up a gear, showing its power and depth. Then there are the piano rolls near the climax and finally the climax itself, particularly Charlie kicking into double time on the fade. Just wonderful.
Today i also noticed for the first time the quietly-mixed bongos that appear a few minutes in, which mesh with the drums to add just one more texture to this complex weave. This depth of layers is just one more great thing about the song.
As i wrote to being with, this is not my favourite Stones song. Only Gimme Shelter or Sympathy For The Devil will ever be that. This song, however, will never be less than third best.
And i've not even mentioned the resignation-to-redemption truth of the lyrics, that the music echoes and which drives home the utter correctness of the song's message: you can't always get what you want, but sometimes, if you try, you might get what you need.
Monday, June 19, 2006
Monday morning mess
The shock of an early alarm and a head full of fuzz confused issues too much this morning. I ended up with a big old mess of random snatches of music. The biggest and most continuous snatch was from AC/DC's Rocker, but this was interspersed with a near equally large dose of Public Enemy's Welcome To The Terrordome, both of which would merit a decent mention in their own right. However, there where so many other bits and random pieces kicking around that it doesn't seem fair to pick out just the two. There was bits of the Beastie Boys The Biz Vs The Nuge, for example and even a part from Chris Morris' Pixies spoof Motherbanger which was a real shot from out of nowhere.
Ultimately, there was just too much random noise for anyone's head on a monday morning. No way to start a week.
Ultimately, there was just too much random noise for anyone's head on a monday morning. No way to start a week.
Sunday, June 18, 2006
The Rolling Stones - You Got The Silver
ORIGINATION Let It Bleed
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty high
RATING
This week was Let It Bleed week. It was on a fairly continuous rotation in the mornings. Funnily enough, You Got The Silver is my least favourite track on the album. Not that that is saying much as in my opinion, Let It Bleed is one of the best Stones albums. It opens on Gimme Shelter (which would probably make my all-time top ten tracks by anyone ever, most days) and ends on You Can't Always Get What You Want, which is not just damned good advice, but also a bloody good song.
You Got The Silver is one of those rare outgings when Keith gets to sings (in fact, it was the first tiime he got a song to himself). His voice is really not all that bad, but you do get the feeling that this is a car with one wheel off. It's the Stones, but not really. Also, i've never been hugely keen on their country-ish style songs, such as this one. It's just a matter of taste, i do realise.
Given all that, i do still like the track. The vocals, for all their roughness, actually fit the down-to-earth feel of the tune. In some ways you can almost hear Jagger singing them, as Richard's phrasing and style clearly echo the singer's. The real star is Richard's slide guitar work, which is really quite pretty, especially over-dubbed on his accoustic strumming. The song is also quite short, building to a satisfying climax that is over and done before you really notice.
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty high
RATING
This week was Let It Bleed week. It was on a fairly continuous rotation in the mornings. Funnily enough, You Got The Silver is my least favourite track on the album. Not that that is saying much as in my opinion, Let It Bleed is one of the best Stones albums. It opens on Gimme Shelter (which would probably make my all-time top ten tracks by anyone ever, most days) and ends on You Can't Always Get What You Want, which is not just damned good advice, but also a bloody good song.
You Got The Silver is one of those rare outgings when Keith gets to sings (in fact, it was the first tiime he got a song to himself). His voice is really not all that bad, but you do get the feeling that this is a car with one wheel off. It's the Stones, but not really. Also, i've never been hugely keen on their country-ish style songs, such as this one. It's just a matter of taste, i do realise.
Given all that, i do still like the track. The vocals, for all their roughness, actually fit the down-to-earth feel of the tune. In some ways you can almost hear Jagger singing them, as Richard's phrasing and style clearly echo the singer's. The real star is Richard's slide guitar work, which is really quite pretty, especially over-dubbed on his accoustic strumming. The song is also quite short, building to a satisfying climax that is over and done before you really notice.
Saturday, June 17, 2006
ruined
Nothing today. Ruined by wine last night, i was. Shocking really. this morning was awful and i had no time to be noticing music. Hopefully i will be well by tomorrow…
Friday, June 16, 2006
Brentford All-Stars - Greedy G
ORIGINATION Studio One Rockers
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty good
RATING
Destination: Jamaica again today! This is getting uncanny. I did spend all of last weekend listening to nothing but music from the island, but i have listened to other stuff since. Clearly it's backed up in my head. Which is fine by me.
The Brentford All-Stars where Studio One's house band (named after Brentford Road, the street upon which it stood). Studio One is one of the, if not the most important labels in Jamaican music. Its rolling cast of studio musicians included some of the best players on the island. They provided the music and rhythms for whoever was the singer on any given day. It was something akin to the factory-line inspired set up at Motown in the US, only more so, as often the music and rhythms were used many times over and in many versions. These Studio One musiciains, like their Motown brothers, worked endlessly and under different collective names, whilst only getting a handfull of releases of their own. Greedy G, under the Brentford All-Stars name, is one of their best known, or at least has become so with the rise of interest in Jamiacan music through the '90s.
It is a piece of mid-to-fast tempo funk, with a (naturally) Jamaican twist and is a good example of what could be done with primarily just these guy's rhythm tracks. The drums are clear funk, although with more echo on than you'd expect. There are also several places where they drop out, where a huge echo from them reverbarates off into the distance, in a dub style. The funky rhythm guitar is closer to its American cousin, but it just skanks too much to be regular funk. Over this rhythm section, however, things become more typically funky with nice southern-fried funky guitar picking and some tasty organ solo action.
It's not quite funk as you know it, but it still is damned funky and damned good.
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty good
RATING
Destination: Jamaica again today! This is getting uncanny. I did spend all of last weekend listening to nothing but music from the island, but i have listened to other stuff since. Clearly it's backed up in my head. Which is fine by me.
The Brentford All-Stars where Studio One's house band (named after Brentford Road, the street upon which it stood). Studio One is one of the, if not the most important labels in Jamaican music. Its rolling cast of studio musicians included some of the best players on the island. They provided the music and rhythms for whoever was the singer on any given day. It was something akin to the factory-line inspired set up at Motown in the US, only more so, as often the music and rhythms were used many times over and in many versions. These Studio One musiciains, like their Motown brothers, worked endlessly and under different collective names, whilst only getting a handfull of releases of their own. Greedy G, under the Brentford All-Stars name, is one of their best known, or at least has become so with the rise of interest in Jamiacan music through the '90s.
It is a piece of mid-to-fast tempo funk, with a (naturally) Jamaican twist and is a good example of what could be done with primarily just these guy's rhythm tracks. The drums are clear funk, although with more echo on than you'd expect. There are also several places where they drop out, where a huge echo from them reverbarates off into the distance, in a dub style. The funky rhythm guitar is closer to its American cousin, but it just skanks too much to be regular funk. Over this rhythm section, however, things become more typically funky with nice southern-fried funky guitar picking and some tasty organ solo action.
It's not quite funk as you know it, but it still is damned funky and damned good.
Thursday, June 15, 2006
Senior Soul - Is It Because I'm Black
ORIGINATION Studio One Soul (v/a)
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fair
RATING
About Senior Soul i know nothing. What is clear, however, is that whomever they may have been, they effected one of the most sucessful Jamiacan soul covers that i have heard.
Originally written and performed by Syl Johnson, the song is the story of one man's depair caused by his given place in the world. He cries 'something is holding me back, i wanna know, is it because i'm black?' Which, clearly, is something of a rhetorical question. It is a heartfelt piece of laid-back soul, describing the injustice of the world.
In the hands of Senior Soul, the passion of the original is retained, here driven by a mid-tempo rocksteady-ish beat. Two guitars play throughout; one cranks along with a typical rocksteady skank, whilst the other, slightly distorted and wah'd, recalls Johnson's playing on the original.
It is a pretty straighforward cover. The simple translation to a Jamiacan style, together with its passion are what make it one of the best cover version you'll find on any Jamiacan compliation.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fair
RATING
About Senior Soul i know nothing. What is clear, however, is that whomever they may have been, they effected one of the most sucessful Jamiacan soul covers that i have heard.
Originally written and performed by Syl Johnson, the song is the story of one man's depair caused by his given place in the world. He cries 'something is holding me back, i wanna know, is it because i'm black?' Which, clearly, is something of a rhetorical question. It is a heartfelt piece of laid-back soul, describing the injustice of the world.
In the hands of Senior Soul, the passion of the original is retained, here driven by a mid-tempo rocksteady-ish beat. Two guitars play throughout; one cranks along with a typical rocksteady skank, whilst the other, slightly distorted and wah'd, recalls Johnson's playing on the original.
It is a pretty straighforward cover. The simple translation to a Jamiacan style, together with its passion are what make it one of the best cover version you'll find on any Jamiacan compliation.
Wednesday, June 14, 2006
Ken Boothe - Set Me Free
ORIGINATION Studio One Soul (v/a)
LAST LISTENED TO a couple of days ago
CHANCE OF WAKING TO IT ok, i guess
RATING
Ken Boothe is better known for another song. It's another cover, like this one. I forget the name and can't really be bothered to check for it. But you'd know it, if you heard it. He is Jamiacan and does reggae, by the way.
This one is, if you've not guessed, a cover of The Supremes hit You Keep Me Hanging On. If you can imagine that song done in a rocksteady/reggae/Jamaican soul style, by a man better known for somthing else, then you've got it. It's a nice enough tune, but it's nothing special and it lacks the drive and passion of the original. Still, if things Jamaican are your bag, then you'll might well go for this.
The version here is the extended 12" version and it really just goes on too long. The original can only have been around the three minutes. This version, however, is just over seven and instead of the extended sound dynamics that you might hope for (in a dubwise stylee), it merely stretches out the instrumental parts, with little additional flair. This goes on for quite a few minutes. Towards the end, someone at Studio One clearly got bored and decided to drop the vocals back in and rather abruptly at that, even for the somewhat slap-dash approach found at times in Jamiacan music (which of course is part of its appeal). And that's it for this tune.
Hear it once. Yawn. No repeat, thanks. Next…
LAST LISTENED TO a couple of days ago
CHANCE OF WAKING TO IT ok, i guess
RATING
Ken Boothe is better known for another song. It's another cover, like this one. I forget the name and can't really be bothered to check for it. But you'd know it, if you heard it. He is Jamiacan and does reggae, by the way.
This one is, if you've not guessed, a cover of The Supremes hit You Keep Me Hanging On. If you can imagine that song done in a rocksteady/reggae/Jamaican soul style, by a man better known for somthing else, then you've got it. It's a nice enough tune, but it's nothing special and it lacks the drive and passion of the original. Still, if things Jamaican are your bag, then you'll might well go for this.
The version here is the extended 12" version and it really just goes on too long. The original can only have been around the three minutes. This version, however, is just over seven and instead of the extended sound dynamics that you might hope for (in a dubwise stylee), it merely stretches out the instrumental parts, with little additional flair. This goes on for quite a few minutes. Towards the end, someone at Studio One clearly got bored and decided to drop the vocals back in and rather abruptly at that, even for the somewhat slap-dash approach found at times in Jamiacan music (which of course is part of its appeal). And that's it for this tune.
Hear it once. Yawn. No repeat, thanks. Next…
Tuesday, June 13, 2006
uck
Early alarm vs. very little sleep (inc. special guest appearance of the Neighbours showcasing their popular hit The Domestic At 3 a.m.). There may have been a song in here, but it just never got noticed in the rush for a train. Sorry.
Monday, June 12, 2006
Devon Irons & Doctor Alimantado - Vampire
ORIGINATION Lee 'Scratch' Perry & Friends: Open The Gate
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT no bad, likes
RATING
From out of the Black Ark comes craziness. Mutant organic soup dub reggae. Jah sent him here to catch vampire. Lee 'Scratch' Perry. Record producer and absolute nutter. If you have never experienced his work before, nothing can really explain it to you. However: modern studios often have at least 24 tracks (one track for guitar, one track for bass, etc); all you could need for a fertile imagination? Perry had 4 tracks in his Black Ark and he didn't see that as a restriction. He just kept mixing all the tracks down into one. Over and over. Added to this heroic amounts of ganja. Mad vibes. He created a swamp of sound that is unlike any other. A big, swirly swamp. Mountains of bass and clouds of cymbals. Vocals drifting in and out. Random found sounds and brass. Choppy guitar cranks. Vampire may be about vampires. It may even be about Island Record's Chris Blackwell whom Perry thought was a vampire (possibly literally). There are several version by differing artists, all are mostly the same tune. More or less. Recycled, remixed, reconstituted, but the same. Strap yourself down and listen to this through headphones in a dark room. Alter your brain cheap. Obadiah sent us here to catch vampire.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT no bad, likes
RATING
From out of the Black Ark comes craziness. Mutant organic soup dub reggae. Jah sent him here to catch vampire. Lee 'Scratch' Perry. Record producer and absolute nutter. If you have never experienced his work before, nothing can really explain it to you. However: modern studios often have at least 24 tracks (one track for guitar, one track for bass, etc); all you could need for a fertile imagination? Perry had 4 tracks in his Black Ark and he didn't see that as a restriction. He just kept mixing all the tracks down into one. Over and over. Added to this heroic amounts of ganja. Mad vibes. He created a swamp of sound that is unlike any other. A big, swirly swamp. Mountains of bass and clouds of cymbals. Vocals drifting in and out. Random found sounds and brass. Choppy guitar cranks. Vampire may be about vampires. It may even be about Island Record's Chris Blackwell whom Perry thought was a vampire (possibly literally). There are several version by differing artists, all are mostly the same tune. More or less. Recycled, remixed, reconstituted, but the same. Strap yourself down and listen to this through headphones in a dark room. Alter your brain cheap. Obadiah sent us here to catch vampire.
