CD Review: Chris Cornell - Scream

Chris Cornell
Scream
3/5
Universal

Yes, a Chris Cornell album this sure is. No, a rock album it is not. At least not for the most part of it. When one of the original grunge pioneers – Cornell used to front Soundgarden – announced last year that his next album was going to be produced by Grammy-winning producer and rapper Timbaland, most fans expressed emotions ranging from despair to disgust. And if you are one of those rock fans who absolutely detest the idea of music being made with drum machines and samplers, I will save you the trouble of going through the entire review: You are only going to hate Scream. On the other hand, if you are even slightly open to the idea of a mashup of electronica, dance and rock, then Cornell’s 15th studio album (and his 3rd solo record) might appeal to you.

The album opener, ‘Part of Me,’ starts off with what could pass off as a news channel theme, sitar loops and android voices, but very soon morphs into a heavy-duty dance track – shocking the wits out of you, if you were expecting a regular Chris Cornell number. While the lyrics are not his best work by far – sample these lines: “I love the girl/I’m loving the dress she wears,” “No, that bitch ain’t a part of me” – the voice is still vintage Cornell, except laid over completely different rhythms than what longtime fans would be used to. And that’s pretty much what you can look forward to on the following 13 tracks.

Cornell, in an interview to Rolling Stone India maintained that this album “is something that needs to be heard from beginning to end” and that he would ideally have released it as a single track hour-long album. And you understand the validity of his statement once you actually sit through one complete listen. Song after song, Timbaland lays down head-bobbing grooves for Cornell to sing over, with each track transitioning into the next with music rather than with the typical silence. ‘Ground Zero’ is a thumper of a track with Cornell’s vocals sounding like they could have been from his Soundgarden/Audioslave days. Ditto with the vocals on ‘Long Gone’ and ‘Climbing Up the Walls,’ both of which could make for fine rock songs – if it weren’t for the drum machines. Which is not to say that these are not fine songs otherwise. In fact, Timbaland shows us why he is one of the most sought-after and highest paid producers in the music industry today: He brings a vibrancy and danceability to the entire album.

What Cornell has managed to do with Scream, is introduce me to a kind of music I would not have checked out otherwise in all likelihood. And hopefully, Timbaland will manage to do the same with his fans – introduce them to Chris Cornell.

© Bobin James/Rolling Stone India, 2009

CD Review: Swarathma - Swarathma

Swarathma
Swarathma
4/5
EMI/Virgin

Ladies and gentlemen, it’s official now. No longer is it considered uncool for an Indian rock band to sing songs in Hindi, Kannada, Malayalam and other assorted regional languages. Last year saw a couple of fantastic albums in that vein: Avial blew everyone away with what they call “Malayali alternative rock”. Then there was Raghu Dixit who won hearts within the country and beyond its borders with his debut album of songs in Hindi, English and Kannada. 2009 started off with another great release – the debut album by Swarathma, which is fronted by Raghu Dixit’s younger brother, Vasu.

The Bengaluru-based sextet (with Dixit on vocals and rhythm guitars, Pavan Kumar on percussions and backing vocals, Jishnu Dasgupta on bass and backing vocals, Varun on guitars and backing vocals, Montry Manuel on drums and Sanjeev Nayak on violins) had, earlier in 2008, won Radio City Live, a competition for Hindi-singing rock bands in the country. And it was this very win that got them a record deal with music major EMI/Virgin. The result is Swarathma, a collection of eight tracks that will have you moving in no time at all. Produced by Indian Ocean drummer Amit Kilam, this has to be one of the best albums by any Indian band. (Swarathma, as a band, look up to Indian Ocean, almost to the point of worship. “Whoaaa! Indian Ocean!! They’re out there; they’re our gods,” says Dasgupta.)

The album-opener, “Jaana Kahan Hai Mujhe”, kicks off with an acoustic guitar strumming a crisp rhythm that will have you tapping your foot. Then suddenly Vasu Dixit’s earthy voice comes in, followed by a bottom-heavy bassline. And you are hooked! While it’s a difficult proposition, if I had to pick one song that would be the essential Swarathma song, it would have to be “Jaana Kahan Hai Mujhe”, with each of the six guys really shining through on their duties, both individual and collective. Incidentally, this song has just won them a Best Song nomination at the annual Jack Daniel’s Indian Rock Awards.

