Going Back to Roseland in Style

Dennis DeYoung - 26 East, Volume I

2020, Frontiers Records    

During the late 1970's and early 1980's there weren't many bands who could keep up with Styx.  From 1977 to 1980 Styx released four consecutive multi-platinum albums (The Grand Illusion, Pieces of Eight, Cornerstone and Paradise Theatre.)  Styx was a mix of musical contradictions and complements that worked, in large part, due to the vision of Dennis DeYoung.  Forty years later, and 20+ years since DeYoung was pushed out of the band, Dennis remains the heart and soul of Styx to many fans.  His shows recreate the past for Styx fans 150 nights per year (or did pre-Coronavirus), and do so with an energy and vocal intensity that few 73 year old could match.

DeYoung thought he had hung up his spikes for new material under old friend Jim Peterik (Survivor, Ides of March, Pride of Lions) pulled him back in from the recording pasture.  Working together, DeYoung and Peterik wrote close to 20 songs.  One, "Proof of Heaven", appeared on Peterik's 2019 album Winds of Change.  DeYoung was just getting started, however, and dropped 26 East, Volume I in late May.  It mixes the best of Styx' rock sound with classic DeYoung ballads and wonderfully tongue-in-chic rock/pop.  

The album opens with "East of Midnight", a Jim Peterik tune enhanced with some classic DeYoung keyboard work.  The song fits nicely with DeYoung's looking back to look forward concept album, and sounds like a classic Styx tune.  "With All Due Respect" unleashes DeYoung's dad-humor style of the cognoscenti of television's talking head class in an irresistibly danceable rocker.  The chorus, "with all due respect, you are an asshole..." rings true with most people regardless of your thoughts on current events.  "Run For The Roses" and "Damn That Dream" take altering looks at the pursuit of success; the former a Pilate-like soliloquy on what really matters, the latter a paean to siren call of the life of a creative.  These two songs perhaps perfectly capture the tension that has driven DeYoung all of his (now eight) decades.  Longtime fans will appreciate DeYoung's ode to the American dream, "The Promise of This Land", calling for all Americans to work together to ensure the dream remains alive for all. 

The magic moment that seems to have inspired DeYoung to undertake this recording is the duet with Julian Lennon on "To The Good Old Days".  The song was written as an ode to his musical roots and where be began, and the inclusion of Lennon brings it full circle.  Musically this is the biggest surprise on the album; the song doesn't have the same tenor as the rest of the album, and I suppose that's the point.  It's well written, but will probably be hit or miss depending on what fans are looking for.  The album wraps with A.D. 2020, an ode to Paradise Past.  Get out the tissues, it's an appropriate ending to a brilliant career.

Except it's not the end.

26 East, Volume II has seven songs in the can with two to be recorded.  If Volume I is any indication, Dennis DeYoung still has plenty of gas in the tank.

Rating: 4 Stars (Out of 5)

War Poets - Searching For The American Dream

War Poets – Searching for the American Dream
2015, War Poets

Minnesota rockers War Poets have been busy in the last year.  Their most recent release, Searching for the American Dream, is the third in a cycle of three EPs the band has released in the past nine months.  The cycle is a series of rock and roll meditations on issues faced in modern American, as seen through the politically jaded eyes of the Occupy movement.  Searching for the American Dream is the cycle’s culmination, referencing issues of incarceration; income inequality; respect for prostitutes; and revolution.

The EP opens with “Day Dream”, a compact little rocker with smooth edges.  The song is mildly catchy and will appeal to fans of classic rock.  The lyrical content is awkward but consistent with issues addressed in the television show American Crime.  “Shadows” is a clumsy humanistic take on redemption.  It’s a great listen musically, but the disconnect between sound and lyric may be tough to take.  “On My Own” is a classic rock biograph of a homeless man who experienced child abuse; ran away and grew up on his own.  The song is well written, and the sound references Pink Floyd or perhaps post-DeYoung Styx.

“Sarah” is a song of affection for a prostitute that looks to remove the stigma of the world’s oldest profession.  It also works as an atypical love song if you’re not listening to the words too closely.  “Pay The Piper” is all about income inequality and revolution.  This is perhaps the standout track on the EP; featuring a tremendously catchy arrangement.  Searching for the American Dream winds down with “Hey There”, a middling rocker about the pursuit of happiness and love.

War Poets are musically competent on Searching for the American Dream.  The band is musically in sync and wears their progressive social management views on their collective sleeve.  The message, whatever you might think of it, is ineptly delivered more often than not.  This is a mixed bag that will have some regional appeal but just doesn’t have enough universal appeal to break big.

Rating: 2.5 Stars (Out of 5)

Learn more at www.warpoets.net.  Purchase Searching for the American Dream from Amazon or iTunes.

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)

Learn more at www.thevenetianband.com or www.facebook.com/thevenetianbandpage.