Sunday, June 11, 2006
Prince Buster - Sit And Wonder
ORIGINATION 200% Dynamite
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fairly good
RATING
Prince Buster is one of the most important people in the history of Jamaican music. He was both artist, writer and producer and, whilst being best known for his contribution to ska, he was of almost equal importance to rocksteady. (For the confused, ska slowed down, got rude and became rocksteady, which itself slowed down, got conscious and became roots (or reggae).)
This tune is from the rocksteady period and is typical of the style. It is not one of his best rocksteady tunes, but it is notable for some nice vocal harmonies. The song is about the Prince's lady, who he suspects of doing the dirty on him with some Rude boys. He sings that they took her home after the dance and "who knows where they took you before". Typical slackness for the rocksteady period, but interestingly the story does not then go on to feature violence (or more rudeness). Instead the Prince goes on to wonder if life is worth living, which is more than a little unusual for this period. This, along with the vocal harmonies, gives the song a slight melancholy air, which is kinda refreshing.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fairly good
RATING
Prince Buster is one of the most important people in the history of Jamaican music. He was both artist, writer and producer and, whilst being best known for his contribution to ska, he was of almost equal importance to rocksteady. (For the confused, ska slowed down, got rude and became rocksteady, which itself slowed down, got conscious and became roots (or reggae).)
This tune is from the rocksteady period and is typical of the style. It is not one of his best rocksteady tunes, but it is notable for some nice vocal harmonies. The song is about the Prince's lady, who he suspects of doing the dirty on him with some Rude boys. He sings that they took her home after the dance and "who knows where they took you before". Typical slackness for the rocksteady period, but interestingly the story does not then go on to feature violence (or more rudeness). Instead the Prince goes on to wonder if life is worth living, which is more than a little unusual for this period. This, along with the vocal harmonies, gives the song a slight melancholy air, which is kinda refreshing.
Saturday, June 10, 2006
Booker T. & The MG's - Hip-Hug Her
ORIGINATION 7"
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT fair, rising
RATING
The classic line up of one of the most important soul groups ever. As house band for Stax records, they backed up almost everyone on the label, including most notably Otis Redding. As writers, organist Booker T Jones and guitarist Steve Cropper wrote or co-wrote some of the biggest soul hits of the '60s.
On their own records, they were something special too. Admittedly, there were times when they drifted into hammond-a-go-go cover territory, but even here they were cream of the crop. Indeed, a case could even be made for them haven started the whole thing off but that would be a little unfair on them.
Hip-Hug Her was recorded in 1967, at a time that many consider to be them at the height of their powers. It has a huge, bass-driven groove that is liberally sprinkled that starts with some very big hammond chords from Jones, before he takes fills the first half of the tune with a funky solo. In behind, Cropper cranks out the same chords, with a guitar sound that is rougher than his usual. For a short period in the middle, the roles are reversed with Cropper soloing, before the guys head back into the melody. Naturally, just before the end Jones and Cropper take time to squeeze in another short solo each, before it sadly fades.
This is without doubt the biggest, fattest groove that Booker T. & The MG's (bad punctuation and all) ever recorded. So a final mention must be made to the guys who really built it; Al Jackson, Jr. on drums (reputed to be more accurate than a drum machine!) and Donald 'Duck' Dunn on bass (soon to be owner of a ludicrous 'tache).