From there on, it’s one sparkling song after another in quick succession. “Pyaar Ke Rang”, is a faux-Bhojpuri track that features Nayak doing ektara lines on his electric violin and one that morphs into a swaying reggae jam intermittently. It also happens to be the track that, during live performances, sees Dixit coming onto stage wearing one of those colourful horses often seen in traditional stageshows.

The rest of the album is peppered with gems like “Patte Saare” (with guitarist Varun displaying his rock/metal influences), “Sur Mera” (with the chorus seeing all vocalists coming together for some great harmonising), and “Bolo Kya Hai” (a out-and-out rocker).

Swarathma is solid proof that Indian rock is truly coming of age, with bands not shying away from showcasing their roots, in a template that will appeal globally. When the year kicks off with an album of such quality, it can only be a happy new year.

© Bobin James/Rolling Stone India, 2009

CD Review: Bruce Springsteen - Working on a Dream

Bruce Springsteen
Working on a Dream
4/5
Sony BMG

There are two singer-songwriters active on the music scene today, who have very successfully managed to transcend eras – from the classic to the contemporary – and who are every bit as popular today as they were then. One is the British frontman of the now-defunct Dire Straits: Mark Knopfler. The second comes from across the Atlantic: the Boss aka Bruce Springsteen. And both Knopfler and Springsteen are masters in the art of storytelling – they paint vivid pictures using the most simple words and sometimes using nothing more than a guitar to accompany their gravelly vocals.

It is this very simplistic beauty that shines across on every single track on Springsteen’s latest (and his 16th) studio album, Working on a Dream, the title track for which was first performed for Barack Obama’s presidential campaign. Sample, for instance, the album-opening portrait of “Outlaw Pete” – “He was born a little baby on the Appalachian Trail/At six months old he'd done three months in jail/He robbed a bank in his diapers and his little bare baby feet/All he said was ‘Folks, my name is Outlaw Pete’.” Or look at the album closer, another portrait, this time of “The Wrestler” (which got Springsteen the Golden Globe for Best Original Song in a Movie) – “I come and stand at every door/I always leave with less than I had before/Bet I can make you smile when the blood it hits the floor/Tell me friend can you ask for anything more.”

And packed in between these two majestic bookends are 11 other songs that span as many different sounds. “My Lucky Day” is your classic Springsteen cut – perfect for blasting on your car stereo. The title track, “Working on a Dream,” is classic Springsteen too – full of the optimism that made him a working class hero when he started off some 35 years ago. Then there is “Surprise, Surprise” with a super-hooky chorus that sneaks into your head and lodges itself there. “Good Eye” is the Boss’ growling take on the blues and “The Last Carnival” is his elegant tribute to close friend and longtime bandmate, Danny Federici, who passed away last year.

Springsteen began writing Working on a Dream soon after he finished 2007’s Magic, and started recording it in between breaks in the Magic tour. But do not take these as outtakes or rejects from that album: each song on Working on a Dream is a robust entity by itself. Especially if you are willing to give them the fair chance. Because if you give these songs the chance, all of the characters and places that Springsteen introduces us to, will become your friends. Perhaps, it’s too early to call this a classic album, but Working on a Dream is certainly one of Springsteen’s finest records.

© Bobin James, 2009

CD Review: Sivamani - Mahaleela

Sivamani
Mahaleela – My Journey Through Life
3.5/5
KKVM Record

Percussionist A. Sivamani has been a familiar face onstage at most jazz-fusion concerts in the country, and his lively drumming has been heard in a lot many fusion albums and movie soundtracks, since he first commanded his massive assortment of drums some 35 years ago. He has, since then, become a first-call drummer for names as illustrious as Ustad Zakir Hussain, A. R. Rahman, Illayaraja, Shankar Mahadevan. And along the way, Sivamani also shared stage, across the world, with other biggies like Terry Bozzio, Billy Cobham, L. Subramanium and Trilok Gurtu. Perhaps, this busy schedule explains why it took this flamboyant musician three-and-a-half decades to come up with Mahaleela, his first solo album.