John Mueller (Buddy Holly) could write a song for you!

Ever wish a great songwriter would write a song just for you?  Wildy's World is partnering with some of the best and brightest Indie songwriters working today to give you this chance as a benefit for The American Cancer Society!  Tonight a new auction has begun on eBay, featuring an original tune per your request from singer/songwriter John Mueller.  Mueller is best known for his portrayal of Buddy Holly in shows such as Winter Dance Party and Buddy: The Buddy Holly Story, but Mueller is a very accompished songwriter in his own right, with a fine musical ear and a wicked wit. 

The winning bidder will fill out a brief survey telling Mr. Mueller who, what or where they want their song to be about.  John will then interpet the song in his own inimitable style, and record a demo of the song for the winner. 

Check out the John Mueller auction: eBay item # 221039131890. 

And don't forget we also have a song auction running for NYC singer/songwriter Kati Mac.  Check it out:  eBay item #221038586203

We have other great auctions coming up over the next 5 weeks or so from artists such as:

Benjamin Russell * Styx * Jerry Falzone * Mar Harmon (Music With Mar) * Halie Loren * Trout Fishing In America * The Energy Commission * Amos Lee * Marian Call * Lee Alexander * Spike Nicer * Amber & Dagger * Bucket Boys * Andy Hawk & The Train Wreck Endings *  The Spanish Channel    *  The Blisterz * Missed You At The Show * BFF * Jodi Shaw * Joel Dobbins * Skyler * Zak Smith Band * KeyDragon * The Amplifires * The Modern Airline * Randy Stern * Joshua Jesty * Deborah Crooks * Jeff Littman * Shane Lamb * Amanda Belardinelli * These Curious Thoughts * Crown Point Band * Amos Lee * Steve Haggard * James Scott Fant * Beth Whitney * Brother Joscephus * Unique Monique * Pat Flanakin * Brian Pounds *

And, we may still have a few up our sleeves, so stay tuned!  And remember, all proceeds will go to the American Cancer Society through the Relay For Life!

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.

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.

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.

Aurical - Something To Say

Aurical - Something To Say
2011, Gallant Music

Aurical is a folk/pop duo born of two coasts.  Singer/songwriter/producer Rachel Rossos has spent time in both New York City and San Francisco, working with musicians such as Edgar Meyer, William Bolcolm and Nadja Salerno-Sonnenberg.  Michael Gallant is the senior editor of Keyboard Magazine, and serves as singer/songwriter/pianist and co-vocalist for Aurical.  Together, the two have crafted a vibrant and original sound, on full display on Aurical’s debut album, Something To Say.

Something To Say opens with the title track, an edgy, piano-driven rocker.  Vocalist Michael Gallant sounds a bit like James Young of Styx, delivering a high-octane performance that's a smash as an opener.  "Brahms Of Philosophy" has a bit of a Ben Folds feel, and Rachel Rosses does a nice job with the vocal line.  The song is catchy although perhaps a bit rushed at times; ultimately very entertaining.  "Mom's Favorite" is a bit reserved and straightforward in style.  "Julianna" is wonderfully dark, with distinctive harmonies that grab you.  It's a solid piece of songwriting that's worth revisiting. 

"Leave It All behind" is lyrically awkward at times, but impresses on the musical side.  Jethro Tull, Genesis and Supertramp stirred up in a room together might have created something that sounded like this.  The bass steals the show with a funk-driven style of play that enlivens the song with an ambitious progressive rock sensibility.  "Work Song" is a slow and meandering number that works on the music side but again shows a lyrical clumsiness that stands out.  Things get really interesting on "Redhead Girl", with a piano style that sounds like a cross between Ben Folds and Tori Amos.  The most original and intriguing work on the album, "Redhead Girl" shows Aurical's ability to push the envelope and do it well.  "I've Never Known" is the best overall contribution on the album.  Rachel Rossos is fantastic here, crafting an early female-vocal group sound.  Things get a bit more mundane as Something To Say rumbles to a close with three solid if unremarkable tracks.

Aurical dances between magic and the mundane throughout Something To Say, creating moments that build anticipation in the listener, but often falling back before finding that perfect musical strike.  There's some very good stylistic songwriting on the album, but the lyrical composition of the album has its awkward moments.  Something To Say has enough to offer to make it worth spending some time with, but there are some definite kinks and wrinkles in the band's creative process to be smoothed out next time around.

