Public Image Ltd. “Album” – John Lydon, Ginger Baker, and Steve Vai Collaborate

One of my favorite bands, that I have written about from time to time, is Public Image Ltd.  Fronted by John Lydon, former Johnny Rotten of Sex Pistols fame, they have continuously pushed the boundaries of music.  If you listen to their catalog, it simply doesn’t sound like anyone else’s, even if certain songs, or parts of songs, are grounded in particular genres.  Punk, dub, world music, rock, and electronic music all play a role at various time periods in the bands history.  I shouldn’t really call it a band.  Although the project started as a band and has been a functioning band recently, the only consistent member has been Lydon.

Tonight I have been watching the documentary Beware of Mr. Baker.  The documentary is about drummer Ginger Baker.  Baker is most famous for Cream and Blind Faith, though he has a long and varied career.  It made me think of his work with Public Image Ltd.

One of the most famous Public Image Image Ltd. albums is Album, or Compact Disc or Cassette, depending on the format at the time of its release.  (Though it is now predominately known by the first title.)  It’s a truly strange release that brings together not only Lydon and Baker, but also virtuoso guitar player Steve Vai, among others.  That is not exactly a trio of musicians that you imagine having something in common, other than the fact that they are all people that have tried to push the boundaries of music in one way or another.

If I’m honest, this is not my favorite record of theirs, though it definitely has its merits.  On several of the tracks producer Bill Laswell pushes them towards heavy metal, though it’s not typical metal by any means.  On these tracks the musicianship and Lydon’s one of a kind personality shine, but music itself isn’t as adventurous as a lot of the PIL catalog.  My favorite two tracks are at opposite ends of the spectrum.  The most famous track is the single Rise, which has an African music element, but also incorporates Vai’s unique guitar tone and brief moments of darkness that contrast the major key African elements.  The last track is great as well, and also perhaps the strangest.  The song Ease starts out with keyboards and a didgeridoo, followed by the bulk of the song, which has a majestic rock quality, almost Middle Eastern in sound.  The song closes with an epic solo by Vai, the likes of which is not heard throughout most of the PIL discography.  I’m not even sure if the song is any good, but it is definitely great.  Something that starts with a didgeridoo, then features Lydon singing over almost a Led Zeppelinesque middle passage, and closes out with a solo by Vai, is not like anything else I have ever heard.

Although there are other PIL records I prefer, the sheer fact that Lydon was so willing to reach out into new territory time and time again is inspiring.  And even if I would advise one to start elsewhere with their catalog, I think this one should be added to your collection at some point.  It’s a true one-off, that could only have been created at it’s unique time and place in musical history, by a group of freaks trying to do something new.  I’m always interested in hearing people go down the road less traveled.

More Posts On Public Image Ltd. Include:  Careering

More Posts On John Lydon Include:  John Lydon Exposes Fake Media Behavior

Inside Most Intense Public Enemy Record of the Century – New Record 'Man Plans, God Laughs'

Inside Most Intense Public Enemy Record of the Century

As I looked quickly at the headlines over at Rolling Stone today, I was shocked and extremely psyched to see that Public Enemy is releasing a new album…this week!  The album is titled Man Plans, God Laughs.  They are one of the greatest groups of all time in any genre, and if they weren’t so intensely political, I believe their profile would be even higher here in the states than it has been in recent years.  Their last two albums, Most of My Heroes Still Don’t Appear On No Stamps and The Evil Empire of Everything, both released in 2012, were both jaw dropping and worth checking out if you have checked the group out in awhile.  (I would definitely get both records as they both feature different sonic textures, yet compliment each other really well from a musical perspective.  If you love the group or just love exciting and intense music, you can’t go wrong.)  The above video is one of the official singles from Most of My Heroes Still Don’t Appear On No Stamps.

New Order Release New Album In September

One of my favorite bands of all time is New Order.  (And I really love anything Bernard Sumner is a part of.)  It looks like they will be releasing a new studio album in September called Music Complete.  Peter Hook is no longer with them, but Gillian Gilbert is back for the first time in a decade.  Up above is a 30 second sound clip from the new record.  One can’t tell much from it, but it makes no difference, I’m already in.

NYT Brian Wilson No Pier Pressure Review

Brian Wilson No Pier Pressure Review

The above New York Times article is the best review I’ve seen yet of Brian Wilson’s new album, No Pier Pressure, based on what I have heard of the record so far.  All of the other reviews I have read have been either completely shallow, or seem to not be interpreting it correctly given his discography.  I am still forming my thoughts about the record and will write about it more at some point.  In the meantime I think that this is a good place to start reading about the album if you are interested in it.