When it comes to solo albums by virtuosos, the danger of self-obsessed playing is very real. But we have to report that Mahaleela steers clear of that. While his drums remain a very vital ingredient of all 12 compositions on this album, nowhere does Sivamani attempt to make this a “showcase of self”. (Let’s be honest, an hour - 64 minutes to be precise - of listening to only percussion can turn out to be an exercise in patience.) He, instead, gets the who’s who of Indian fusion together: Zakir Hussain, Viku Vinayakram, Louiz Banks, Hariharan, Shankar Mahadevan, Neeladri Kumar, amongst others, have all contributed to Mahaleela. And how!

The vocal chants kicking off the “Dancing on the Moon,” and the album, do sound a bit odd with that weird accent (Bosnian singer Alma is attempting Sanskrit here). But move beyond the first minute or so, and the track morphs into an electro-dance-percussive monster threatening to blow out your speakers. “Kriya” slows proceedings down to an almost meditative pace, thanks to a slithering sitar track from Neeladri Kumar, who also makes an appearance later on “Aadhaar,” another composition which can best be described as ethereal. One of our favourites on the album is “Abbaji,” Sivamani’s tribute to the late Ustad Alla Rakha, one of the best tabla masters the world has seen, and father to Ustad Zakir Hussain. A frenetic jam of bols, tablas, bass guitar and assorted percussion, “Abbaji” will have you tapping out rhythms on the nearest surface. Equally captivating is “Santushti” which starts off with Sivamani splish-splashing rhythms in a bathtub (no, seriously!) and then moves on to a meld of various hand drums (not unlike the panchvadyam of South India) before being met head-on by wild vocal bols. Also don’t miss “Jam Packed,” a beautiful song led by outstanding vocals (courtesy Hariharan) and a throbbing bassline.

One complaint is that the inlay card is woefully lacking in information about the artists, but Sivamani tries to make up for it with the album-closer, “Thank You,” which is virtually a call-out list of all people involved in the making of this great album. If world music – especially the kinds based in percussion - is your thing, Mahaleela should be a definite addition to your CD rack.

© Bobin James, 2008

CD Review: Megadeth - Anthology: Set the World Afire

Megadeth
Anthology: Set the World Afire
3/5
Capitol/EMI

Megadeth seems to be the hen that lays the golden eggs for Capitol Records – except, of course, the bird has already flown the coop. But that is not stopping Capitol from releasing yet another compilation featuring the eggs they already own. Anthology: Set the World Afire is a 2CD set chockfull of hits and non-album releases by one of the strongest thrash bands around. Though, this being a Capitol release, the timeline ends at 1999 and Risk, the last album released on the label.

So what you have here is an almost chronological line-up of cuts all the way from Megadeth’s 1985 debut, Killing is My Business… And Business is Good (‘Mechanix’ and ‘Rattlehead’) to 1999’s Risk (‘Insomnia’ and ‘Prince of Darkness’). Tracks from the band’s last three albums – The World Needs a Hero (2001), The System Has Failed (2004) and United Abominations (2007) – are excluded. The only exception being ‘Dread and the Fugitive Mind,’ which first appeared on 2000’s Capitol Punishment compilation as a then-unreleased track and later found its way onto The World Needs a Hero.

There are only two reasons why anyone should pick up Anthology. The first is the convenience factor – you can get the best of Megadeth (well, most of it, anyway), without having to go through more than two CDs. The second is that you are looking to get introduced to this pioneering band. If you are a droogie, then you don’t need this.

© Bobin James/Rolling Stone India, 2008

CD Review: Motherjane - Maktub

Motherjane
Maktub
4/5
Aum-I Artistes

When ‘Chasing the Sun’ begins with its “ta-ka-ta-ki-ta…” thalams and the mimicking guitar, you find yourselves in a situation where you desperately want to keep the beat with your foot but are unable to do so. Welcome to the odd-time signatures of Maktub, the second album by one of the tightest progressive acts in the country today. The Kochi-based Motherjane released their debut album Insane Biography in 2001 to much acclaim. And with Maktub, the band takes proceedings to another planet altogether.

In an interview to Rolling Stone India earlier this year, lead guitarist Baiju MD had spoken about how so far they had been playing the “white man’s music” and how Maktub was a huge step towards achieving an Indian sound. The band fulfils its promise, and how. The opening thalams are not one-off attempts – each vocal inflection and every guitar lead on this album is infused with a distinctive Carnatic sound. And, this while keeping all the energy of rock intact.

The first couple of tracks, ‘Chasing the Sun’ and ‘Fields of Sound’ – with their insistent riffs – had me reaching for the rewind button over and over again. As do the other gems like ‘Broken’ (Baiju won the Best Guitarist award for this one at last year’s Indian Rock Awards) and the beautifully written ‘Maktub’ (“I say to you/It is written/And by your hands it is rewritten/In those sacred moments/When the creator walks through the creation”). This is an album that scores high on all counts – brilliant vocals, great songwriting, fantastic guitars and a very impressive rhythm section.

At the risk of sounding all gushy, I have to say that this is a sound that I have not really come across too often earlier. I would consider us to be extremely fortunate if another Indian band manages to come up with an album that betters Maktub this year.

© Bobin James/Rolling Stone India, 2008

CD Review: MyndSnare - Conditioned: Human

MyndSnare
Conditioned: Human
3.5/5
Demonstealer Records

In the eight thrashing years that they’ve been around, Bengaluru band MyndSnare have evolved to be one of the best technical metal groups in the country. And Conditioned: Human, their debut full-length album – they have released two demo EPs in the past – stands as solid proof of that. Between the three of them, vocalist/guitarist Kadangode Padmanabhan Krishnamoorthy alias KP, drummer Yasmin Claire and bassist Sandesh Nagaraj whip up a formidable storm of angry vocals, maniacal skinbashing and abrasive riffs. The way the trio fill out the sound is incredible – at no point during the 40-odd minutes of Conditioned: Human does one really miss a fourth member. And all ye cynics, yes, the band is equally skilled during live performances. Speaking of which, while the production on this album is crisp, it never loses out on the “live” sound. Stand-out tracks on an album that’s chock-a-block with odd time signatures and “turn-of-a-dime” pace changes, include ‘Temporal Movements,’ ‘Altar-Ego’ and ‘Mirror of Nothingness.’ Conditioned: Human is going to be the bar that a lot of metal acts in India will be measured by.

© Bobin James/Rolling Stone India, 2008

CD Review: Queen + Paul Rodgers - The Cosmos Rocks

Queen + Paul Rodgers
The Cosmos Rocks
3/5
EMI

First things first. If you are just a Queen fan aching to go on a Freddie Mercury nostalgia trip, then this album is not for you. Let’s face it already – it’s almost seventeen years since Freddie died, and we really are not going to hear anything else from him. Or like him, for that matter.

What we do hear on The Cosmos Rocks is some good ol’ classic rock, courtesy Brian May and Roger Taylor of Queen (bassist John Deacon retired in 1997), and Paul Rodgers (of Bad Company and Free fame). The opening flanged riffs on the first track, ‘Cosmos Rockin’,’ are unmistakably from Brian May’s handmade Red Special. Then Paul Rodgers’ gritty voice joins in, and very soon it all turns into a boogie.

While none of the tracks really jump out and grab your attention at first listen, give it some time, and some tracks start to grow on you – especially the rockarollin’ ‘Cosmos Rockin’,’ the military marching ‘Warboys’ and the harmonised ‘Call Me.’ The underrated genius of May shines through on each single track: he unleashes his magic with intricately layered parts and ethereal leads and fills. Check out the bluesy ‘Voodoo’ for examples of the latter. And Rodgers delivers some stunning performances in the Freddy tribute ‘Some Things That Glitter’ and the trio’s first single ‘Say It’s Not True.’

Is this is a good classic rock album? Yes. Will it be a ‘classic’ album, though? Doubtful.

© Bobin James/Rolling Stone India, 2008

CD Review: Metallica - Death Magnetic

Metallica
Death Magnetic
4.5/5
Universal

In the world of metal, it would be really hard to find another band that is respected so much and reviled equally, as Metallica. One the one hand, there is the metal (rowwwr!!) brigade that believes the band “sold out” starting with 1991’s Black Album. The Napster incident and the tinny snare-drum on 2003’s St Anger didn’t help one bit in boosting the band’s popularity. On the other hand, there are the millions of fans and musicians who acknowledge Metallica as one of the most important metal bands of our times – if not the most important. While they are part of the Big Four of thrash (alongside Megadeth, Slayer and Anthrax), Metallica were arguably the ones to really create this genre of music, back in the early Eighties – and then deliver it with unrestrained aggression in their ear-aching, neck-snapping debut, Kill ‘Em All in 1983.