Rating: 3 Stars (Out of 5)

Learn more about Aurical at www.auricalmusic.com or on Facebook.  Something To Say is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Tommy Shaw - The Great Divide

Tommy Shaw – The Great Divide
2011, Pazzo Music/Fontana

Tommy Shaw is something of a rock n roll icon.   As one of the principal songwriters and vocalists for rock group Styx since 1976, Shaw (and the band) has cut a career path worthy of inclusion in the Rock N Roll Hall Of Fame.  Shaw has spent his share of time on other projects over the years, cutting four solo albums, two albums with Damn Yankees (Ted Nugent, Jack Blades) and three as part of Shaw/Blades.  Shaw has also appeared on a number of tributes and collections over time.  With a tenor voice that’s instantly recognizable, it’s no surprise that some Shaw’s songs (“Fooling Yourself”, “Renegade”, “Too Much Time On My Hands”, and “High Enough”) continue to be staples on classic rock radio.  Shaw’s latest album takes him down a new road.  Working with some of the finest bluegrass session players around, and with guest appearances by Dwight Yoakam, Alison Krauss and Brad Davis, Shaw’s The Great Divide is an absolute delight.

The Great Divide opens with “The Next Right Thing”, a wonderful blend of pop/rock songwriting and bluegrass style.  You could easily hear this tune appearing on a Shaw/Blades album or even as a rock number by Styx, but the bluegrass sound seems to fit perfectly.  The picking here is incredible; the backing band the real deal.  Yoakam sits in on backing vocals, adding his sound to a complex arrangement full of movement and zest.  Shaw is in fine voice here.  “Back In Your Kitchen” explores love as expressed through the culinary art.  Shaw’s songwriting is sharp and full of good humor, with a light feel that’s sweet and enjoyable.  The instrumentation here is deliriously good, and the vocal line is flawless.  “Sawmill” almost sounds like it could be Shaw playing with Union Station, matching the latter stylistically in a catchy, old-school country sound.

“The Great Divide” is sweet and melancholy; full of great hope and love.  Shaw manages to capture a bit of the high lonesome sound here at times in a ballad with a modern feel.  Alison Krauss adds her sweet voice on backing vocals.  “Shadows In The Moonlight” is a hauntingly tragic love story told in song.  Shaw manages an exquisite arrangement full of dark beauty.  “Get On The One” is a high energy turn about grabbing onto your dream and following it to fruition.  This is a theme that Shaw has revisited throughout the years in his songwriting, but remains fresh in an allegory of trains and contemporary bluegrass styling.  “Umpteen Miles” finds Shaw trying to sound like an Appalachian back-porch singer on the first verse.  It works to a degree, but the sound is much better when he graduates to his higher range for the chorus.  The story-song is brilliantly written and told; however, exploring the life of someone irrevocably tied to the land he grew up on. 

“Cavalry” is a sweet little love song built around traditional instrumentation and a wonderfully fresh pop sensibility.  “Afraid To Love” is pure Tommy Shaw; a pure pop ballad with bluegrass instrumentation.  “Give ‘Em Hell Harry” is a talk/sing number about Harry Truman’s musical career and how he stumbled into the presidency, suddenly communing with the likes of Stalin and Churchill.  It’s an entertaining turn; a nice change of pace.  Shaw closes out with “I’ll Be Comin’ Home”, an Americana/rock number done up in bluegrass instrumentation.  This is great songwriting, pure and simple, and Shaw’s iconic voice has never been better.  It’s the perfect close to a near-perfect album.

Tommy Shaw takes a surprising and pleasing turn with The Great Divide.  While it’s not at all surprising for a rock artist to suddenly turn to more traditional musical styles as their career progresses, it’s unusual to make the transition so well.  The Great Divide deftly blends traditional bluegrass sound and modern songwriting to create what should turn out to be one of the best bluegrass albums of 2011.  Don’t be entirely surprised if Shaw gets serious consideration for at least a GRAMMY nomination this time around.

Rating: 4.5 Stars (Out of 5)

Learn more about Tommy Shaw and The Great Divide at www.thegreatdividemusic.com.  The Great Divide is available from Amazon.com on CD, Vinyl and as a Download.  The album is also available from iTunes.

Kevin Wilson - Self Portrait

Kevin Wilson - Self Portrait
2008, Kevin Wilson

Kevin Wilson has been an integral part of the Florida heavy metal scene for more than a decade, writing and playing guitar for Liar, Astaroth and Lucian Blaque, which was nominated by both the Tampa Bay Music Awards and Tampa Bay Metal Awards as Metal Band of the year two and three times, respectively. Wilson himself was nominated once for Metal Guitarist of the year. As most things do, Lucian Blaque ran its course, and Wilson found himself in a period of re-assessing his goals. The result of that contemplation is Wilson' debut solo album, Self Portrait. Comprised of fifteen original songs, Self Portrait features Wilson's softer, singer-songwriter side on nine tracks, but also shows his hard edge on the six tracks on the second disc.