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT fair, rising
RATING
The classic line up of one of the most important soul groups ever. As house band for Stax records, they backed up almost everyone on the label, including most notably Otis Redding. As writers, organist Booker T Jones and guitarist Steve Cropper wrote or co-wrote some of the biggest soul hits of the '60s.
On their own records, they were something special too. Admittedly, there were times when they drifted into hammond-a-go-go cover territory, but even here they were cream of the crop. Indeed, a case could even be made for them haven started the whole thing off but that would be a little unfair on them.
Hip-Hug Her was recorded in 1967, at a time that many consider to be them at the height of their powers. It has a huge, bass-driven groove that is liberally sprinkled that starts with some very big hammond chords from Jones, before he takes fills the first half of the tune with a funky solo. In behind, Cropper cranks out the same chords, with a guitar sound that is rougher than his usual. For a short period in the middle, the roles are reversed with Cropper soloing, before the guys head back into the melody. Naturally, just before the end Jones and Cropper take time to squeeze in another short solo each, before it sadly fades.
This is without doubt the biggest, fattest groove that Booker T. & The MG's (bad punctuation and all) ever recorded. So a final mention must be made to the guys who really built it; Al Jackson, Jr. on drums (reputed to be more accurate than a drum machine!) and Donald 'Duck' Dunn on bass (soon to be owner of a ludicrous 'tache).
Friday, June 09, 2006
Helloween - Save Us
ORIGINATION I Want Out 12"
LAST LISTENED TO last night
CHANCE OF WAKING TO IT as high as the singer's voice
RATING
Look, i was into metal as a kid and my liking for it has never really died. Sure, along the way there have been times when i have totally forgotten it, but eventually i'll have an urge for crashing chords, widdling guitar solos and squealing vocals. I can't help it. Clearly it's some sort of addiction. That's me excuse, anyway.
Helloween, for those of you who don't know (and i'm guessing that's almost all of you, with one exception who shall remain nameless but who is more known to like jazz daily these days) were pretty much a German version of Iron Maiden. This probably sounds like a bad idea and if i had any sense at all i'd agree. However, for reasons inexplicable, i rather enjoy Helloween. And it's not just because they had cartoon pumpkins as a kind of mascot (really, they did). I have plenty time for Maiden, so almost by default i have a bit of time for their Deutscher counterparts. Anyway, there was always a silly side to Helloween, not that Maiden were exactly super-serious or anything, but whatever they were Helloween were sillier. Do i need mention the pumpkins again? In fact, i do seem to recall that the slogan Pumpkins Fly Free was theirs.
And the music? Well, it sounds like Maiden. Maybe a bit faster and with less literature-based songs. Also the vocals were, if anything, higher pitched more often than Bruce's (that's Maiden's singer). This song in particular has some fine wailing. The only real problem i have with it is that it might just have some sort of christian undercurrent, which frankly has no place in metal. Or, indeed, metaaaaaaaal!
LAST LISTENED TO last night
CHANCE OF WAKING TO IT as high as the singer's voice
RATING
Look, i was into metal as a kid and my liking for it has never really died. Sure, along the way there have been times when i have totally forgotten it, but eventually i'll have an urge for crashing chords, widdling guitar solos and squealing vocals. I can't help it. Clearly it's some sort of addiction. That's me excuse, anyway.
Helloween, for those of you who don't know (and i'm guessing that's almost all of you, with one exception who shall remain nameless but who is more known to like jazz daily these days) were pretty much a German version of Iron Maiden. This probably sounds like a bad idea and if i had any sense at all i'd agree. However, for reasons inexplicable, i rather enjoy Helloween. And it's not just because they had cartoon pumpkins as a kind of mascot (really, they did). I have plenty time for Maiden, so almost by default i have a bit of time for their Deutscher counterparts. Anyway, there was always a silly side to Helloween, not that Maiden were exactly super-serious or anything, but whatever they were Helloween were sillier. Do i need mention the pumpkins again? In fact, i do seem to recall that the slogan Pumpkins Fly Free was theirs.
And the music? Well, it sounds like Maiden. Maybe a bit faster and with less literature-based songs. Also the vocals were, if anything, higher pitched more often than Bruce's (that's Maiden's singer). This song in particular has some fine wailing. The only real problem i have with it is that it might just have some sort of christian undercurrent, which frankly has no place in metal. Or, indeed, metaaaaaaaal!
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