All it takes is 3 chords and a dream!
Showing posts with label Lawrence Gowan. Show all posts
Showing posts with label Lawrence Gowan. Show all posts

Saturday, August 11, 2012

The Venetian - I Wanna Tell You A Story

The Venetian – I Wanna Tell You A Story
2011, The Venetian
The Venetian isn’t so much a band as a force majeure.  Digging into the band’s past leads to more questions than answers.  Somewhere out there is a singer/songwriter who delights in blending the early roots of music and opera with the raw blend of rock and roll.  He is The Venetian, and his album is called I Wanna Tell You A Story.
I Wanna Tell You A Story is one of the more unusual rock operas you’ll come across.    Songs alternative between traditional Italian croon-tunes sung in Italian to forthright rock and roll sung in English.  The Italian tracks are titled as consecutively numbers Acts (“Act I”, “Act II”, etc.), while the rock and roll tracks are more descriptively named.   The tracks in Italian are well-crafted and well-sung, but I can’t comment on the lyrical content.  The rock and roll tracks represent a baroque-rock tragedy that follows the relationship of a boy with his father throughout the years of his life.
Dad is a musician, the son doesn’t understand at first why his father is gone all the time.  The Venetian takes us through the gamut of complicated emotions throughout I Wanna Tell You A Story, from the loneliness of a child who needs his dad, to the impact it has on life decisions, and to ultimate understanding as he, himself, becomes a musician.  In the end, the special bond that father and son share is through music.  They are forever connected in melody and rhyme, even if they are (meta)-physically distant in the end.
The primary rock and roll influence on the album appears to be Queen.  Particularly on tracks such as “Goodbye” and “I Wanna Tell You The Story”.  The latter even references the classic Queen track “The Seven Seas of Rhye”, in case you didn’t get the sonic similarities.  As a vocalist, the closest match you’ll find for The Venetian’s distinctive sound is Lawrence Gowan (Gowan, Styx). 
From a songwriting experience, I Wanna Tell You A Story is very much up and down.  “Goodbye” and “Dancing Angel” are tremendously vibrant rock and roll numbers while exploring disparate timbres and sounds.  The mischievous rock waltz instrumental “Soft Snow” is brilliant, sounding as if it were inspired by the Gypsy violin style of Stephane Grappelli.  “Lullaby” is the closer; where all of the son’s struggles for understanding finally resolve in a song in which he reaches out and touches the soul of his father.  It’s a wonderfully uplifting moment both in poetry and song, and draws the entire experience e together.  “My Black Cat” is also a treat, bringing a slinky, cool jazz feel to the proceedings.
I Wanna Tell You A Story has its less than exciting moments as well, particularly the middle of the road material such as “My Good Friend” and “Sometimes”, and the cheesy cliché of “My Sweet Italian Pie”. 
I Wanna Tell You A Story works very well as an early concept album for a one day rock and roll musical.  The songs are generally well-written and there is a narrative flow here that is impressive.  A true work up of this production would likely result in a couple of the songs currently here being either dropped or seriously re-worked, but as a whole the work has great potential.  The Venetian is a strong vocalist who does very well within his comfortable range.  The songs that require falsetto don’t always go as well, but he makes a fair effort.
Rating: 3.5 Stars (Out of 5)

Tuesday, January 31, 2012

Styx - The Grand Illusion/Pieces of Eight: Live


Styx – The Grand Illusion/Pieces Of Eight: Live
2012, Eagle Rock Entertainment
From 1977 to 1981 there wasn’t a bigger name in American Rock N Roll than Styx.  The first group to ever score four consecutive multi-platinum albums, Styx dominated AOR and pop radio, and tour box offices, like few others up until their first breakup in 1984.  Times change, and musical styles move on.  Styx has never recaptured the commercial success they had in their prime, and the revolving door of band members and side projects since the band’s reunion in 1996 has made for a sound that is dynamic but altered from the signature sound of the band’s heyday.  In 2011, Styx put on a short concert tour that included complete live renditions of the band’s classic albums The Grand Illusion and Pieces Of Eight.  That tour is memorialized now on DVD, Blue-Ray, and combined DVD and 2-CD set. 