Self Portrait opens with "On The Lake", a solid slice of melodic rock with great lead and harmony vocals. "On The Lake" has great energy but doesn't bowl this listener over with it. It's a song of reverence for time and place, with hope, peace and comfort wrapped in one focal point. "Winter In Paradise" shows off some guitar muscle in the middle of a fairly gentle rocker. Wilson has great feel on the guitar, culling musical streams out of the arrangement as if peeling back layers to show you what is beneath. "Scars" is a mellow acoustic rocker that sounds a bit like a power ballad but never explodes into full sound like many power ballads do. The vocal harmonies here are tremendous; Wilson takes his cue from some of the big triad harmonies popular among arena-rock bands like Styx, Journey, Asia and Kansas in a song about salvation and moving on.

"Self Portrait" is actually rather bland for a title track, lacking any real energy and suffering from a vocal line that has a whiney quality to it. Wilson's guitar work is a highlight here, however. "What If" explores existential angst about the future in contemplative fashion, using a mellow arrangement that hides country music threads in the musical seams. Wilson seeks rebirth and renewal on "September Comes"; a song about moving beyond the restrictions and fears we trap ourselves in. "September Comes" features a light airy melody that is almost an ironic foil to the heavy emotional makeup of the song. This irony is enhanced as Wilson seeks rebirth in a season known for the beginning of decay. "Pictures" is lush but not dramatically so, again going for the big vocal harmonies but this time in an Asia-meets-Alan Parsons vibe that's surprisingly good.

Disc two features material that will feel more at home of Wilson's fans from his heavy rock and metal days. Wilson starts out with blues based rock n roll on "Whiskey", an entertaining monologue decrying the spirit's effect on him. It's a solid tune that's likely to be a favorite live. "16 Days" sticks with the blues/rock sound; a somewhat darker with real movement and energy that's an enjoyable listen. "Hellhole" finds Wilson digging into a heavier sound. Lyrically and melodically the song is fairly average, but Wilson's guitar work is very much worth checking out. "Who I Am" and "Angry Now" continue the barrage with darker tones and heavier guitar work, culminating in "A Tale Of Woe". "A Tale Of Woe" wants to be a heavy metal anthem, and has all the needed elements. Wilson has stripped the song down a bit, perhaps to avoid overwhelming the folks who enjoyed with more mainstream rock on disc one. The true metal heads out there will appreciate "A Tale Of Woe", but you'll be wishing for a louder and heavier take; the sort that will likely happen naturally live.

You might expect going in that Kevin Wilson's heavier material would be more prolific than the lighter fare, but Self Portrait defies expectations. Wilson shows himself to have a keen ear for melody and harmony while stripping away the metal accoutrements he generally creates with. Wilson calls on the influences of his youth, blending a mellow mien with the sounds of 1980's rock scions and a bit of guitar muscle to create a sound that's not exactly new, but novel enough and well-crafted enough to catch your ear. The heavier material on Self Portrait is surprisingly mundane; Wilson seems to abandon his more melodic tendencies here but also strips the sound down, robbing the songs of their more vociferous and angry natures. Self Portrait is likely to gain Wilson a number of new fans, but may alienate some of his established fans in the process.

Rating: 3 Stars (Out of 5)

Learn more about Kevin Wilson at www.myspace.com/kevinwilsongs.  Self-Portrait is available from Amazon.com on CD or digitally.  The digital album is broken up into two parts, allowing you to purchase the full release or simply Disc One or Disc Two, as you wish.

Styx - Regeneration, Volume I

Styx - Regeneration, Volume I
2010

Born of The Windy City, Styx was forged of the last gasps of the 1960s. Influenced by rhythm and blues and rock n roll, Styx has undergone significant transformation, both musically and as a band. Much has been made of the public divorce of Styx and Dennis DeYoung, both in the press and among fans of the band, but both continue separately as vital and successful artists. This fall, Styx will engage in a once-in-a-lifetime tour, recreating two of their classic albums live: The Grand Illusion and Pieces Of Eight. In celebration of this tour, Styx will release Regeneration, Volume I, a seven song EP featuring new recordings of six classic Styx songs as well as one new track.

Regeneration, Volume I opens with a new Styx tune entitled "Difference In The World", a mellow rocker about the changing of perspective from youth to adulthood; the realization with time that we are responsible in some fashion for the world in which we live. It's a great melody, voiced by Tommy Shaw, and it's perhaps the first Styx song with a shot at real radio airplay in some time. While the new song is a solid add to the Styx songbook, Regeneration, Volume I is all about recreating the past. Lawrence Gowan takes lead on "The Grand Illusion", taking over for the departed DeYoung. Gowan gives a dynamic performance that is likely to appeal to all but the most hardened DeYoung supporters. Styx sticks with the original arrangement with slight variations in the synth and in the main guitar solo. "Fooling Yourself (The Angry Young Man)" sticks to the original script as well. The version offered here more closely reflects the energy and sound that Styx achieves in its live shows, although it should be noted that the vocal mix of Styx' trademark harmonies isn't quite the same with the current lineup.

