CD Odyssey Disc 187: Beck

From Black Metal to Alt Pop, the Odyssey gets around. This time we return to Beck, which I haven't reviewed since Disc 150 (The Information).

Disc 187 is...Mutations
Artist: Beck

Year of Release: 1998

What’s Up With The Cover?: It's Beck from the waist up, sporting an odd combination of T-shirt and cling wrap. Oh, and a vacant stare.

How I Came To Know It: As I noted when I reviewed "The Information" at Disc 150, I've known Beck since my room-mate and friend Greg brought home "Mellow Gold" in 1993. "Mutations" came fairly late to the collection - it came out in 1998, but I probably bought it around 2005.

How It Stacks Up: I have to admit, not that well. It is an OK album, but of the eight Beck albums I own, I'd have to put it 8th...er, someone has to be last, right?

Rating: 2 stars.

"Mutations" is my least favourite Beck album, but it still has its moments. On this album I noticed Beck composes relatively simple pop songs, and what makes them interesting is his willingness to use odd arrangements, and strange sounds as musical instruments. He also has a talent for composing catchy songs in minor keys. There is an art to this, not easily mastered, but Beck is a skilled practitioner. Stylistically it reminded me heavily of another of his album's "Sea Change" which I absolutely love.

About a third of the time, I enjoy Beck's quirky quirky sounds and innovative production. About a third of the time, I only notice it when I'm looking for it, and about a third of the time it is annoying.

On this record I found him experimenting with traditional music, while putting his own twist on it. "Tropicalia" has a kind of latin dance beat and "Bottle of Blues" and "Sing It Again" have country and western sounds mixed into their sound. I admire the effort, but none of these songs particularly grabbed me.

Also, like "The Information", "Mutations'" last track is a rambling eleven minute time waster called "Static". Know when to say when, Beck! I'd have rather listened to the first five minutes of this song and then six minutes of actual static. That way I'd know when to push 'stop' instead of vainly waiting for something good to happen later in the song.

There are a couple of tracks that rise above this album's mediocrity - so much that I was seriously tempted to give it 3 stars (but did not give in to temptation). In particular, the record opens with the best song by far, "Cold Brains." The song starts with an alien-sounding reverberating synthesizer. Classic Beck, and in the third subset of this stuff that I like. The opening lines:

"Cold brains, unmoved
Untouched, unglued
Alone at last
No thoughts, no mind
To rot behind"

set a bleak tone that had me excited for what was to follow. The second track "Nobody's Fault But My Own" is a decent, if inferior follow up to "Cold Brains", which still had me hoping for better things to come.

Unfortunately, the rest of the record doesn't hold up for me at the same level. The talent is unmistakeable, but for the most part I wasn't emotionally moved.

Best tracks: Cold Brains, Nobody's Fault But My Own, Canceled Check (sic).

CD Odyssey Disc 186: Dimmu Borgir

I've had a stressful week, dealing with home repairs, work and a host of other things.

The Odyssey decided that it was time for me to get my angry on, I suppose.

Disc 186 is...Death Cult Armageddon
Artist: Dimmu Borgir

Year of Release: 2003

What’s Up With The Cover?: Pretty basic. Black, with pentagrams and nasty looking font. The cover to this album is actually just an extra slip of paper put in front of the booklet. The booklet has this apocalyptic "Terminator Future" cover:

If you think this is troubling, you should see some of the pictures inside the booklet. Let's just say Dimmu Borgir is not for the faint of heart or the easily offended.

How I Came To Know It: My friend Kelly is into black metal/death metal these days, and he brought some over a while back and I liked it, so he bought me this album as a gift.

How It Stacks Up: Dimmu Borgir has been around a long time, and have nine studio albums dating back to 1994. This is the only one I have. I like it fine - I think I prefer another one Kelly has played recently called "In Sorte Diaboli" but not enough to add to the collection. I'm not a Black Metal convert, although I readily admit Dimmu Borgir's talent.

Rating: 3 stars.

Dimmu Borgir is a Norwegian Black Metal band. The name means "Dark Castle" or "Dark Fortress" in Norwegian.

Black Metal is not for everyone. Putting this album on in my car was a lot like getting into a bathtub where the water is too hot. For the first ten minutes or so it was uncomfortable - the auditory equivalent of being scalded. But once you get used to it, it is actually fairly enjoyable.

The energy of this music is undeniable, and it definitely gets the blood pumping. It is an assault on the senses, with a lot of pounding double bass drum and thrash guitar. What sets it apart from other metal close to the genre (like Death Metal, for example) is the melodic, symphonic arrangements in it. Or put more plainly - it is still identifiable as music.

When the guitars settle down into a groove, they have a quality almost akin to Iron Maiden or Metallica. What is missing is Bruce Dickinson's soaring vocals - instead you get that gutteral screaming sound that makes it difficult to make out what they are saying. This is OK, since about 25% of the time they are singing in Norwegian anyway.

When they aren't singing in Norwegian, you can't understand much through the screaming. A quick reference to the liner notes confirms this is a good thing. I'm not sure if it is that they are writing these songs in another language and they are losing something in the translation, but the lyrics try so hard to have an apocalyptic feel, they overshoot their goal and mostly come off sounding goofy. Here's a sample from the cheerily titled, "For the World To Dictate Our Death":

"Engulfed by the desert
We taste death in the dry heat
The disciples of prophet ablution
Had sworn to let the skeptics bleed
For great are their love for warfare
Henchmen of the disastrous creed."

Um...OK, then. This is one of the better songs on the album, but this is because of the music, not this weird rage fantasy stuff. I prefer my over the top metal lyrics to have a fantastical (think Dio) or historical (think Maiden) quality. Pure anger-talk doesn't really do it for me.

That said, Dimmu Borgir are talented musicians, and it would be a mistake to dismiss their work as simply angry. The songs are well constructed, and viscerally engaging. They just need to lighten up a little. That's why I am going to end this review with this picture I took this morning on my way to work - this was about 7:20 AM, about 300 feet from my office.

See, Dimmu Borgir? The world's not such a bad place after all.

Best tracks: Lepers Among Us, For the World To Dictate Our Death, Blood Hunger Doctrine, Cataclysm Children.

Figurine: Vampire Fighter

After what seemed like forever to finish the sphinx, I finished this next figure in just a week. He was 'dead' simple - a vampire fighter in full plate. Here he is:

This guy looks a little sad - maybe because he was only made a vampire after he had some greying at the temples, and now he's stuck with it for eternity.