The Grand Illusion/Pieces Of Eight: Live is a visually stunning and musically surprising performance.  Some of Styx’ greatest hits were featured on these two albums, including “The Grand Illusion”, “Fooling Yourself”, “Miss America”, “Come Sail Away”, “Blue Collar Man” and “Renegade”.  While the vocal mix has changed over the years, and Lawrence Gowan will never quite replace the voice of Dennis DeYoung, Styx managed to capture the same zeitgeist that made them the kings of Arena Rock for close to a decade.  The video presentation and audio quality are perfect, and Styx is entirely on their game on-stage.

The more things change, the more they stay the same.  Styx continues to be one of the highest grossing live acts in the U.S., and it’s easy to see why on The Grand Illusion/Pieces Of Eight: Live.  So while lesser acts are ensconced in the Rock N Roll Hall of Jann Wenner’s album collection in Cleveland, true Icons of rock music such as Styx continue to do what they do best:  Rock and roll.

Rating: 4 Stars (Out of 5)

Learn more about Styx at www.styxworld.com. 

   DVD/2-CD               BluRay                      DVD


Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Thursday, October 6, 2011

Styx - Regeneration: Volume I & II


Styx – Regeneration: Volume I & II
2011, Eagle

Like many classic rock bands subject to the avarice of labels who own the rights to their songs, Styx has seen a number of re-releases and repackages of their material over the years.  Since 2007 there have been no less than nine greatest hits/best of packages released in various countries around the world.  Not too shabby for a band that apparently can’t even get a grudging nod of respect from the folks at Rolling St…  I mean the Rock and Roll Hall of Fame.   Styx is back with another re-package of old hits, but this time it’s a bit more intriguing.  Regeneration: Volume I & II offers 15 new recordings of classic Styx songs, plus one new track.
Styx released Volume I and Volume II separately over the past year and a half, with the intent that the albums would be sold only at shows and on-line through the band’s fan club.  The secondary demand for the discs proved significant, however, and Eagle Records has packaged both albums in one set.  You can see our prior review of Regeneration: Volume I here.  Volume II runs in the same vein, with old Styx favorites getting new life from the current lineup.  Like Volume I, Volume II has a raw-but-polished quality, similar to a professionally produced live album.  Styx strives to capture the sound you hear in concert today on record rather than re-create the originals note-for-note.  The result is an exciting update to material that still seems vibrant even (in some cases) thirty-five years later. 
The band revives such hits as “Blue Collar Man”, “Renegade”, “Miss America”, “Snowblind” and “Too Much Time On My Hands”, with Tommy Shaw and James Young belting out classic vocal lines.  In the process, Styx digs out a wonderful gem in “Queen Of Spades”.  Lawrence Gowan does a great job with this classic album cut, even if it doesn’t have quite have the dramatic sense of the original.  Styx also gives life to two cuts Tommy Shaw performed with side project Damn Yankees (Shaw, Jack Blades, Ted Nugent & Michael Cartellone).  “High Enough” and “Coming Of Age” always sounded like Styx songs and work very well in the context of the current lineup of the band.
Yes, there was much complaining on-line and in fan enclaves when Styx started releasing the Regeneration projects.  Fans who will never forgive the band for the departure of Dennis DeYoung scalded the remaining members for carrying on without him, but this is what bands do, like it or not.  Regeneration: Volume I & II isn’t about excising a former band member, it’s about putting Styx in a position to make a living off their own work, rather than having all of the licensing opportunities fall into the lap of a dying major label architecture more interested in profiting off its catalogue than actually building up artists for the future.  Regeneration: Volume I & II gives more than fair value; classic songs with an updated sound that’s as fresh and vibrant today as ever.
Rating:  4 Stars (Out of 5)
Learn more about Styx at www.styxworld.com. 
           CD                       Download
    iTunes.
Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Tuesday, August 9, 2011