For All My Sisters Review

the-cribs-for-all-my-sisters

I really like the new Cribs album For All My Sisters a lot.  It’s pop music in the best sense.  Pop music as played by rock band.  Despite the fact that the band is from England, there is something California about their new record.  If not for the accents on the vocals, there is something about this record that can be traced on a musical family tree back to certain elements of Weezer and even the Beach Boys.  I’m not saying that is intentional, or that there aren’t stylistic differences, only that there is a melodic sense that is somehow sunny and often melancholy a the same time.

The album is produced by Ric Ocasek who also produced Weezer’s Blue and Green albums, and also their excellent new album Everything Will Be Alright In the End.  As I said, there are definitely some melodic moments that recall Weezer, although The Cribs have been delivering great melodies since the start of their career.  However, while Weezer, for the most part, have an easy mass appeal, despite their idiosyncrasies, The Cribs new album is more cryptic.  Despite being melodic, the guitars are more jagged, more angular.  Even their extremely melodic vocal hooks are more elusive, less singsongy.  This is rock n roll pop music filtered through British post-punk.

One of the things that Ric Ocasek does time and time again is get great guitar tones.  He does this without doing anything seemingly complex.  Aside from a couple of synth parts and extra backup vocals, there is almost nothing on this album that the three piece Cribs could not reproduce live.  Hearing a guitar overdub that plays something different than the main guitar line is rare.  Mostly it just sounds like one guitar part doubled.  If you listen to this album, the Weezer albums, or even the Bad Brains God of Love, Ocasek is able to create deep textures through guitar distortion.  He is able to take something incredibly simple and turn it into an aural painting.  Where guitars can often sound flat, he creates an incredible amount of depth, a warm swimming pool that the listener can pleasurably dive into.  This is a big deal, especially for a three piece band.

Despite the album being full of hooks, there is not anything as instantly memorable as earlier Cribs records.  There is no song that has a chorus as memorable as the song We Share the Same Skies, for instance.  This doesn’t necessarily work against it, as the album holds up on repeated plays.  The album is enjoyable on the first listen, but it is definitely a grower.  I know that I have said several times that is is incredibly melodic, and it is true that the album has very glossy production, but there is a slight sense of artiness here, just below the surface, that keeps the album from being swallowed too easily.

If I had to criticize anything, it would be that the lyrics haven’t really opened themselves up to me yet.  That’s not to say that they are bad or unintelligent.  They do not get in the way of my enjoyment either.  It’s just that, despite the album having a classic rock mix, the vocals are not buried like they are on many other indie rock records, the vocals seem part of the music more than the centerpiece.

The Cribs have consistently been at that crossroad where indie, pop, rock, and post-punk collide.  I am partial to this kind of music, but I think anyone that likes to hear guitar oriented rock music with great melodies would like this as well.  They are not doing anything groundbreaking, but they put the ingredients together in a unique way that gives them their own sound and personality.  The fact that they do have their own personality does mean they are able to expand the form on the margins, and that alone is worth something.

New James McMurtry Out Today

James McMurtry’s new album Complicated Game is out today.  McMurtry is one of the best songwriters in America.  I probably won’t be able to review the new album until next week.  In the meantime here is one of the tracks off of it.  I’m really looking forward to diving into this record when I get the time.

Let There Be Rock

Was listening to the album Let There Be Rock by AC/DC all day.  It is an absolutely fantastic rock n roll album.  I have no idea how the album was recorded, but it sounds like an album recorded by a band live in a room while rolling some fat tape.  It may seem simple to some, but the playing, writing, and recording are tremendous.  Every groove is deep in the pocket.  The guitars sound like snarling dogs.  The lyrics are funny and witty and delivered for maximum effect by Bon Scott.  There aren’t many overdubs that couldn’t be performed live, a guitar part here and there.  I love records like this, that sound like an actual band.  A great deal of the magic is from the way the musicians interact with each other.  This is primal physical stuff.  At the same time there is more sophistication going on in the arrangements then appears.  This can be seen in the way there are long pauses on the title track, and then all of a sudden the band explodes back into the song.  That’s not amateur hour there.  Angus Young’s lead work sounds like he is taking the paint off of an entire countryside of barns.  There is a reason that every one from metal bands to Fugazi’s Ian MacKaye love this band.  They are the very best at what they do.  The title track, which may be my favorite AC/DC song will be posted above.  It’s also one of my favorite rock videos.

Marah’s Melody of Rain Video

My last posts may have been too dark for a Monday morning.  I’m stuck in the airport and I’m sure many of you are stuck at work. (Which is where I surfed the internet so much I once thought I found the end of it!)  Here is a little joy in the form of music.  This is Melody of Rain by Marah from their Marah Presents Mountain Minstrelsy of Pennsylvania album.  In my humble opinion they are the best band from my home state of Pa and at the height of their powers they are one of the greatest rock n roll bands out there right now.  Like many great bands they can’t be properly defined by one genre, but even when they are doing something like this that has one foot in folk music, they always have another in rock n roll.