One of the reasons this guy was so easy was that apart from his sword, he has no other equipment. In fact, this figure features one of my pet peeves; guys with swords, but no scabbard.

Where does he put this sword when he's not out stabbing someone? If he needs to pick something up with both hands, does he just drop it on the ground? Furthermore, walking around with a sword in your hand isn't just awkward - it's rude!

So maybe that's why he looks a little sad - he wishes he could put his sword down once in a while.

Anyway - here is a shot of the cloak from the back:

Nice flat top, dude!

My next figure is going to be a while. It is an elf lord riding a dragon. A very cool piece, but one that is going to take a lot of time and effort.

CD Odyssey Disc 185: Beastie Boys

The last review was a Rush album that didn't really fit the mold. The next disc is a Beastie Boys album that also doesn't really fit the mold.

Disc 185 is...The Mix Up
Artist: Beastie Boys

Year of Release: 2007

What’s Up With The Cover?: Some kind of Beastie Boys version of a Rube Goldberg machine? Among the other questions this cover conjures up - how did they get the seahorse in the watercooler? and Will the Beastie Boys be ground up into sausage? We don't know, and we don't want to know. Just enjoy the artistry of the machine - function is secondary.

How I Came To Know It: I was a Beastie Boys fan when this came out, so I bought it - with full knowledge it was an instrumental album.

How It Stacks Up: I have all nine Beastie Boys albums that I know of. This one is hard to rate against all the others, but I'll say it is 7th or 8th depending on how I'm feeling it stacks up against the other all-instrumental album.

Rating: 2 stars

"The Mix Up" is the Beastie Boys second completely instrumental album - the first being 1996's "The In Sound From Way Out!" Even though this is their second kick at the can, "The Mix Up" is still a brave departure, given the success achieved by the more traditional rap album that preceded it ("To The 5 Burroughs").

This album isn't for everyone - it isn't even for every Beastie Boys fan, but it is an impressive undertaking. The 3 Beasties, known for their furious raps, once again branch out - including playing instruments beyond the usual 'two turntables and a microphone' which is the limit of many rappers' ability.

Mike D plays the drums, Adam Horovitz plays guitar and Adam Yauch plays bass (both horizontal and upright). Are they brilliant players? No, they are not - but they are competent, and they demonstrate their ability to right a catchy groove many times over on this record.

They also show a nice patience to let the songs develop slowly from a simple collection of notes, into a complex groove. Each song lets this happen slowly at a careful pace. The songs feel nicely planned out, and they avoid excessive noodling, with none of the tracks over 4 minutes in length.

For all the obvious talent, and the bravery to do this a second time, this album doesn't grab me emotionally. It is very groovy, but I feel like it would be better suited to background music in an action movie.

So even though this album does not noodle, displays talent and courage, and even keeps itself to a mere 12 tracks, I couldn't go above 2 stars. It might actually be better than that critically, but the Odyssey is about my reaction to the music, and I'm going to say OK, but not great.

Best tracks: Electric Worm.

CD Odyssey Disc 184: Rush

Typically, when I drive to work, I spend that 35 minutes listening to news radio. Not terribly exciting, but it puts me in 'work' mode.

On the way home, I play music for the CD Odyssey to put myself in 'play' mode.

Lately, when I leave a little early, I try to sneak a track or two before the 7 AM news. I did that today, and as a result got through the latest album in one day.

Disc 184 is...Rush - Self-Titled
Artist: Rush

Year of Release: 1974

What’s Up With The Cover?: Rush explodes on the scene! Not literally of course - that would be gross and hard to clean up. They explode artistically - in fuschia.

How I Came To Know It: This is just me drilling through the Rush collection. I came to this one fairly late, because I was put off knowing that this album is before Neil Peart joined the band. I've had it for a few years now.

How It Stacks Up: Given my worries about a Peartless Rush album, this record was a pleasant surprise. It isn't the greatest, but I'd put it around 14th out of 18 - so not the bottom.

Rating: 3 stars.

As I've noted twice now, when Rush got their start their drummer wasn't the incomparable Neil Peart we know today - it was a guy named John Rutsey. Rutsey may not be Neil Peart but he lays down some sweet drumming on this record.

You might wonder based on this one record why Geddy and Alex would replace him, but based the recent documentary, "Beyond the Lighted Stage" suggests that Rutsey wanted to stick to more traditional hard rock sounds and Geddy and Alex wanted to branch out and be more expiremental - and boy did they ("Bytor and the Snow Dog" anyone?).

This album is very much in the 70s hard rock vibe, and has a sound very strongly reminiscent of Led Zeppelin. However, it avoids just being a knock off and the seeds of Rush's sound are evident throughout.

When I first heard this record I was blown away by the musicianship of all three players. In later work, Rush' complicated songs make you almost take their playing for granted. On this record, it is front and centre - particularly Alex Lifeson, who as the guitar player benefits from straight ahead rock that showcases his talents.

My favourites include the opening track, "Finding My Way" the Sabbath-like "What You're Doing" and the seven minute juggernaut in honour of blue collar workers, "Working Man".

What is missing on this record is Peart's lyrics. The best lines here are OK, but the bad ones are truly terrible. There is a song about how nice it is to have friends - the groove is very catchy, but the chorus:

"Take yourself a friend
Keep him with you 'til the end
Whether woman or man
It makes you feel so good."

Or "In the Mood" which advises:

"Hey baby it's a quarter to eight
I feel I'm in the mood!"
Hey baby the hour is late
I feel I've got to move."

Ah...first of all, quarter to eight is not late. Second of all, these lyrics suck. The song itself sounds a lot like a KISS song - it even has cowbell. This combination of goofy rock music and schmaltzy lyrics are not necessarily a bad thing, but you need Paul Stanley to pull it off. Geddy is just too...serious about the whole thing.

Thankfully, Rush found Neil Peart to write their songs after this record, and the rest is history. Having said that - it would be a mistake to sell this record short. The greater focus on the music that results makes for some very enjoyable rock music, and I often take this one down off the shelf and play it.

As for the forgotten Rush member, John Rutsey - he holds his own with two modern day masters. I feel bad for John, and watching "Beyond the Lighted Stage" you can see that Geddy and Alex felt bad about the whole thing as well. As Tom Cruise teaches us in Cocktail, "everything ends badly - or it wouldn't end." The end for Rutsey came in 2008, when he died of complications from his diabetes at the age of 54.

