So I went to library to find some useful books for my screenplay, and lo and behold, I found Nazi Rose’s autobiography on the shelf. I was about to call it trash, but then I thought to myself, “Wouldn’t it be fun to laugh at this pitiful excuse of human filth?” I signed it out and was glued to it. Apparently, Mick Wall was the writer, so I decided to write a review for my troubles.
First of all, Mick made the best and worst decision of his life. His best decision was writing a book on Axhole Rose. His worst decision was writing a book on Axhole Rose. The book was extremely detailed and pulled no punches. It was right down to the point, and lined up with just about every fact that there was to know. Some have described this book as “showing Crackhead Rose to be the tragic figure that he really is”. Well, from reading, he sure is tragic. But at least Mick Wall made that perfectly without using a sugar coated approach.
It was a fun book to read. One, I could see how the story of the ticking time bomb Guns N’ Roses came about, and two, I got to laugh my behind off at Asscrack Rose. Mick really outdid himself, and clearly had a definite knowledge in what he was doing. He deserves to have this book as a bestseller.
I’ve heard lots of great music from my reviews, and didn’t realize how much talent there was. There was good lyricism, excellence musicianship, chief structure in terms of songwriting, and high degrees of passion and dedication.
With Thomas Ian Nicholas, I heard ALL of that on this album.
If I’m correct, this is the lineup:
Clint Fowler – Bass
Tim Moore – Drummer
Matt Kennedy – Guitar
Thomas Nicholas – Vocals
What’s interesting, more than the instruments, are the vocals. Thomas doesn’t shriek like Bon Scott or sing to unnaturally high levels like Dio or Robert Plant. He doesn’t play with a vibrato like Steve Perry or use a shout-like hair raiser like James Hetfield. He sings softer than Chris Martin and yet he still knows how to grab you. The tranquility of the singing isn’t something you dance or head bang to. It’s something you just absorb and really try to make sense out of. Not that it’s anything outlandish; he writes lyrics in a way that we aren’t used to and you naturally try and catch a grasp of it. It’s amazing; a breath of Fresh Air. Plus the fusion of Pop is also incredible, and it’s not the same thing you heard in Hair Metal bands. This is more down to earth, not overlooked by glam appearance or posing lyrics, but a stripped down blend of old fashion complexity with a deceptive simplicity (just like Nirvana’s In Utero). I haven’t heard music like this since the Szuters.
Music like this needs to be made again, but then Thomas wouldn’t be one-of-a-kind anymore, would he? The music was in perfect in sync with Thomas’ vocals, never drowning him out for a second. These 10 songs are just a true masterwork, combining the best of two different styles and making them come together without having to belt out his lungs or forcing us to pay attention. DEFINITELY COMMENDABLE.
I must say the band has done it again:
Frontiers records is the home of underrated musical acts, but their champion band has released an incredible masterpiece without the help of Steve Perry (not like they ever needed it).
The new original songs are anthem’s in themselves, almost like an Appetite for Destruction minus the raunchiness. Neal Schon is better than ever with his amazing solos and rhythmical riffs and melodic genius, just like the Journey we all remember. The second veteran, Ross Valery, was just mind boggling on his bass, second only to the multi-talented performance delivered by the legendary Jonathan Cain. Castronovo has risen above the expectations set even by Steve Smith, showing that the four have an unbeatable chemistry proven by their long standing time defining what Journey is about, ten times that in this masterwork.
Now about this guy:
Unfortunately, one thing to keep in mind regarding Pineda. His singing is
good; I mean, he can hit all the high notes (even better than Augeri by a long shot), but the accent stood out more in this album than in Revelations before. Many musicians (specifically non-American) have ease masking their accents in their songs, but Arnel, in this album, did sound more like a Filipino Karaoke singer. I mean, for some reason, I couldn’t tell the difference between him and Steve (audio-wise) in Revelation, but now it sounded like River Maya was covering Journey songs. That’s not to be Xenophobic, but sometimes it’s best to sing in your own language (I’d probably sound like Yoko Ono in Tagalog or Cebuano).
Nevertheless, this album displayed a true sense of power, passion, and was the true definition of Progressive (or in Pineda’s case, anti-progressive). For any die hard Journey fan, it’s a must have. If you hate the Oranges and Lemons sound, stay the hell away.
Paul Gilbert has done the impossible…again…
This album is one of the greatest things I’ve ever heard. It’s seriously rejuvenating to listen to, and the title, opening track says it all. The playing style of the opening tracks, Fuzz Universe and Olympic are nothing short of Dynamic. It’s like Herman Li and Sam Totman donated their fingers for the piece. Further tracks display almost a classic genius-like method to the music, rounding out his superior guitar playing style with such excellence that not even DragonForce can top after losing ZP. It’s a must have for those skeptics who think rock music is dead.
Here’s the line-up/ Their positions aren’t verified:
Talon Bronson, Trevor Scott, Jacob Duffey, Kade Schagunn
After hearing the album for myself, I was almost expecting an alternative/ hard rock sound, but now that I’ve heard each track, these guys sound very blues oriented.
From Track to Track, the vocalist bellows out strong emotional notes with his semi-raspy voice, sounding more of a blues-man in the line of Stevie Ray Vaughan. The guitars almost remind me of AC/DC; ranging from hard rock to blues sounding throughout the course of the album. Funny that they say that rock isn’t dead; they sound more like BLUES to me. Then again, from one came forth the other, and songs like Castle In The Sky are a bit more hard rock. Nevertheless, we could argue this forever, and miss the real point. This album is true musicianship, something these crappy synth-pop musicians need to really study and get off their lazy computer-generated chart topping filth. I hope these guys the best when they go off for their tour.
Buy it here:
こんばんわ From Canada.
It’s sucks when you can’t enjoy a band because of a language barrier, even though Japanese is a cool language to sing in (I sampled the Gazette and X Japan, liking what I heard and saw). But still, I WILL mention what I loved in terms of their sound.
I heard Gloomy Puppet Shows: Buy here:
Fortunately, I loved the fact that this band actually has some musical intelligence, with a very structured, yet flowing metal sound, almost bordering progressive metal. Even when not in English, I can tell a good singer when I hear one. The vocalist has an amazing voice without signs of screeching or strain, in perfect sync with the song rhythm. The riffs were mammoth; highly addictive. If the songs were in English, they’d probably get a perfect grade. But that’s my loss of course. This band also seemed to show a true sense of versatility, as expressed in the title track, so it’s good to know that they aren’t one-trick-ponies like most others. Its a true expression of alternative metal…. I’d actually learn a language just to enjoy this.
Here’s their site: