Saturday, March 28, 2009
Friday, March 27, 2009
Tuesday, March 10, 2009
"Hit the Lights"
How incredible would it be to hear "Hit the Lights" back in 1982? The first ever Metal Massacre album, a sampler of unknown bands compiled by Metal Blade records, featured Steeler, Pandemonium, Mallice, then-unknown Ratt and several other long-forgotten bands that strove to stand out in the dawn of American metal's breakthrough. As with most record label promo compilations, it's a pretty boring album that could barely qualify as a free handout. Until a smattering of heavily distorted picking introduced the album's last song.
The drummer struggled keep time, the singers were too intimidated by the NWOBHM to try sounding like anything else, and it all sounded like it was recorded in a closet that was caving in on the band. It was as raw as anything the Stooges ever released, faster than any Motörhead and heavier than anything by Iron Maiden. World, meet Metallica.
Long before they had a worldly and introspective view, Metallica wrote about what they knew best--playing faster and louder than anyone else. "We're going to kick some ass tonight," barks James Hetfield in the first verse, introducing his band with perhaps the most understated comment ever on a Metallica record. Barely through their teens, Metallica sounded like they would self-destruct by the end of the tape. They almost did--a violent altercation between guitarist Dave Mustaine and bassist Ron McGovney led to McGovney's exit, and Mustaine's alcoholism led to his firing shortly after "Hit the Lights" was recorded. Overcoming the most drastic lineup change in their career, Metallica recruited Exodus guitarist Kirk Hammett and future bass icon Cliff Burton for the version of "Hit the Lights" that would open their first album.
In answer to my first question--it was probably as amazing as it is to hear it today.
The drummer struggled keep time, the singers were too intimidated by the NWOBHM to try sounding like anything else, and it all sounded like it was recorded in a closet that was caving in on the band. It was as raw as anything the Stooges ever released, faster than any Motörhead and heavier than anything by Iron Maiden. World, meet Metallica.
Long before they had a worldly and introspective view, Metallica wrote about what they knew best--playing faster and louder than anyone else. "We're going to kick some ass tonight," barks James Hetfield in the first verse, introducing his band with perhaps the most understated comment ever on a Metallica record. Barely through their teens, Metallica sounded like they would self-destruct by the end of the tape. They almost did--a violent altercation between guitarist Dave Mustaine and bassist Ron McGovney led to McGovney's exit, and Mustaine's alcoholism led to his firing shortly after "Hit the Lights" was recorded. Overcoming the most drastic lineup change in their career, Metallica recruited Exodus guitarist Kirk Hammett and future bass icon Cliff Burton for the version of "Hit the Lights" that would open their first album.
In answer to my first question--it was probably as amazing as it is to hear it today.
Thursday, March 5, 2009
Sunday, March 1, 2009
Faith No More
Whether or not Faith No More's just-announced upcoming tour actually hits America, the thought of one of the weirdest, catchiest and most innovative metal bands in history getting back together has me howling at the moon. Here's a brief playlist for us non-Europeans, while we refresh Blabbermouth every five minutes awaiting news of more tour dates.
"Falling to Pieces" (from The Real Thing)
Even after I had picked up The Real Thing and Album of the Year, my middle-school self was certain that Faith No More had three guys singing for them. Listen to "Falling to Pieces" and see if you can blame me, but be sure to also watch the video, which is perhaps the pinnacle of '80s music video special effects. "Epic" was the far bigger hit, but "Falling to Pieces" has a stronger melody and a more idiosyncratic sound. Although in hindsight, it's strangely basic for something with Mike Patton's name on it.
"A Small Victory" (from Angel Dust)
Far too eccentric for the audience that "Epic" brought them, FNM followed up with their masterpiece, Angel Dust, and head-scratchers like "A Small Victory." Any one of this song's elements--Roddy Bottum's ascending keyboard line, Patton's soaring vocals and Michael Jackson whoops, the hip-hop-flavored breakdown--could probably have made this a hit, but the band preferred to blend them all into something that sounds like an early '90s pop dream gone horribly awry. Or an avant-metal must-hear. Be sure to check out their MTV performance of this song, which proves too much for the VJ.
"Midlife Crisis" (from Angel Dust)
As with many iconoclasts, Faith No More are probably most unsettling at their accessible and straight-forward moments. The furthest they got in that area was probably their cover of the Commodores' "Easy," but the original "Midlife Crisis" is up there. Mike Patton has stated that he's more concerned with the sounds of the words he sings than his actual lyrical content, but this is a relatively candid song. "Midlife Crisis" sounds like it's building up to something abrasive, but it ends with the hook and bridge blending into an almost pretty crescendo.
"Everything's Ruined" (from Angel Dust)
A tuneful, almost danceable Angel Dust highlight that's unfortunately remembered for possibly the worst dance moves and use of a blue screen in music video history. And yet, it's more watchable than most good music videos, few of which have such awesome soundtracks.
"Epic" (from The Real Thing)
The one song from Mike Patton's illustrious, unwieldy career that everybody knows. Rapping over a hard rock riff may not be as groundbreaking as it was 20 years ago, but I defy you to find someone who can match Mike Patton's howls and Jim Martin's chugging, modestly-titled composition. Allegedly the video's starring goldfish belonged to Björk.
"Falling to Pieces" (from The Real Thing)
Even after I had picked up The Real Thing and Album of the Year, my middle-school self was certain that Faith No More had three guys singing for them. Listen to "Falling to Pieces" and see if you can blame me, but be sure to also watch the video, which is perhaps the pinnacle of '80s music video special effects. "Epic" was the far bigger hit, but "Falling to Pieces" has a stronger melody and a more idiosyncratic sound. Although in hindsight, it's strangely basic for something with Mike Patton's name on it.
"A Small Victory" (from Angel Dust)
Far too eccentric for the audience that "Epic" brought them, FNM followed up with their masterpiece, Angel Dust, and head-scratchers like "A Small Victory." Any one of this song's elements--Roddy Bottum's ascending keyboard line, Patton's soaring vocals and Michael Jackson whoops, the hip-hop-flavored breakdown--could probably have made this a hit, but the band preferred to blend them all into something that sounds like an early '90s pop dream gone horribly awry. Or an avant-metal must-hear. Be sure to check out their MTV performance of this song, which proves too much for the VJ.
"Midlife Crisis" (from Angel Dust)
As with many iconoclasts, Faith No More are probably most unsettling at their accessible and straight-forward moments. The furthest they got in that area was probably their cover of the Commodores' "Easy," but the original "Midlife Crisis" is up there. Mike Patton has stated that he's more concerned with the sounds of the words he sings than his actual lyrical content, but this is a relatively candid song. "Midlife Crisis" sounds like it's building up to something abrasive, but it ends with the hook and bridge blending into an almost pretty crescendo.
"Everything's Ruined" (from Angel Dust)
A tuneful, almost danceable Angel Dust highlight that's unfortunately remembered for possibly the worst dance moves and use of a blue screen in music video history. And yet, it's more watchable than most good music videos, few of which have such awesome soundtracks.
"Epic" (from The Real Thing)
The one song from Mike Patton's illustrious, unwieldy career that everybody knows. Rapping over a hard rock riff may not be as groundbreaking as it was 20 years ago, but I defy you to find someone who can match Mike Patton's howls and Jim Martin's chugging, modestly-titled composition. Allegedly the video's starring goldfish belonged to Björk.
"Memories Can't Wait"
David Byrne just played a terrific show in NYC. His tremendous influence on music and performance doesn't extend too far into hard rock and metal, although his use of two drummers and self-declared Alice Cooper fandom definitely warrant a few headbangs. Still, Byrne's strongest contribution to the metal world may be Living Colour's cover of his Talking Heads song "Memories Can't Wait."
Were any hard rock band to cover Talking Heads, Living Colour has the funk rhythms and diverse musicianship and rhythms to pull it off. Guitar maestro Vernon Reid and drum god Will Calhoun give Byrne's tune a shellacking, but they still can't match the original's bite. Perhaps a frantic, noisy and chaotic song sounds more dangerous when it comes from a band that's famous for "Once in a Lifetime" and not "Cult of Personality." Still, when one great band covers another, it's more than adequate for the new rendition to add a a distinct flavor (in LC's case, a hard rock edge) while maintaining the original's merits. Both versions are worthy of your ears.
Were any hard rock band to cover Talking Heads, Living Colour has the funk rhythms and diverse musicianship and rhythms to pull it off. Guitar maestro Vernon Reid and drum god Will Calhoun give Byrne's tune a shellacking, but they still can't match the original's bite. Perhaps a frantic, noisy and chaotic song sounds more dangerous when it comes from a band that's famous for "Once in a Lifetime" and not "Cult of Personality." Still, when one great band covers another, it's more than adequate for the new rendition to add a a distinct flavor (in LC's case, a hard rock edge) while maintaining the original's merits. Both versions are worthy of your ears.
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