Now, a quarter-century later, they have dropped an H-bomb of an album in Death Magnetic. Expectations have been running high on this album; expectations furthered by all the teasers the band has been putting out online, in the form of shorts riffs, and later, entire tracks. This was, in more ways than one, Metallica’s last chance at regaining the crown. And do they do it? Oooooh yeaaaaah! Death Magnetic, as the band promised, is a back-to-the-roots record.

When you first pop in the CD, the opening heartbeats of ‘That Was Just Your Life’ pretty much mirror your own, as you wonder if this album is worth all the hype. Then some slow riffing – instantly recognisable as Metallica’s – builds up the anticipation further. Until at 1.28, you are thrown straight into the path of a hurtling monster truck of a riff layered over some maniacal skinbashing by Lars Ulrich and spitting-it-out vocals by James Hetfield. This is a track that would have easily found place on that killer of an album, Master of Puppets (1986). Except, of course, this is more polished. In fact, Death Magnetic marks a return to all the power of the band’s Eighties glory years – yet, super-producer Rick Rubin (best known for his outstanding work on albums by Slayer, Audioslave, RHCP) brings in a degree of polish unheard before on Metallica albums.

The merciless sonic assault continues with ‘The End of the Line’ and ‘Broken, Beat & Scarred,’ two longish numbers, both also giving Kirk Hammett a chance to showcase his no-nonsense guitaring. Let’s face it – Kirk might not be the greatest guitarist on earth, as isn’t Lars the best drummer. But between them, they get the work done, and how.

The band slows it down next with ‘The Day That Never Comes,’ a song in the vein of ‘One’ (from their 1988 masterpiece …And Justice For All), complete with a “machine-gun-riff-say-hello-to-double-bass-kick” section transforming the ballad into a monstrous thrasher. This is also the first song where we get to really hear the bass guitar, very ably slung at knee-height by ex-Ozzy bassist Robert Trujillo. The ruthless take-no-prisoners pursuit continues with ‘All Nightmare Long’ (“‘Cause we hunt you down without mercy/Hunt you down all nightmare long”) and what could easily be the best track on Death Magnetic - ‘Cyanide.’ The unimaginatively-named ‘The Unforgiven III’ relaxes proceedings a wee bit before turning the corner into ‘The Judas Kiss,’ a bass-heavy mass of metal attempting to bash your skull in. The band then tips a hat to the past again, with an instrumental ‘Suicide & Redemption,’ which, clocking in at close to ten minutes, is the first instrumental since ‘Orion’ (from 1986’s Master of Puppets) or Justice’s ‘To Live Is To Die’ (if you ignore the spoken part.) And then by the time Death Magnetic – easily one of the best Metallica albums ever - ends with the frantic ‘My Apocalypse,’ you are ready to collapse to the ground, from 75 minutes of headbanging. There’s only one cure to that exhaustion – and an instant one at that: start all over again!

© Bobin James/Rolling Stone India, 2008

CD Review: Mudcrutch - Mudcrutch

Mudcrutch
Mudcrutch
4/5
Virgin Records

The jangly notes tripping out of the speakers when you pop this CD in, not just announce the first track – the 18th century traditional ‘Shady Grove’ – but set the tone for the rest of this fantabulous album. But surprise, surprise, those guitar notes are not tweaked out by Tom Petty, who instead chooses to take on bass duties in a band that was banded and disbanded more than three decades ago. A laidback country-rock album, Mudcrutch features the twin guitar magic of Mike Campbell and Tom Leadon, Benmont Tench’s piano and organ, Randall Marsh’s drums and Petty himself on lead vocals and bass.

The first thing that strikes you when you listen to this album is that these guys are having fun out there. And that sense of fun permeates every track on this album – be it boogie-happiness of ‘June Apple’ (another traditional song), the guitar rock of ‘Lover of the Bayou’ (listen out for the leads on this one, especially) or oodles of organ on ‘Crystal River’ (at 9:29, the longest of the 14 tracks). ‘Scare Easy’ carries the trademark Tom Petty sound while the twangy guitars on ‘The Wrong Thing To Do’ are an instant hook. This is one album that might not spring any surprises on it and you will be glad for it. This is good ol’ rock & roll, recorded live and spontaneous. As a note on the CD inlay says “…Recorded live, vocals, harmony, everything. Arrangements done on studio floor. Made in 10 days, no headphones. …A lot of love. Enjoy.” Enjoy we sure will, thank you.