"Lorelei" was a minor hit for Styx the first time around. Voiced by DeYoung originally, James Young takes the mic for the updated version. It's a pleasant surprise, as one might expect that Lawrence Gowan would have been the natural choice, but Young brings to "Lorelei" the raw exuberance that made the original work so well. "Sing For The Day" has long been a hidden classic better known to Styx die-hards but which never got a lot of play either on the radio or live. It's a "carpe diem" song; a musical paean to following your dreams. The subtle changes here won't be noticed by most, but there's a vibrancy to this version that cannot be ignored, and Tommy Shaw sings it with all of the passion he did when the song premiered in 1978. Shaw breaks out the 12-string guitar for what has become his signature song, "Crystal Ball". Once again, changes from the original are subtle, but where the original carried all the angst and uncertainty of a young man breaking onto the world at large, a knowing melancholy swirls in and blends with that angst in the current version. "Crystal Ball" turns out to be the most striking recreation on the album.

Regneration, Volume I closes with what is bound to be the most controversial track, "Come Sail Away". While this is perhaps the song Styx is most known for, it is also the one that is most distinctly Dennis DeYoung's. Simply put, there will be some fans who will never accept this version as a replacement from the original. That being said, Lawrence Gowan does a credible job in DeYoung's place, both vocally and in the atmospherics of his keyboard work. While there will be detractors, this is a solid update of a classic song and fits well with the sound Styx achieves in concert.

Styx is certainly not what they once were. No band can lose 3/5 of its core (including one of the original songwriters and singers) without growing into something new. The good news is that Styx rocks with all of the vitality and working class gusto that made them superstars in the 1970's. If anything, Regeneration, Volume I proves what fools the Rolling Stone ed... oops, I mean the Rock N Roll Hall Of Fame board are for not enshrining Styx long ago. The vocal mix is a bit different, and Lawrence Gowan brings his own distinctive personality to the chair once held down by Dennis DeYoung. Tommy Shaw and James Young are both a bit older but none the worse for wear. Bassist Ricky Phillips (The Babys, Bad English, Coverdale/Page) is a competent sit-in for Chuck Panozzo, who still shows up and performs with the band from time to time. Of Todd Sucherman there's nothing I can say that hasn't been trumpeted by fans and critics all over the map, except to say that John Panozzo would be proud. From the creative angle, Regeneration, Volume I may seem a bit cynical. Styx and/or its current former labels have released at least fifteen albums since 1995. Of those, six have been live recordings; six have been compilations and only three of new material. This from a band who managed four consecutive platinum albums between 1977 and 1980, and a total of eleven albums of new material between 1972 and 1983. While that pace probably contributed in large part to Styx' original breakup in 1984, there must be a happy creative medium in there somewhere. Regeneration, Volume I proves that Styx still matters, but some new material (beyond the occasional token new track to sell a compilation) wouldn't hurt.

Rating: 4.5 Stars (Out of 5)

Learn more about Styx at http://www.styxworld.com/.  Regeneration, Volume I and Volume II will be released on October 4, 2011 on Eagle Records.  See the full review of the new release here.
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Syzygy - Realms Of Eternity

Syzygy - Realms Of Eternity
2009, FHL Records

Cleveland, Ohio rockers Syzygy have been developing their sound and identity for a number of years, first under the name Abraxas and later as Witsend. As the band developed and personnel changed, it became clear that the name Witsend would be more trouble than it was worth, and the band chose the moniker Syzygy. An alignment of the Earth, Moon and Sun, Syzygy often represents a coming together, and the name has never been apropos. Syzygy has found a sound that is both classic and fresh, relevant and magical. On Syzygy’s latest album, Realms Of Eternity, the band tackles the spiritual world and the afterlife. The themes on Realms Of Eternity are Judeo-Christian in nature, but Realms Of Eternity seems more of a metaphysical album than a religious one. Either way, it’s some of the most intriguing progressive rock of last few years.

Imagine 1970's Prog rockers Yes with Dennis DeYoung sitting in for Rick Wakeman on keys. Further imagine that this new band also engages in the occasional Jethro Tull-styled diversion, and you'll have a pretty good idea of the sound and range that Syzygy displays on Realms Of Eternity. Opening with "Darkfield", Syzygy gives us a moody and pensive tune that moves quickly to big dynamics, detailing the fall of Eden in song as the beginning of the conflict between God and Satan. Syzygy paints this story against a grand musical canvas, cast highs and lows; darks and lights as they balance the beauty of Paradise with the tension of the eternal struggle over its former inhabitants. "Vanitas" is an instrumental rock orchestral movement about Adam & Eve's self-discovery (and discovery of shame and vanity). It's a stylized representation that works well.