Jonathan Tiersten & Ten Tiers - We'll See

Jonathan Tiersten And Ten Tiers - We'll See
2011, Edward Records

Jonathan Tiersten seemed destined for an acting career as a child.  While he studied French Horn and guitar in his teens, Tiersten found his name in lights first in the role of Ricky Thomas in Robert Hilzik's film Sleepaway Camp.  Going on to study at New York City's Circle In The Square Theater, Tiersten went on to appear in the ABC After School Special Seasonal Differences, as well as the NBC soap Another World.  All the while, however, Tiersten was prowling the Greenwich Village music scene, gaining some notoriety as one half of the acoustic duo Magic Box.  In 1991, however, Tiersten left New York City for Colorado.  After a few side steps career-wise, Tiersten re-dedicated himself to music.  By the end of the first decade of the third millennium, Tiersten was busy.  He'd reprised his role as Thomas in Return To Sleepaway Camp, and also appeared in the Indie Flicks Redemption and The Perfect House.  Tiersten continues to make music as well.  His latest effort is a five-track EP entitled We'll See.

Tiersten opens with "In The Air", displaying a big rock sound built on minor key harmonies.  The chorus is fetching and dark, and virally catchy.  Tiersten blends pop and modern rock tendencies to create an off-beat but potentially commercial sound.  Tiersten is very solid vocally, sounding more than a little bit like Lawrence Gowan (Gowan, Styx).  "Vertigo" is a big rock anthem featuring a harmony-filled chorus you won't be able to get out of your head.  The song is about feeling lost and unable to find balance, and the inability to help others when you can't even help yourself.  "Theodore" is a piano-driven ballad about a latch key kid who is waiting for his mom to get home so he can sing to her.  The song is a bit obtuse in meaning and bland in sound, but grows on you with successive listens.  "Black Rain" is a simple folk/rocker with an appealing melody; a solid album track.  Tiersten closes with "Sancta Caecelia", starting with a classical-style guitar intro that morphs into a dark progressive rock number full of intrigue.  Tiersten's dark composition and exploration of spiritual themes is a dynamic juxtaposition, creating and diverting tension in an artistic and musical flurry you have to hear to believe.

So let the renaissance begin.  Jonathan Tiersten And Tiers play like rock n roll bards, uninhibited by a specific style or genre.  They write and play and tell stories that make you think, entertain you, and yes, occasionally leave you wondering what was that all about?  Either way the entertainment factor is high, and Tiersten is a surprising competent writer and vocalist.  We'll See is definitely worth spending some time on.

Rating: 4 Stars (Out of 5)

Learn more about Jonathan Tiersten and Ten Tiers at www.jonathantiersten.com or www.myspace.com/tentiers.  We'll See is available digitally from Amazon.com or iTunes.


Wednesday, September 16, 2009

Review: Vangough - Manikin Parade

Vangough - Manikin Parade
2009, Clay Withrow


Who needs a sword when you carry an axe? Vangough front man Clay Withrow carries both on the band's debut CD, Manikin Parade, released in April of 2009. Pointed lyrics that cut to the heart are interwoven into a rock and roll matrix filled with heavy guitar, Progressive songwriting and a keyboard style that brings to mind Prog masters Styx, Yes and Genesis. Fans of Dream Theater and Styx will love the theatrical style Vangough projects through their music, and generations can come together over a mix of Classic and Modern Rock that does honor to both. Vangough is Withrow (vox, guitar); Brandon Lopez (drums); Abe Hartley (keys) and Carlton Dorsey (bass, cello, violin).