He had to leave the band for it to become truly great, but I still appreciate what he did. He will always be part of Rush's legacy, and I hope he was proud of his work on this record.

Best tracks: Finding My Way, What You're Doing, Working Man.

CD Odyssey Disc 183: Tom Waits

After months of dead heat between the nineties and the eighties in terms of reviews, the nineties have pulled away with three straight albums rolled. How will it all end? Who knows - check back around 2015 or so.

For now, here's the latest disc, the sixth Tom Waits album to appear on the Odyssey.

Disc 183 is...Bone Machine
Artist: Tom Waits

Year of Release: 1992

What’s Up With The Cover?: Tom Waits looking creepy in goggles and a horned helm. I like this album cover - it captures the wacky and disturbing experience that is Tom Waits. He wears this outfit in the video for the single "I Don't Wanna Grow Up" - a great song covered in the mid-nineties by the Ramones.

How I Came To Know It: I have known Tom Waits for many years, and this album is just me digging through the collection. I first saw a video for "I Don't Wanna Grow Up" but didn't buy the album for many years later. Despite this delay, I've had this one for a while longer than many others, in part because my buddy Zeb is also a Tom Waits fan, and he said this was one of his favourites. That moved it up the list considerably, since Zeb has a good musical ear. Trust your friends, friends.

How It Stacks Up: I have eighteen Tom Waits albums. "Bone Machine" holds its own in a tough field - I'm going to put it just out of the top five, at...number six.

Rating: 4 stars.

"Bone Machine" came out in 1992 and for me it is a transition album from the full on 'hell's circus' sound that he developed in the eighties and into music with slightly more traditional arrangements such as 1999's "Mule Variations". Emphasis on 'slightly' here, however - this is Tom Waits we're talking about.

On this listen, I was struck at how many of these songs are about sad and disturbing topics. Some of these are more personally troubling, such as a small town murder depicted in "Murder In the Red Barn" or the man seeking to drown himself in "The Ocean Doesn't Want Me Today". However, they run the gamut, all the way up to apocalyptic visions like "Jesus Gonna Be Here," warning of the pending second coming, and "Dirt In The Ground" which advises of the opposite ending:

"What does it matter, a dream of love
Or a dream of lies
We're all gonna be the same place
When we die."

And later in the same song, one of my favourite Tom Waits lines:

"'Cause hell is boiling over
And heaven is full
We're chained to the world
And we all gotta pull."

Waits also continues his tradition of drawing the character of lowlife types with the vivid use of the character's own words. My favourite song on the album (this time around) was the depiction of a tough filled with sneer and bravado, bragging how he's leaving town and "Goin' Out West":

"Well I'm goin' out west
Where the wind blows tall
'Cause Tony Franciosa
Used to date my ma
They got some money out there
They're giving it away
I'm gonna do what I want
And I'm gonna get paid."

And how does our anti-hero plan to manage this when he arrives? Later in the song he lists some of his attributes:

"Well I know karate, Voodoo too
I'm gonna make myself available to you
I don't need no make up
I got real scars
I got hair on my chest
I look good without a shirt."

He later adds that he has "dragstrip courage" and that he can "really drive a bed." I'm not liking this guy's chances to land a real job - but he probably wouldn't go for a straight 9 to 5 anyway. The song features a driving rock beat, with a nineties reverb guitar riff, combined with Dick Dale-like surfer guitar - all worked into one song. Even if you weren't paying attention to the lyrics, the music says, "small minded thug moves to California" just as effectively.

If you like Tom Waits, odds are you have this album. If you don't like Tom Waits, hey - there's no accounting for bad taste. You should. There's a few better, but "Bone Machine" is as good a place to check him out as any.

Best tracks: Dirt In the Ground, Ocean Doesn't Want Me, Jesus Gonna Be Here, A Little Rain, Goin' Out West, Black Wings, I Don't Wanna Grow Up

Figurine: Sphinx

I had intended to finish painting this figure weeks ago, but two things slowed down progress.

Firstly, I got hung up on the wings, which were very time consuming. Secondly, football season started again, so I've traded painting on Sunday for sitting zombie-like in front of the TV. OK, that's not true - I'm often very animated in front of the TV when watching football (Dolphins are 2-0, Yeehaw!!!).

This week I had to work on Saturday, so I decided to take Monday off to recharge my batteries. Since there wasn't any football until the evening, I finally got the figure finished (as well as three loads of laundry).

Anyway, here's my latest - a sphinx. I think I did a pretty good job of this one. Here's a general shot:

I'm very happy with this guy - he took a lot of shading work, and he was quite a large figure - here he is with a regular sized 1" figure so you can appreciate the scale:

Painting large figures is often easier than smaller ones. The challenge is to just be patient and ensure whatever brushing technique you are using gets applied evenly. Here's a side shot to show what I mean on his fur:

And here's a close up of the wing. I put a lot of effort into the wings,which severely tested my patience, but I'm happy with how they came out:


Finally, here's a detailed shot of his huge head (it's like Sputnik - only with more riddles):
My next figure is dead simple compared to this one - a vampire fighter. I hope he doesn't take as long to finish, but let's be honest - football season is just getting started.

CD Odyssey Disc 182: Big Sugar

After a brief period where the number of discs from the eighties and nineties were tied, we seem to be in the midst of a run on the nineties.

Here's a disc that I always enjoy more than I think I'm going to.

Disc 182 is...Heated
Artist: Big Sugar

Year of Release: 1998

What’s Up With The Cover?: It's a head shot cover - a giant picture of frontman and guitarist Gordie Johnson. He's all sweaty, but not in a gross way.

How I Came To Know It: I saw a video on MuchMusic for "Better Get Used To It". I really dug the song (and the hot girl dancing about in the cowboy hat didn't hurt either) so I bought the album.

How It Stacks Up: Big Sugar apparently have six albums (thank you interweb powers) but I only have the one. Of the single album that I own, it is my favourite.

Rating: 3 stars.

Big Sugar is a Canadian band. I don't let that influence how much I like them, but it is fun to note.

This album is rock and roll in pure form, without a lot of window dressing. Driving guitar riffs, pounding drums best heard at high volume. There is a bit of that reverb guitar sound that was pretty common in the late nineties, but they use it well, and it fits in nicely with their songs. There is also the faintest tint of a reggae beat in a few songs, but it is a very far cry from actual reggae.