"Dreams" is a grand, theatrical rock number about hope. Keyboardist Sam Giunta channels early-1970's Dennis DeYoung here, and there's a definite James Young flair to the guitar line. "Echoes Remain" could have come right out of a Jethro Tull session circa Songs From The Wood, right down to its philosophic mien. Syzygy turns more to a Rick Wakeman style keyboard sound for "Dialectic", using significant instrumental and vocal layering to build a sound that is at once majestic and intellectual. At over sixteen minutes in length, "Dialectic" offers ample opportunity for instrumental airplay, and Syzygy doesn't miss a single opportunity, playing out a musical narrative of trials and tribulations.

Syzygy takes us on an interesting side trip, transitioning from the peaceful interlude of "Arranmore Isle" into the dark energy of "Overture" before resolving into the light air that flows into "The Sea". "The Sea" details man's yearning to return to God. Mankind hears the voices of the departed across the sea; those who have already returned to their home, and yearns as one to return to where they came from. Hope resurfaces on "The Morning Song", promising all of the wonderful things that Paradise can bring. "Variations, Part 1" and "Variations, Part 2" are both Yes-like in structure and sound, offering the musical equivalents of a movie's deleted scenes and alternate endings. Syzygy does venture into some interesting musical divergences, but these two tunes are for the serious Prog fans and instrumentalists out there who like to pick complex compositions apart for fun. "Reflection" is a moment of contemplation of Faith that leads into "Finale", a joyous yet rocky journey to reunion with God. The song is punctuated by big guitar solos and dynamic interplay; building into a frenzied peak before drawing down to a slow legato that then builds into a Styx-style closing chorus.

Syzygy pulls out all of the stops on Realms Of Eternity, paying homage to some of the most dynamic sounds of the Prog rock era and building on them in new and interesting ways. The heavily religious theme may put some off, but the album plays more like a Dante narrative than a sermon, and can be seen as a parable for man's eternal struggle to be independent set against his eternal need to be loved. Realms Of Eternity is one of the best Progressive rock albums of the past few years.

Rating: 4.5 Stars (Out of 5)

Learn more about Syzygy at http://www.syzygymusic.com/ or www.myspace.com/syzygymusicenterprises. Realms Of Eternity is available as a CD or Download from Amazon. Downloads are also available via iTunes.

Year Of The Dragon - Blunt Force Karma

Year Of The Dragon - Blunt Force Karma
2010, The International Brotherhood Of Consequential Truth

When Fishbone disintegrated after a quarter century, Dirty Walt Kibby and guitarist Tracy Singleton (Spacey T) went in a new direction together. Focusing on a heavy punk/metal sound, the band soon pulled in Roderick Palmer (Rodcore) as a vocalist and began trading under the name Year Of The Dragon. With regular gigs in L.A. and a well-received EP in A Time To Love Is A Time To Bleed, Year Of The Dragon drew on their core base of Fishbone fans while adding new fans drawn to the aura of the new band. Year Of The Dragon is back in 2010 with their first full-length album, Blunt Force Karma. It's a return to the concept albums of the 1970's and early 1980's, with a kitschy back story involving space aliens locking up all of the attractive women on earth. Year Of The Dragon leads the fight to restore the right in an album where the brute intensity of the band's sound sometimes struggles with the corny subtext that parallels that of Styx' Kilroy Was Here.

Year Of The Dragon starts strong with “Ispo Facto”. Big, impressive guitar work and a rap-style vocal line and a chorus about the downfall of freedom and end of the world make this a winner. Rodcore and Dirty Walt keep this song vital, appealing to the populace to educate themselves and stand up for their rights against a government that takes but does not give back. “Poppin’” goes to the other extreme, seeming to be more a song about shock value than thought. On “Destroy Your Fear”, Year Of The Dragon goes for a 1970’s metal sound ripe with minor chords and vocal triads. This is the band at their finest, creating songs that are progressive in construction and diabolical in tone. “Jailbreak” is the party song on the album, a fun rocker in the best early metal tradition.

Year Of The Dragon strips things down for “After The Dawn”, an interesting spoken word approach with a sung chorus built around a highly intriguing riff. The bare-bones presentation is a solid change of pace but dissolves back into the big guitar sound of the title track. “Blunt Force Karma” is a great tune with a message wrapped around an infectious funk rhythm. “Who Will Save You Now” is a driven rocker with philosophical learns that serves as an ample appetizer to the closing track, “Walking Tall”. “Walking Tall” features a crazy guitar riff you’ll have to hear to believe. Year Of The Dragon walks the line between Body Count and Black Flag with shades of Dio-era Sabbath on the most vibrant track on the album.

Year Of The Dragon hits a couple of small rough patches on Blunt Force Karma, but in general manages to match powerful messages with powerful sounds. Blunt Force Karma is one of the more convincing rock/rap hybrid albums of the new year thus far. Rodcore and Dirty Walt find a distinct brand of musical chemistry on Blunt Force Karma. It’s a chemistry that could be infectious, perhaps enough so to make a big splash in 2010.