Manikin Parade kicks off with the Progressive Rock love fest Estranger. Vangough channels Dream Theater, Queen and Styx here. Using a 2-vocalist approach (one of who sounds more than a bit like Tommy Shaw) works incredibly well here, and the song construction is out of this world. There are no tricks here, Vangough has simply let the song develop as it might without trying to restrict it to a tight ABACAB format. The song rocks and yet has a very lyric flow from beginning to end that makes it a highly intriguing listen. Both vocalists are exceptional and Vangough could not have chosen a better opener. Manikin Parade berates the dumbing down of a society that prefers reality television to reality and tweets to conversation in a guitar-driven anthem reminiscent of Queensryche in their Empire days. Christmas Scars drives this point home, focusing on our obsession and glorification of celebrity. What begins as heavy, driven tune with growling vocals trends to a more serene state, passing through rap/vocals and the occasional return to percussive musicality along the way.

Disorder Quotient is a stark examination of both sides of the issue of abuse by priests in the Catholic Church; both the priests' and victims' perspectives are represented in surprisingly even-handed fashion, almost seeming to imply that both are victims of a larger entity (the Church itself, God?). Either way, the song is serious sociopolitical commentary wrapped inside of a dynamic Prog shell. Not wanting to leave anyone out, Vangough turns their eyes to the vaunted gates of Scientology on Paradise For The Lost, essentially calling it out as a business enterprise that sells salvation one course at a time. If possible, there seems to be more anger in Paradise For The Lost than in Disorder Quotient, pulling no punches ("Fail to see his hateful greed / like a church of fools we follow the rules"). Paradise Of The Lost is part one of a three song cycle called The Twilight. Part Two is Gabriel; looking at what can happen to a person when all else (hope, faith, love, self-interest) fails. The song exhorts the subject to move out of the darkness by letting go all these expectations and give in to the magic that is life.

Dance Of The Summer Mind is a nearly six-minute instrumental interlude, primarily of piano and acoustic guitar. It is a beautiful composition that never really soars but continually presses at the sky and serves as a lead-in for One Dark Birthday; focusing on self-exclusion and sorrow. The protagonist here is from all around him by his own choices but doesn't know how to reconnect to the world. Part Three of Twilight is the epic musical odyssey called Etude Of Sorrow. Etude Of Sorrow opens as one of the more straightforward songs on the album, but diverges into what sounds like a convoluted diatribe against God. The narrator turns his back on God because of all he's lost. This is followed by Halcyon Days, which appears to be a song commemorating passing the veil of death. Vangough closes the set with The Cosmic Bus Stop, a highly dramatic representation of what might be waiting after death.

I have to admit that I had a hard time connecting to the subject matter here; I was never 100% certain how much of Manikin Parade is tongue-in-cheek and how much is meant as direct social commentary (or perhaps a smidgen of both). What is clear is that Manikin Parade is a disturbing album full of grand musical compositions, devastating themes and intensely virtuosic musicianship. I may not like all Vangough has to say, but I certainly like the way they say it on Manikin Parade. Think of it as Faust done over for our modern age.

Rating: 4 Stars (Out of 5)

You can learn more about Vangough at www.myspace.com/officialvangough. You can purchase Manikin Parade as either a CD or download via CDBaby.com.

Sunday, February 22, 2009

Review: Spygirl - Pieces Of Evidence


Spygirl – Pieces Of Evidence
2008, Spygirl Music


Vancouver’s Spygirl took eight long years to release their second disc. Their self-titled debut hit shelves in 2000. The band went through some changes over the years, but re-engaged with producer Tom Rothrock (Beck, Badly Drawn Boy, Sloan, Elliott Smith, James Blunt) to release 2008’s Pieces Of Evidence. Born of a longtime collaboration between vocalist Koralee Tonack and multi-instrumentalist Jane Gowan (no idea if she’s related to Styx’ Lawrence Gowan), Spygirl started out as Time Waits. The band is a collection of incredibly talented musicians, and Tonack’s voice is amazing.