© Bobin James/Rolling Stone India, 2008

CD Review: Sceptre/Now or Never

Sceptre
Now or Never
3/5
Counter Culture Records

Sceptre is a Mumbai thrash metal outfit that has, in the ten years since inception, built a formidable reputation as a band that largely delivers tights and precise Metallica/Sepultura/Pantera covers. Which is why this debut full-length album has been long overdue. On the remarkably well-produced Now or Never, the quartet of Teemeer Chimulkar (vocals and guitars), Aniket Waghmode (drums), Gilroy Fernandes (rhythm guitars) and Janus Sayal (bass) put together an impressive collection of thrash tracks.

The lyrics are of the standard-issue metal variety and really nothing to write home about: “A revolution’s what we’ll bring/Armed with our metal strings” on the otherwise bonecrushing ‘Revolution,’ or “They want us to follow/They want us to bend/We’re scared of nothing/We’ll fight till the end” on ‘Now or Never.’ But when you pick up a thrash record, it’s rarely for the lyrical quality; you pick it up because you want to headbang. And Now or Never more than delivers on that front. It’s easily one of the more noteworthy debuts by any Indian band that I can think of. The ten years of playing to crazy moshpits certainly shows through – the band is tight as could be.

Standouts on Now or Never include the title track with that insistent riff, the insanely heavy ‘Enemy’ and the chugging ‘Revolution.’ The acoustic ‘Circles of Silence’ is nice and pretty and all that, but at 3:24, it gets a wee bit lengthy for an instrumental on a thrash record. But then again, perhaps, that’s good – our whiplashed necks will get some relief.

© Bobin James/Rolling Stone India, 2008

CD review: The Offspring/Rise and Fall, Rage and Grace

The Offspring
Rise and Fall, Rage and Grace
3/5
Sony BMG

The Offspring might forever be remembered as the band who sang ‘Pretty Fly (For A White Guy),’ which is rather unfortunate, because these California punksters have been releasing some brilliant stuff before and after ‘Pretty Fly.’ And consistently so. Rise and Fall, Rage and Grace, is yet another example of this. The new album is filled with hi-energy energetic numbers. Well, most of it anyway.

While there are tracks like ‘Kristy, Are You Doing Okay?’ and ‘Fix You’ that are uncharacteristically lo-energy, they aren’t the ones that will grab your aural attention. ‘Trust In You’ is a typical Offspring song, complete with catchy harmonised choruses and biting guitar riffs. Ditto with ‘You’re Gonna Go Far, Kid.’ In fact, the latter could well be the next video single – except for the “Dance fucker, dance” chorus that might make it slightly unsuitable for MTV. Then there is ‘Stuff is Messed Up’ – as cheesy as the “la-la-la-la-la” singalong chorus might sound, there’s no denying that it’s infectious.

Rise and Fall… might not be the best album The Offspring has sprung on us – earlier recordings like 1994’s Smash or even 2000’s Conspiracy of One might vie for that title. But it’s a very good album, no doubt. Hardcore fans might find the sound a bit too refined for their tastes (please address complaints to producer Bob Rock); but us, we are just fine with it, thank you.

© Bobin James/Rolling Stone India, 2008

CD Review: Judas Priest/Nostradamus

Judas Priest
Nostradamus
4/5
Sony BMG

When singer Rob Halford screamed his way back into the classic Judas Priest line-up with 2005’s Angel of Retribution, the results were good. Not awesome, not astounding, only good. But one listen to the new Priest double CD set, Nostradamus, and you will be trawling the thesaurus looking for words to describe the experience. This is the British metalheads back in prime form; and the classic line-up helps, of course.