Rating: 3.5 Stars (Out of 5)

Learn more about Year Of The Dragon at www.mysoace.com/yotd. Purchase Blunt Force Karma either on CD or digitally from Amazon.com. Digital copies are also availble from iTunes.

Review: Johnny Neel And The Criminal Element - Volume 2

Johnny Neel And The Criminal Element - Volume 2
2009, Silverwolf Records

Johnny Neel has it all, really. A top-level session player in Nashville, Neel has a Grammy nomination under his belt and has written songs recorded by The Allman Brothers, John Mayall, Joe Louis Walker, The Oak Ridge Boys, Marie Osmond and Travis Tritt. Neel is also well-respected as a performer, with a small but significant following mostly on the East Coast of the US. Neel’s sixth solo album, Johnny Neel And The Criminal Element Volume 2, was released earlier this year; A mix of Rock and Blues pervades the disc.

Volume 2 opens with Go, a great mid-tempo Blues/Rock hybrid with some intriguing minor-key vocal harmonies in the chorus. The song is strong overall, but the chorus adds that "gotcha" that draws listeners in and convinces them to stay for a while. Pass Out is a funky Rock jam that turns psychedelic before slamming back into the funk. Thing P-Funk meets Pink Floyd. Thunder is an impressive track, combining a pure Classic/Southern Rock sound with elements of Jazz, Funk and Soul. You'll want to get moving when this song is one. Smackin' Pepper goes for the ten-minute instrumental jam thing and ends up sounding a bit like album filler, although the Moog work in particular is impressive. Hot Beer Emergency mixes Styx-style keyboards with Southern Rock guitar for the most intriguing composition on the disc. Here Right Now is a fun and catchy Classic Rock paean that turns into an extended jam. Neel closes out with Playin' On The Tracks, a decent tune but probably not the best choice as a closer to the album.

Johnny Neel rips it up with his guitar, playing some of the hottest Rock and Blues guitar out there. The songwriting and composition here ranges from above average to excellent, although the extended jams do end up sounding like filler at times. Neel's band is as sharp as a tack, and no matter your inclination you'll find something here to enjoy. Johnny Neel And The Criminal Element, Volume 2 is definitely worth checking out.

Rating: 3 Stats (Out of 5)

You can learn more about Johnny Neel And The Criminal Element at http://www.johnnyneel.com/, www.myspace.com/johnnyneel, or www.myspace.com/thecriminalelement. You can purchase a copy of Johnny Neel And The Criminal Element Vol. 2 in Neel’s online CD Shop. You can download Volume 2 from iTunes.

Review: Taylor Mills - Under The Surface

Taylor Mills - Under The Surface
2009, Aqua Pulse Records

It's likely you've heard Taylor Mills' voice before and not realized it. Mills has been touring and recording with Brian Wilson's band for ten years now. You can't miss her, she's the only female member of the band; the electric blond with the angelic voice. She's also performed with the likes of Billy Joel, Elton John, Jeff Beck, John Legend, Neil Young, Bruce Springsteen, Eric Clapton and Paul McCartney. Mills' 2007 debut album, Lullagoodbye, incited a significant amount of critical praise. Never one to rest on her laurels, Mills is back with her sophomore effort, Under The Surface. Co-produced by Scott Bennett (Brian Wilson) and husband Todd Sucherman (Styx), Under The Surface takes a slightly more low-key approach that Lullagoodbye. With a voice like Mill's, you couldn't blame her for showing off a bit, but Mills lets the songs be a vehicle for her instrument rather than the other way around. Mills lets the songs shine, providing an enthralling listening experience.

Under The Surface opens with Melody, a song about an aging singer who sees his better days behind him. Melody expresses the power of music to uplift and at times even save someone, but also acknowledges that dreams don't always age well. Sparks Will Fly is a song about sitting on the fence. The protagonist views the world as something that is happening to her, waiting for romance to happen to her. Stuck, she pines for a time to come. The song is very well-written, and Mills illuminates it with a gorgeous and precise vocal line. Mills truly shines on Kiss My Soul, a classic 1980's style rock ballad in a relaxed, quasi-acoustic setting. The song itself is decent, but Mills shines so bright here she actually makes the song better. Best Intentions is a heartbreaker about those times when a relationship falls apart not because of a lack of love or desire but simple inertia. Taylor Mills is at her most vulnerable in a song that rings too real and true to be pure creation. Best Intentions it the best of the best in the crowded field that makes up Under The Surface.

Living Room finds Mills shaking off the outside world to be fully with the one she loves. It's a great bit of low-key rock with a powerful, dynamic vocal line that could shake up a room in a live setting. Mills is joined by Scott Bennett on the duet If We Let Go. The vocals are great and the sound is professional, but this tune sounds too much like something from a 1970's movie drama/romance. As before, the performance makes the song better than it would be on its own. Mills closes out with St. Louis Misery, a song about adultery that begs for some country twang. Mills' vocal is impassioned and incredible, but you can almost hear the ghost of a pedal steel guitar playing along.