Pieces Of Evidence opens with Come Out To Play, a down-tempo song about coming out of your shell and letting go of your fears, yet it sounds mired in a deep melancholy. Where Did Those Stars Come From has an almost ethereal, Mazzy Starr quality to it. Feeling Fine is ambivalence personified; a self-affirmation that is without real energy or life. The vocals and harmonies here are gorgeous, but the energy just isn’t there. Feeling Fine is, unfortunately, a microcosm of Pieces Of Evidence. Well constructed songs fed by pretty harmonies, a lead vocalist with a great voice, and little or no energy to drive it. Mellow and ethereal music are fine, but even mellow music has life and vitality to it. Spygirl comes across as a very talented outfit that just isn’t challenged by or interested in what they are playing. This is unfortunate because there are some wonderful elements here. And Spygirl even tries to make a late save with Be Lost and Weight Of The World, but it’s too little too late to hold on to the listener. The final track, Dust, is a reserved story song where Koralee Tonack really comes to life on vocals. It’s really a worthwhile performance, but most listeners won’t stick around that long.

Rating: 2 Stars (Out of 5)

You can learn more about Spygirl at http://www.spygirlmusic.com/ or www.myspace.com/spygirlspygirl. You can purchase a copy of Pieces Of Evidence at MapleMusic.com or as a download through iTunes.

Thursday, February 5, 2009

Review: Cush + The Intelligent Designers - Happy Accidents


Cush + The Intelligent Designers
2008, OtherWorld Distractions


It’s time to introduce you to Cush. You’ve met Cush before even if you don’t remember or recognize him. And no, he’s not the first round draft pick Bob Sugar stole from Jerry Maguire. Cush carries with him a significant musical history. From his early days as founder of cult favorite The Wigs to his stint as a member of Interscope’s Fisher, Vush has shared the stage with artists such as Sarah McLachlan, Sinead O’Connor, Bon Jovi and David Grey. Cush also contributed backing vocals to Ringo Starr’s Vertical Man album alongside the likes of Sir Paul McCartney, Steven Tyler, Joe Walsh and Daniel Lanois (to name a few). Younger fans may know Cush’s voice as the one behind the “Mighty Morphin Power Rangers” theme songs, but he’s contributed material to soundtracks such as Dawson’s Creek, Melrose Place, 7th Heaven, Great Expectations and Cradle 2 The Grave. Cush’s latest project, with The Intelligent Designers, Happy Accidents, features fine Brit-Pop inspired Rock N Roll that will have fans of all generations buzzing.

Happy Accidents opens with the funk-laden Little Black Dress. Little Black Dress is the song that might have occurred if Lennon/McCartney had ever sat down with Jagger/Richards to pen a song together. Won’t Let It Rain has a definite Beatles vibe in a sonically gorgeous arrangement that makes the best use of harmonies and a soaring chorus. Sorry I Ruined Your Life brings some punk energy into the mix. This is the catchiest tune on the album and its absolutely unforgettable. You’ll be humming this one for days.

Sweet Doomed Angel starts out on a dark but hooky note and turns into a wonderful pop confection with Beach Boys style harmonies and a big chorus. Beautiful Something is a sweet waltz looking at loves lost. Happy Accidents closes out with The Way You Need and the surprising Dreaming (Black) In White. Cush recasts DeBussey’s Claire De Lune as a gothic pop ballad. I have to admit that Claire De Lune is probably my favorite classical composition, and hearing it in this fashion was a bit disturbing on first listen, but Cush + The Intelligent Designers make excellent use of the classic in a way that enhances it without detracting from the original.

Cush’s voice is familiar right from the outset of Happy Accidents. There are shades of Beatles past and present in there, but who he sounds most like is Styx’ Lawrence Gowan. This becomes most evident on Dreaming (Black) In White, but once you’ve identified the connection you’ll recognize it in every song here. Happy Accidents is an inspired album full of solidly original compositions based in familiar musical landscapes. Cush + The Intelligent Designers have enough pop gold running through their musical veins to really make something of this, and enough rough edges to make them interesting to listen to. Happy Accidents is a keeper.

Rating: 4 Stars (Out of 5)

You can learn more about Cush + The Intelligent Designers at www.myspace.com/cushla. Copies of Happy Accidents are available from www.cdbaby.com/cd/cushatid.

Be sure to check out Cush’s podcast, Cush: Things I Say at http://www.cushrocks.com/.