Nostradamus is what is commonly referred to as a concept album – loosely translated it means that there some particular theme running through all the songs (think Tommy, think Dark Side of the Moon.) And that common thread on this one is the life of Nostradamus, the early-16th Century seer who, supporters say, predicted stuff like the Great Fire of London to the rise of Adolf Hitler to the fall of the Twin Towers. And one must admit, this ‘concept’ does make for interesting lyrics, complemented with the regulation chugging rhythm section – thundering drums and killer riffs – and the not-so-regulation keyboards and synth string sections. Glen Tipton and KK Downing’s twin guitar attack is at its ferocious best here. Listen to ‘Prophecy’ or ‘Revelations’ and you will understand where Judas Priest get their heavenly moniker – they are called “Metal Gods” – from. Heavy guitars, bludgeoning drums and Rob Halford’s searing vocals, of course. Ah, that’s what you were waiting for, eh? Well, worry not: Halford’s vocal cords are evidently in very good shape. ‘Conquest’ and ‘Alone’ – with him going from a whisper to operatic banshee scream - can be two great master-classes for any aspiring vocalist.

A word of warning, though. This is classic heavy metal. Even though some songs here nudge the 8- or 9-minute mark, they are pretty much structured. So if you pop this CD in expecting to hear ‘2008 metal,’ you are most likely in for disappointment. But look forward to some fantastic metal, and you will easily slot this as one of the best releases of the year so far.

© Bobin James/Rolling Stone India, 2008

CD Review: Al Green/Lay It Down

Al Green
Lay It Down
4/5

Elders doing collaborative projects with younger artists is not an entirely unheard-of phenomenon in the world of music. But what does make Al Green’s Lay It Down different from, say a Santana’s Supernatural, is the fact that Reverend Al’s vocals remain centre-stage on this, as it very well should. So while the album features some very impressive neo-soul voices – Anthony Hamilton, John Legend and Corinne Bailey Rae – none of them ever attempt to over-shadow Green. (Not that it would be an easy task to accomplish if they tried to.) Al Green’s voice is in prime form, belying his two-and-sixty years. Tracks like ‘Just For Me’ and ‘All I Need’ showcase his trademark falsetto vocals, still going strong after all these years and over 30 albums.

‘You’ve Got the Love I Need,’ ‘Standing in the Rain’ and ‘I’m Wile About You’ are three soul shakers which will have you tapping your foot and moving along from the word go – album co-producer Ahmir “?uestlove” Thompson’s super-funky drums go a long way in helping achieve that. As does the late Chalmers “Spanky” Alford’s beautiful guitarwork. In the end, it’s probably this great marriage of young and old talent – talent being the keyword there – that makes Lay It Down such a great album. It is not a stuck-in-the-past nostalgia trip, nor is it badly modernised soul music. This is the real deal.

© Bobin James/Rolling Stone India, 2008

CD Review: Joe Satriani/Professor Satchafunkilus and the Musterion of Rock

Joe Satriani
Professor Satchafunkilus and the Musterion of Rock
3.5/5
Sony BMG

In 1987, Joe Satriani’s sophomore effort, Surfing With The Alien broke into the Billboard Top 40, a place no instrumental album had gone so boldly before. Now, over twenty years later - and after having made instrumental guitar albums a lot less niche in the meanwhile – Satch has released his 12th studio album. Professor Satchfunkilus and the Musterion of Rock might be quite a mouthful when it comes to the name, but it’s an album that’s quite accessible to most fans of this genre of music. And that’s where the ‘problem’ might lie – many of the tracks on Professor Satchfunkilus… might sound like stuff you have heard on his earlier albums; which is not necessarily a bad thing. Just that one has come to expect the unexpected from Satch.

So ‘Musterion,’ and ‘Overdriver’ - both out and out rockers and brilliant ones at that - sound like tracks that could have found place on 1989’s Flying in a Blue Dream or 1992’s The Extremist. ‘I Just Wanna Rock’ is the quintessential stadium rocker, designed for the crowd to chant along with. But hey Joe, you already used that device in the rather unimaginatively-titled ‘Crowd Chant’ from 2006’s Super Colossal.

But give this CD a few spins and you will discover some absolute beauties on the album that will justify your putting hard-earned cash on the table. ‘Professor Satchafunkilus’ that kicks off with a fluttering saxophone part by Satriani’s son ZZ, has a nice and funky groove to it. ‘Diddle-Y-A-Doo-Dat’ is a quirky number that instantly reminds you of Satch’s once-student and now-friend, Steve Vai. Then there is the regulation ballad, ‘Come On Baby’, a paean of love for his wife Rubina. Despite the cheesy name, this is one helluva melody. As is ‘Out of the Sunrise’ with its soaring guitarlines. The best one of the lot, though, would have to be ‘Andalusia.’ It starts off with an acoustic six-string and hand claps. But as you go on to discover soon enough, the deceptive acoustic passage is tantalisingly short – just after the timer hits 2 minutes, Satch slips into a barrage of electric notes on his Ibanez. ‘Andalusia’ – one of the two tracks dedicated to Turkish saz player, Asik Veysel – is unique in that it’s not very often that Satriani picks up an acoustic guitar. In fact, I don’t remember the last time he did that on an album.