As for the songs, "Better Get Used To It" is a modern classic, which I expect will survive on radio play for many decades to come. I won't know though, since I almost never listen to the radio - that's just how I imagine it would be. It is a five star song, despite having a bit of that disturbing "No More Love At Your Convenience" vibe I just mentioned in my recent review of Alice Cooper's "Lace and Whiskey."

I suspect "Better Get Used To It" - which was a minor hit in Canada (top 20, but never top 10) is all most people will know about "Heated", and that's a shame. There are a lot of other great tracks on this record.

I particularly like "100 Cigarettes" a song about a guy waiting for his girl to call, and nervously smoking 'rette after 'rette (thanks to my brother for the expression - 'rette')

Although not one of my favourite tracks musically, I enjoy "Turn The Lights On" for its subject matter. It is a song about someone asking their partner to wake them up when they get home late for a booty call. Chosen mode to wake them up: turn the lights on.

Maybe it is an age thing, but I don't think it is a high percentage play to come home late (and likely drunk) turn the bedroom lights on and try to interest your partner in amorous pursuits. In fact, it is probably more hazardous to your health than smoking those 100 cigarettes. I catch hell for just turning the hall light on.

There are a good collection of other tracks with less interesting topics, but that rock just as hard, including a remake of B.T.O.'s "Let It Ride" that I prefer over the original.

On the downside, I have a couple minor quibbles. First, the songs when you upload the album are all labelled incorrectly. Argh. Also, the final track, "Heart Refuse To Pound" would be an OK song, but it has one of those nineties 'hidden tracks' where a bunch of dead air is recorded, followed by something that sounds like a jazz odyssey crossed with trance music. 12:55 later, I was not pleased.

Overall though, this album is a solid bit of rock and roll, and even more than solid as a driving album. I was even tempted to give it 4 stars, but I decided it was a strong 3 instead.

Best tracks: Better Get Used To It, Girl Watcher, Hammer in My Hand, 100 Cigarettes, Let It Ride.

CD Odyssey Disc 181: Soundtrack

Much to the consternation of Ice T twitter followers everywhere, the next disc is chock-a-block full of Aimee Mann.

Fortunately for me, I really like Aimee Mann.

Disc 181 is...Magnolia Soundtrack
Artist: Various

Year of Release: 1999

What’s Up With The Cover?: Like most movie soundtracks, I think this is a variation on the movie poster. It is a magnolia leaf (I determined this with my keen powers of deduction - I'm not that good with flowers). In the petals you can see the faces of some of the main characters in the film - William H. Macy, Julianne Moore and some other folks I don't feel like going on about.

How I Came To Know It: In two ways I believe. Firstly, the usual way - liking the movie, and enjoying the music. Secondly, because I knew the album featured a lot of Aimee Mann songs, and I dig Aimee Mann.

How It Stacks Up: I have around 23 soundtracks. "Magnolia" is way up there on that list - I'll say top five, but it is hard to say exactly where.

Rating: 4 stars.

For those who haven't seen the movie, "Magnolia" is a beautiful film by Paul Thomas Anderson, a gifted director also responsible for "Boogie Nights" and my favourite movie of his, "Punch Drunk Love."

He is very adept at capturing emotional disconnect in characters, and this is on fine display in Magnolia; a loosely connected series of stories that deal with a variety of characters each going through their own journey with isolation and loneliness. It is a depressing movie in the main, but thankfully the film's heart is rescued at the end by the frogs. If you've seen it, you know what I mean. If you haven't go see it. And yes - I like the frog ending.

The soundtrack of "Magnolia" has more to do with the movie than usual. A lot of soundtracks are just a collection of songs that may (or may not) even go well with the film.

With "Magnolia" PT Anderson was actually adapting Aimee Mann's music into a screenplay. I expect he was listening to the album from earlier that year, called "Bachelor No. 2". At least that's the story I've heard, and I heard it from an expert - my wife! Also, the liner notes confirm it's true.

The album has four repeats from "Bachelor No. 2", including "Deathly", "Driving Sideways", "You Do" and an instrumental-only version of "Nothing Is Good Enough". They have a slightly different production, but they're all just as good (OK - I prefer "Nothing Is Good Enough" with words).

Of these, the one that stands out is "Deathly" a song where the singer warns a new person off, for fear that falling in love can only lead to pain (remember - emotional disconnect). The singer is certain conquest will only end the relationship:

"Now that I've met you
Would you object to
Never seeing each other again
'Cause I can't afford to
Climb aboard you
No one's got that much ego to spend."

Like the movie, the album is a bit of a downer, but it is a beautiful downer. Rarely does a soundtrack relate so well to a film, or have such consistently strong songwriting. It was a rare treat from the soundtracks section.

Her signature song from the album is "Save Me" a five star song about misfits trying to find love which was honoured with an Academy Award nomination. Here the story takes a truly tragic turn.

In an incredibly competitive field, "Save Me" was beaten - but not by fellow strong nominees like the South Park movie's "Blame Canada" (comedically brilliant); not even by Randy Newman's song from Toy Story 2, "When She Loved Me" (I defy you to watch that scene in the movie and keep a dry eye).

No - Mann was beaten by the irredeemably bad song, "You'll Be In My Heart", inflicted upon our world by Phil Collins for the Disney Tarzan movie. As songs go, there isn't much worse - I guess Nickelback, but after that, everything would only manage to equal this song's awfulness.

There is a bit of a happy ending here, though. Trey Parker and Matt Stone viciously pilloried Collins in an episode of South Park (depicting Phil Collins walking around with an Oscar statue as Timmy upstages him by fronting a heavy metal band). It should embarass Phil Collins enough that he won an Oscar for that song - but now he can be reminded of it with South Park reruns for years to come.

After all, no one likes to be constantly reminded they won something they don't deserve. Do they, Reggie Bush?

But I digress - let's get back to the record. After nine Aimee Mann songs, I always find the final four tracks jarring.

The first two are famous Supertramp songs, ""Goodbye Stranger" and "Logical Song". I love these songs, but I prefer them on "Breakfast In America". Their seventies rock vibe meshes poorly with Mann's more haunting and modern pop music.

Two more songs follow by artists I've never heard of - although Jon Brion, who writes the title track, does colloborate with Mann on some of her songs, so I'll give him a pass, even though his solo entry is a bit dull. That said, when I'm listening to this album unfettered by CD Odyssey rules, I usually just stop playing the disc after Track 9.