There's not much to be said about Taylor Mills' voice that hasn't already been said. Her performances on Under The Surface are brilliant, eschewing the now standard histrionic displays of modern pop for pure artistry. Mills digs into each song on Under The Surface, allowing the process and performance to reveal the layers and magic in her voice, rather than trying to impose herself on the songs. The result is an album that doesn't necessarily blow you away on first brush, but gets better with each successive listen. Under The Surface is aptly titled; don't be surprised if this album ends up on a lot of end-of-year "best" lists.

Rating: 4 Stars (Out of 5)

You can learn more about Taylor Mills at http://www.taylormills.com/ or www.myspace.com/taylormillsmusic. You can purchase copies of Under The Surface, signed or unsigned through Taylor Mills’ webstore.

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.

Why I love the Beatles, and why I won't be buying the box set.

When I four or five years old, my Aunt gave me a gift certificate from Record Town (now known as FYE). Record Town still sold primarily vinyl albums back then (1975 or 1976), but also sold cassettes. My parents took me to the store thinking to find something for me and asked what would be a good album for a little kid like me. The clerk there at the time recommend The Beatles Yellow Submarine. We took it home and I hated it. It was tossed unceremoniously in a cardboard box and forgotten for eight or nine years.

When I was thirteen I was bitten by the Rock N Roll bug. I was on a church choir retreat (where flashing the female head chorister and the playing of kissing games all occurred) and was introduced to three albums by a guy named Aaron Richmond. The first was a comedy album by Eddie Murphy entitled Comedian. To a thirteen year old kid the F-Bomb is just about the funniest thing in the world. But more degradation at the hands of the Episcopal Church aside, Aaron also let me hear The Police's Synchronicity and Styx' Kilroy Was Here. My life-long fan-hood of Styx was born, as was my lifelong fan-hood of Sting and the Police. Perhaps more importantly, these introductions opened my ears to a wider world of music than I'd paid attention to before. (Up until then I had listened to Yankees baseball and Adirondack Red Wings Hockey, and when I couldn't find that I'd listen to Bill Miller on WGY out of Albany, NY.

Not long afterward I came across the Yellow Submarine cassette bought so many years before, dusted it off and popped it into my GE Cassette player. Even in tinny mono I was floored. What the heck were they doing? This was amazing stuff! It wasn't long before I found a copy of Abbey Road and simply devoured that. The Beatles haven't always been an integral part of my musical life, but they've always been there somewhere, from bopping along to Sgt. Pepper's Lonely Hearts Club Band on trips to Choral Competitions in Montreal to singing a solo of Yesterday in 10th Grade to the way they keep popping up at odd times at significant points in my life. The Beatles wrote music that was silly, essential and nearly timeless (and occasionally quite weird: Number nine, anyone?)

If you are young enough to not really know the Beatles you probably can't read this yet, but if I'm talking to you, go find out where most of today's edgy music originated. There isn't an artist in mainstream rock who isn't either directly influenced by the Beatles or isn't influenced by someone who is. Today, September 9, 2009, Capitol/EMI releases remastered versions of all the Beatles Albums, culminating in two box sets (Stereo and Mono). The box sets are pricey and out of the price range of most people in difficult economic times. Still, there will be a strong contingent of Beatles fans who will lay their money down, particularly for the Mono box set, which is a limited edition.

Each individual album is also available in a remastered edition. This is the first time these albums have been re-mastered since the late 1980's when they were first carried over to CD. (I believe remasters were done in the mid-90's, but I don't count those as the technology wasn't radically different and there is little or no sound difference.

I personally won't be buying them. I have five Beatles albums currently, and am sentimental about the ones I have. The sonic difference between the old and new editions won't make that much difference to me because I don't have good enough equipment to make a difference at this point (and I can't afford them anyway!). It would be fun, though, to unwrap the mono box set and hear the songs as The Beatles originally wanted them heard. I have provided links below to all the releases out today if you're interested, using Amazon.com as the destination. Be sure to check around for price variations (particularly on the box sets). I suspect these will be hot sellers this holiday season.

If you'd like to learn more about the Beatles, check out http://www.thebeatles.com/.

Out today:

The Beatles: Rock Band

The Beatles: Rock Band (Limited Edition Bundle)

The Beatles Stereo Box Set

The Beatles Mono Box Set

Revolver

Help!

The White Album

Sgt. Pepper's Lonely Hearts Club Band

With The Beatles

Past Masters

Abbey Road

Rubber Soul

Beatles For Sale

Let It Be

A Hard Day's Night

Magical Mystery Tour

Please Please Me

Yellow Submarine