Even with this minor fault, "Magnolia" remains a great soundtrack, and a perfectly acceptable introduction to Aimee Mann - and if you don't have "Breakfast In America" you can consider the Supertramp songs a bonus (and then stop listening after Track 11).

Best tracks: Deathly, Driving Sideways, You Do, Wise Up, Save Me.

CD Odyssey Disc 180: Alice Cooper

The next disc is one that Sheila often raves about, and with good reason.

As an aside, this brings the total Alice Cooper reviews to six. Blue Oyster Cult remains at zero. Well, if anyone is going to bump BOC from another review, it might as well be Alice.

Disc 180 is...Lace and Whiskey
Artist: Alice Cooper

Year of Release: 1977

What’s Up With The Cover?: An assemblage of detective story items. A pulp fiction novel cover, a glass of whiskey, an ashtray and a snub nose revolver. I note that the pulp fiction cover also features a bra. As covers go, this is a pretty cool one.

How I Came To Know It: I love all things Alice, but this album was hard to find. I found it the same day I purchased Dada (reviewed way back at Disc 18) way back in the late nineties. They both had the exclamation point which at Lyle's Place means 'Imported!'. I suspect these weren't put into wide circulation on CD in North American - and that's a pity.

How It Stacks Up: Of twenty-five studio albums, I'd put this one around 9th or 10th, which is pretty good.

Rating: 4 stars.

"Lace and Whiskey" is an odd entry in the Alice Cooper. It is sandwiched between two great concept albums, 1976's "Alice Cooper Goes to Hell" and 1978's "From The Inside." The latter of these I reviewed back at Disc 99, and as of this writing is still holding down the final spot in the 'top 5' column to the right.

Is this album as great as those? I would say no, but I think it holds its own, and is an excellent work in its own right. If anything it is hard to get an ear for it, because it is a little all over the place stylistically.

Straight ahead rock songs like "It's Hot Tonight" and "Road Rats" sit alongside schmaltzy pop ballads like "You and Me", and disco-flavoured ditties like "(No More) Love At Your Convenience". There is less of Cooper's shock-driven grotesquerock than on the albums before and after, and those people coming with preconceived notions of what Cooper's 'sound' should be may be disappointed.

Fortunately as a Cooper veteran, I revel in his willingness to explore any sound, any genre and any subject in his quest for a good song.

For example, "Road Rats" may be a straight ahead rock song, but it also has one of the best rythym guitar licks for driving your car. It is a song about driving, made for driving.

"You and Me" may be schmaltzy pop, but it is schmaltzy pop of the highest quality. It was actually a minor hit in 1977 (Sheila remembers it being on the radio, but I don't). It was even covered by Frank Sinatra once in a live show at the Hollywood Bowl. In addition to having a pretty melody that even Old Blue Eyes couldn't resist, the song has a lovely message of the simple joys of coming home to the girl you love:

"You and me ain't no movie stars
What we are is what we are
We share a bed, some lovin' and TV
That's enough for a workin' man
What I am is what I am
And I tell you babe - that's enough for me."

The disco elements may be a surprise, but they aren't new to Alice on this record - he does a disco number on the album before this as well. On this record, "(No More) Love At Your Convenience" features a prominent horn section, back up singers belting out harmonies, and no small amount of bells tinkling - all inside a song with lyrics that dance dangerously over the line toward domestic abuse. Remember - despite the range, this is Alice Cooper we're talking about. Oh, and yeah - it is a damned good song.

Lyrically, my favourite is "King of the Silver Screen", a song about a character who 'By day is a workin' man/Layin' bricks or layin' pipe" but who when he gets home imagines he is a star of the movies he watches on the screen. Our character compares himself to masculine heroes like Zorro or Don Juan, but before you know it he has switched to Greta Garbo. The song makes its final descent into Cooperstown with a fade out rant where we learn our construction worker/movie buff is also a cross-dresser, who plans to move to Hollywood and become a starlet. Remember - this is Alice Cooper we're talking about. Oh, and once again - it's a good song.

As we approach the end, the record features an apologetically themed song humbly suggesting "I Never Wrote Those Songs." This may be Cooper acknowledging to his fans that they might not like all of these offerings, or maybe it is an apology from him for so often veering a perfectly ordinary song into the land of the darkly weird:

"And all that music
I hate those lyrics
They stayed inside me too long
And I swear to you I never (wrote that song)."

Ah, but you did, Alice - and thanks for doing so.

The final song on the record is "My God", a religious anthem that does what a religious anthem should always do - regardless of the faith of the listener - it causes your heart to swell.

When I recently did a three disc compilation of Alice Cooper's best tracks, "My God" was the last song I cut - which I only did due to space considerations. I did it not fully realizing it was the last song I still had representing this album. Listening to this record again made me realize what a mistake that was. Ever does the 'best of' record curse us with its omissions - even when we choose the songs ourselves.

Don't omit this record as a result. If you don't think you like Alice, I expect it will pleasantly surprise you. If you do like Alice, it will do likewise.

Best tracks: Road Rats, You and Me, King of the Silver Screen, (No More) Love At Your Convenience, I Never Wrote Those Songs, My God.

CD Odyssey Disc 179: Steve Earle

In my last review, I noted how K-OS sang about getting back to the man he used to be.

Many an artist loses their way, and this record is the last entry of one of my favourite artists before he found his way back.

Disc 179 is...The Hard Way
Artist: Steve Earle

Year of Release: 1990

What’s Up With The Cover?: Steve is looking a little worse for wear, as he proudly shows off his tattoo. It is a skull and crossbones with "Fear No Evil" written below it. Above it is written, "Drive" or "Driven" or "Drink" or something similar - I can't quite make it out for sure.

How I Came To Know It: If you've been following along you'll recall I've known Steve Earle since his debut album in 1986. "The Hard Way" is just me drilling through his collection.

How It Stacks Up: I have fourteen Steve Earle albums. This isn't one of my favourites, but it holds its own. I'd say it is about 10th.

Rating: 3 stars but a thin hair from 4.

"The Hard Way" is Earle's last album while he was messed up on drugs and liquor. After this one, he didn't record anything for close to five years, where he stormed back with 1995's "Train A Comin'". Earle has commented in the past that he sank as low as he did because as messed up as he got, the ability to write music was the last thing lost, and he never felt like he hit rock bottom until it finally left him.

He's still got it on "The Hard Way", which has some strong writing, although not as consistently good as I've come to expect from Steve Earle.

Stylistically, it has a lot of the same rock and roll sensibilities as 1988's "Copperhead Road", the album that immediately preceded it. I'm not as keen on that direction of Earle's music, and so while "The Hard Way" has great songs, many of them would benefit from a more stripped down arrangement.

The record starts out strong with "The Other Kind". It's a rebellious song, but it is clear that Earle is beginning to regret this aspect of himself. It starts off:

"I woke up this morning and I took a look
around at all that I got.
These days I've been lookin' in the mirror and
wondering if that's me lookin' back or not."

While this song seems at least partly self-referential, my other favourite track, "Billy Austin" has Earle singing the tragic story of the title character, as he awaits execution on death row. The production here is perfectly suited - the singing so quiet as to almost be a whisper, accompanied by a single guitar.

As a character study, it is both understated and elegant, focusing on some basic details of Austin's life (he is quarter Cherokee, born in Oklahoma) and on the crime he has been sentenced to die for (killing a gas station attendant during a robbery).

Earle goes beyond telling the tale, and the song becomes an indictment of the death penalty - made more poignant because it is told with the simple language of its title character:

"Now my waitin's over
As the final hour drags by
I ain't about to tell you
That I don't deserve to die
But there's twenty-seven men here
Mostly black, brown and poor
Most of 'em are guilty
Who are you to say for sure?"

There are many other good tracks on this record - there's even a little CanCon with a song called "Justice In Ontario" that sounds like it was written by Gordon Lightfoot, but none stand out as strongly as "The Other Kind" and "Billy Austin". These two tracks once again showcase Earle's unnerring ability to make you appreciate the plight of the common man - whether its the fictional Billy Austin, or the singer himself.

Best tracks: The Other Kind, Billy Austin, Justice In Ontario, Have Mercy, Close Your Eyes.

CD Odyssey Disc 178: K-OS

Another day, another disc. This time, I found myself enjoying an album a little bit less with the passage of time, after being pretty impressed at first blush.

Disc 178 is...Joyful Rebellion
Artist: K-OS

Year of Release: 2004

What’s Up With The Cover?: The album's title on a yellow background. That's about it - very understated, as at one point K-OS was very much against self-promotion.

How I Came To Know It: I saw the videos for "Crabbuckit" and "B Boy Stance" on MuchMusic and liked the sound of it, so I bought this record.

How It Stacks Up: I have two K-OS albums. I had three, but his third record (Atlantis) was not very good, so I sold it.

Rating: 3 stars.

It is fitting that I should roll this album right now, when I am enjoying K'Naan's new album "Troubadour". K-OS is the K'Naan of five years ago. They are both hip hop guys from Canada, who like to rap about fairly innovative stuff, and have a good singing voice that goes beyond the phrasing and timing that defines most rap and hip hop artists.

As I noted in the teaser, when I first heard this album I was thrilled by it. It took hip hop in a positive direction, without sounding preachy. K-OS' message on "Joyful Rebellion" is to himself, but indirectly to all similar rappers. It is, don't take yourself too seriously, and don't let the music industry turn you into something you aren't. Always keep it about the music.

This is evident throughout, but I particularly like "Man I Used To Be" which starts out:

"Things I thought I'd never do - I did 'em"

From the top, K-OS admits he's already off the path he set for himself. In fact, I recall he used to say he'd make a record or two and then quit the music industry. Of course, we know he didn't do that after all, so the lyrics that follow: "Now I just got to get back to be/back to the man I used to be" are more than a little ironic with the passage of time.

This theme culminates near the end of the album with "Neutroniks", an exceptionally clever rap about how to bring the music back to the pure form in which it started. To reprint the lyrics without the rap wouldn't do them justice, but through the song he manages to rap about metabolic rates, impressionist paintings, Duke Ellington and Megatron. And he makes it all not only work, he makes the subject matter important and interesting.

Along the way, he samples Ray Charles' "Hit The Road, Jack" in "Crabbuckit" and James Brown's "Ain't It Funky Now" in "B Boy Stance", both to good effect. "Crabbuckit" also provides insightful social commentary, as K-OS shows how captured crabs could escape a bucket if only they would just stop pulling each other down as they reach for the top, and start working together.

Put all this together, and this album would be a solid four stars, but there are problems.

First, the album doesn't end with the amazing, "Neutroniks." Instead, we are 'treated' to three very average songs which cause the album to fade away when it could have gone out like a rocket. In particular, the ten minute plus, self-indulgent "Paper Cutz" rambles on and on, and has very little to say. Along the way it features strange voice effects that K-OS uses to make himself sound like a space baby, and also about two minutes of dead air. Don't even get me started with the spelling of the title. Know when to say when, Kevin.

Finally, this disc has annoying copy control technology on it that makes it difficult to upload to a portable device like my MP3 player. Even when you succeed, it has little cuts in the sound, so you can't listen to it properly. I have three of these songs uploaded to my PC right now (Sheila managed it somehow). When I put the disc in the PC disc drive to play it (I usually listen to a disc again while I review it) I was advised by windows I would "have to add files in order to play this CD." I can only imagine what kind of files and no, thank you.

I can understand artists protecting their work, and I am firmly in the camp of paying for the music I enjoy (hence this neverending CD Odyssey I'm in the middle of). That said, here's a situation where I bought this album to enjoy it, happily supporting the artist, only to find barriers in the way of me doing so.

Is that the kind of thing the man you used to be would go for, K-OS? Things you thought you wouldn't do - you did 'em. Minus one spirit point to an otherwise excellent record.

Best tracks: Man I Used To Be, B Boy Stance, The Love Song, Neutroniks.

CD Odyssey Disc 177: Cypress Hill

Another example today of an artist that just seems to draw the roll of the dice. I have five albums by these guys, and this is already my 4th review. Yet still...no...Blue Oyster Cult!

Disc 177 is...III: Temples of Boom
Artist: Cypress Hill

Year of Release: 1995

What’s Up With The Cover?: A lone robed figure walks a raised staircase toward an archway. Whither does this eldritch archway lead? It could be only one place - the Temple of Boom! As temples go, a temple of boom ranks pretty high on my list.

How I Came To Know It: Having written earlier about how I came to know Cypress Hill dating all the way back to Disc 57, I'll just say - via Spence, and buying "Temples of Boom" is just me logically drilling through the collection. This is their third album, and I bought it third. See - logical - like the terminator offing people named Sara Connors, only in this case no one dies (but they rap about it a lot).

How It Stacks Up: I have five Cypress Hill albums. I'd put this one middle of the pack - so third.

Rating: 3 stars.

I'm not sure what new there is to say about Cypress Hill. As I've mentioned before, they rap about three main topics; killin' folks, smokin' dope and killin' folks tryin' to steal your dope. They cover these topics thoroughly and well.

"Temples of Boom" is no exception, and this album lays down the usual themes with some surprisingly bluesy laid back beats to match them. This time around, I also noticed the hollow, fuzzy sound to their beats - like you're hearing it through a haze of some kind. I'm sure that metaphor would well-please the band.

This album also features the song "Illusions" which is not only a good rap song, but also delivers a great rap opening:

"Some people tell me that I need help
Some people should fuck off and go to hell."

Yeah - Cypress Hill aren't really big on the psychotherapy, I guess.

Anyway, other than this, I also enjoyed a nasty track of the 'killin' folks' variety called "Boom Biddy Bye Bye." It has a harsh rap depicting graphic violence, coupled with a very bluesy relaxed back beat. It is a strange, but effective pairing which is indicative of the vibe throughout the record.

I also enjoyed "No Rest For the Wicked" which is one of those famous rap battle songs of the nineties - this one aimed at Ice Cube. Best of all, neither Ice Cube nor Cypress Hill had to die over it - it is just a tough rap, which is how rap should be - no actual violence necessary.

There are quite a few good tracks, although Cypress Hill once again samples in little bits of dialogue before and after songs (but part of the tracks) which are a little distracting.

Best tracks: Throw Your Set In The Air, Illusions, Boom Biddy Bye Bye, No Rest For the Wicked, Let It Rain.

CD Odyssey Disc 176: U2

With the long weekend behind me, it was time to get back on the CD Odyssey horse. This particular album I almost finished listening to on Saturday, and consequently I got another almost full listen in today on the drive home.

This is a good thing, since I don't know it very well, and it let us get better acquainted.

Disc 176 is...War
Artist: U2

Year of Release: 1983

What’s Up With The Cover?: The boy from the "Boy" cover appears again - but now he's older and angrier. He looks like a nasty, maladjusted kid, but I think U2 is trying to convey what war does to the young. At least, that's my take.

How I Came To Know It: I have known a couple of songs on this album for a long time, as it was a big deal back when I was in junior high. I bought this album (as well as "Boy") because I had the greatest hits from 1980-1990 and I wanted to see what the studio albums were like from the period I didn't know very well.

How It Stacks Up: In addition to the greatest hits album (which doesn't really count) I have seven U2 albums. I'd put "War" in at #5. It isn't that I didn't like it, it is just that I liked the other 4 albums better.

Rating: 3 stars, but close to 4.

"War" is one of those early U2 albums that long standing U2 fans will always bring up when someone says how much they like "The Joshua Tree".

'The Joshua Tree is OK', they say, 'but War is the greatest U2 album ever made.' There are variations on this theme, and I think they date roughly from when the speaker got hooked on the band - it ranges from the first album, "Boy" all the way up to album following this one, "The Unforgettable Fire". The important thing is that your favourite is not "The Joshua Tree" or anything after it, if you want to be really cool. It's just like the Metallica "Black Album" thing, except without as much justification.

Personally, I have a hard time picking my favourite U2 album, but "War" isn't it.

That said, I like this album. It is in U2's early period, where they sang about inportant political topics - and more importantly, they did it well. The first three tracks, "Sunday Bloody Sunday", "Seconds" and "New Years Day" cover the subjects of Irish massacres in Northern Ireland, Nuclear War and the Solidarity movement in Poland. Two of the three became massive hits for the band (since they're massive hits, I don't need to tell you which two). The third isn't as strong, but it is a good song, and its only crime is being sandwiched between two rock classics.

Bono is at his best on "Sunday Bloody Sunday", a song about the bloody conflict in Northern Ireland. U2 avoids taking any side, and instead calls for peace amidst the carnage, with Bono singing:

"Broken bottles under children's feet
Bodies strewn across the dead-end street
But I won't heed the battle call
It puts my back up, puts my back up against the wall."

The rest of the album doesn't match this initial intensity. It isn't that the songs are particularly bad, but they don't stand out until the final track, "40", which is a real hidden gem on this record, akin to what "MLK" delivers at the end of "Unforgettable Fire". Beautifully understated, and spiritual without getting religion, "40" gave this album a nice positive sign-off after a lot of preceding tracks focused on the problems in society.

At times I was disappointed with the choice of instrumentation, and the production. For example, on "Red Light" trumpets make a bizarre appearance where trumpets are clearly not called for alongside equally weird and incongruous 'hammer hitting metal' clanks. There is an unpleasant drum machine sound to the percussion on many of the tracks. While whacky percussion and ill-used horn sections are a crime common to records from this period, it still must be pointed out that they detract from the album's gravitas.

Because of this, I couldn't give "War" 4 stars, even though songs like "Sunday Bloody Sunday" and "New Year's Day" are individually worthy of 5 stars. That said, it is a solid album, by a band that has proved itself many times over since.

Best tracks: Sunday Bloody Sunday, Seconds, New Years Day, 40

CD Odyssey Disc 175: Crash Test Dummies

Well, I didn't get 1994 like I expected with this review, but I was close - 1993!

Unfortunately, the excitement ends there.

Disc 175 is...God Shuffled His Feet
Artist: Crash Test Dummies

Year of Release: 1993

What’s Up With The Cover?: A famous painting has been altered so that the main figures are the band members. The painting in this case is "Bacchus and Ariadne" by Titian. As gods go, I am fond of Bacchus, although I prefer Dionysus. As Crash Test Dummies albums go - a different story entirely.

How I Came To Know It: I got into Crash Test Dummies at university in the early nineties, due to their hugely successful debut, "The Ghosts That Haunt Me". I bought "God Shuffled His Feet" when it came out because I loved the earlier album, and figured - how bad could it be?

How It Stacks Up: I have two Crash Test Dummies albums. I used to have three, but I sold "A Worm's Life" for a variety of reasons - all of them variations of "it seriously sucked". This album is a step up from that, but a far cry from "Ghosts That Haunt Me" so I'll say it is 2nd, but a distant second.

Rating: 2 stars.

Crash Test Dummies are one of those early nineties bands like Moxy Fruvous (and later The Arrogant Worms) that were pretty popular on campuses of their day. They generally didn't take themselves too seriously, while managing to sing about arty and interesting subjects.

"God Shuffled His Feet" is an annoying record for me - but not for the reasons I've just noted. I am fine with ironic English Lit humour (I soak in it for large parts of my day, in fact). I am angry at this record because it could've been so much more, given the promise and talent demonstrated on what came before it.

As my buddy Casey has often pointed out to me, a band has its whole life to do its first record, but only a year to do its second. "God Shuffled His Feet" came two years later, but the extra year didn't seem to add much value.

Musically, it is a step backward, with very choppy sounding melodies, that almost mock themselves. Self-depricating lyrics and wry humour work better when the melodies they're riding on don't suck. In fact, some of these songs have fairly interesting themes, often relating to the strange aspects of everyday life we can't explain.

In particular, the title track, "God Shuffled His Feet" which posits that once God created the world, he threw a picnic for everyone. Problem was that the people who showed up had a lot of questions for God like:

"Do you have to eat
Or get your hair cut in heaven?
And if your eye got poked out in this life
Would it be waiting up in heaven with your wife?"

God doesn't answer the questions, but instead 'shuffles his feet' and then tells a story about a boy who woke up one day with blue hair. I love that the picnic guests don't let this pass, and reply with:

"...I beg your pardon:
I'm not quire clear about what you just spoke -
Was that a parable, or a very subtle joke?"

The reply to which is more feet shuffling. This theme carries through the album; life has a lot of funny little experiences that are hard to explain, but we all need to just chill out and accept that odd stuff happens.

That could've worked, with better songwriting. Instead, it consistently left me wanting more, and often simply wanting to push fast forward (which you will know, dear reader, is strictly forbidden under Rule #3).

My other major beef with this record is the decision to take an aspect of this band that makes them unique - lead singer's Brad Roberts' gravelly bass voice - and overemphasizing it to the point of farce. On the earlier album, the voice blends nicely into the rest of the arrangement. Here, it is so dominant and overdone it becomes an affectation.

I saw the Crash Test Dummies live when they performed at the 1994 Commonwealth Games in Victoria - at an outdoor venue on the legislature lawn. They were, bar none, the worst live act I've ever seen. I would be tempted to blame the sound, since outdoor venues are notoriously difficult to set up, but I also saw Ashley MacIsaac and he flat out lit it up on the same stage.

In looking this album up, I was shocked to read that they've released six albums since this one, including as recently as May of this year. I've always had a soft spot for these guys, who so clearly want to bring thoughtful music to pop. I sincerely hope they pulled out of their mini-slump, but listening to "God Shuffled His Feet" doesn't encourage me to find out.

Final verdict - there's enough here not to sell this record, but it was a close call.

Best tracks: God Shuffled His Feet, How Does a Duck Know?, When I Go Out With Artists

CD Odyssey Disc 174: Budgie

In the last three reviews I've had music from 1984, 2004 and now 1974. Could 1994 be next?

Anyway, this week is a band I've been dying to review, since I seriously starting listening to them late last year. If I wax poetic, my apologies - love is so ardent when it is freshly blooming.

Disc 174 is...In For The Kill
Artist: Budgie

Year of Release: 1974

What’s Up With The Cover?: As always, Budgie does a great album cover. This is probably my least favourite, but I still like it. A hunting hawk lands on a glove. It is very Discovery Channel meets Spinal Tap.

How I Came To Know It: Full credit to my buddy Spence, who introduced me to Budgie through their monster track, "Homicidal Suicidal" a number of years ago (n.b. not on this record). "In For the Kill" is me drilling through their collection, having discovered they've remastered all their records.

How It Stacks Up: I have four of Budgie's albums at this point (more to come, but they cost $30 each, so I'm taking it slow). All four are pretty close for me, but I'll say this one is 2nd or 3rd.

Rating: 4 stars

Budgie is a great seventies hard rock/proto-metal band that I am overjoyed to discover so many years after they recorded. This particular album is their fourth studio effort, and the first one with a new drummer (Pete Boot). The old drummer, Ray Phillips, left over 'creative differences', as opposed to the usual method drummers leave a band (i.e. they explode).

Their sound is a cross between seventies Rush and Led Zeppelin. The similarities with Rush are particularly astounding. They are a three piece, where the lead singer is a dorky looking bass player with long wavy hair and a high pitched voice.

The Geddy Lee in Budgie is frontman Burke Shelley - he could be Geddy's long lost English twin. Here he is with fellow band mates John Lithgow and 'Booger':
(n.b. - band member names may not be 100% accurate).

Also like Rush, they will often lay down a very cool riff, but midway through the song decide they have grown tired of it, and switch it up entirely. Sometimes they return to the old riff, but not always. They also love super long tracks: "In For The Kill" features four songs over six minutes and two over nine minutes.

All the tracks are great, but my favourite is "Zoom Club"; one of the nine minute opuses. It has a crushing guitar riff, and furious drum sequences. The liner notes indicate it was written about a club in Germany popular with American G.I.s (The Zoom Club). Budgie was a favourite act in the club, and they wrote a song in its honour. Whatever it is about, it is about rocking hard.

Budgie is also known for long, bizarre song titles. Ordinarily I am against overlong song titles, but not when they are this good. "In For The Kill" features a song titled "Crash Course in Brain Surgery." The title is awesome and even though it is a paltry 2:39, the song measures up.

"In For The Kill" is one of Budgie's hardest driving albums, and even the quieter songs (they may be the original balladeers of the proto-metal movement) are a bit edgier than usual.

The only negative on this album is something common to all the Budgie remasters I have, and that is the old problem of adding pointless bonus tracks. Budgie remasters are possibly the worst for the choices made. This album has seven original album songs, and four bonus tracks. All the bonus tracks are simply different versions ('2003 version', 'radio edit version') of the songs that you've already heard. "Zoom Club" makes three separate appearances. It is a great song, but if I want to hear it again, I'll play the original again.

Budgie is a kick ass hard rocking band not afraid to be innovative and do their own thing. The price of such individualism may be that most people have never heard of them, but that's an injustice I'm working hard to correct.

Best tracks: In For The Kill, Crash Course in Brain Surgery, Zoom Club, Living On Your Own.