So what’s the verdict on the album? There should be no question about whether you really need to pick it up. You should. But lower your expectations just that wee bit. For just this once, hopefully.

© Bobin James/Rolling Stone India, 2008

CD Review: TAAQ/This is It

Thermal and a Quarter
This is It
4/5
TAAQ Music

Thermal and a Quarter have, in 11-plus years, built up a formidable reputation of being a fantastic live band. So it’s slightly unnerving when the title track – and the first song – on This is It, hints at goodbyes to live shows (“Look into those front row eyes/Make your little goodbyes”). But that doesn’t stop the entire album from sounding all nice and happy, TAAQ-style. The intricately-layered sound, while not radically different from their past albums - especially 2004’s Plan B – captures the energy of their live shows very well. The troika of Bruce Lee Mani, Rzhude David and Rajeev Rajagopal keeps the proceedings very tight. Highlights of the album are the groovy “Holy Jose” (the bouncy bassline will have you moving in no time); “How Can I Get Your Groove” (with a superb lead constructed of notes rolling off the fretboard) and “This is It”. Don’t let the monstrous roach on the front stop you from reaching out for this great album.

© Bobin James/Rolling Stone India, 2008

CD Review: Michael Jackson/Thriller 25th Anniversary Edition

Michael Jackson
Thriller 25th Anniversary Edition
Original disc 5/5
Bonus tracks 1.5/5
Sony BMG

A long long time ago, a pop singer named Michael Jackson brought out a music album called Thriller. Little would he have imagined that it would turn out to be the landmark disc that it became. Hundreds of thousands of young kids and not-so-young adults all over the world would put on their white socks, turn up their trouser cuffs and try out the ‘moonwalk’ from his Motown performance of “Billie Jean.” (Yes, you did, too. Admit it.) The dance moves from the “Thriller” video would go on to ripped off and then ripped to pieces by everyone from Mithun (in a B-grade movie, the name of which escapes recall, thankfully) to Madhuri (in her 2007 comeback, Aaja Nachle). The album would waltz off with a record-breaking seven Grammy Awards in 1984. (Jackson himself got eight trophies that night, including one for the E.T. Storybook).

This 25th anniversary edition of Thriller underlines why it went on to become the best-selling album of all time. And it shows why it should not be messed with: the package includes newer versions of five tracks, as interpreted by some current artists. The original “Beat It,” - despite its slightly cheesy synthesised drumlines and assorted ‘uunhs’ and ‘trrrrrs’ – had pocketed a Grammy for Best Rock Vocal Performance in 1984. The Van Halen solo helped, perhaps. Unfortunately, in the 2008 version, singer Fergie in her earnest attempt to get some of that original street-gang aggression ends up sounding, well, constipated. “The Girl is Mine 2008” knocks out Paul McCartney and brings in Will.i.am instead. While the original was slightly laidback, Will.i.am turns up the r.p.m. and adds some funky beats and drum loops, basically make it a bit more danceable. But his experiment with “P.Y.T. (Pretty Young Thing)” falls flat. Jackson had laid down an extremely groovy rhythm, one that was guaranteed to make you move. Will.i.am on the other hand morphs it into something eminently forgettable, bearing little resemblance to the original other than the occasional vocal snatches. Akon is one of the current crop who actually does something good with his mandate, on “Wanna Be Startin’ Somethin’ 2008.” He does this by starting off the song as a nice, piano ballad that revs up into full ‘will-have-you-moving’ mode with that original bassline thumping down below. And he hasn’t forgotten the ‘mama-se, mama-sa’ loop. (Trivia time: Jackson was sued by African musician Manu Dibango for flicking that very loop from his 1972 single “Soul Makossa.” They settled out of court later.) This leaves us with “Billie Jean 2008,” rapper Kanye West’s attempt to recreate the original magic. Boo! Go south, West! All those drums and ‘unh-hunhs’ seem unnecessary and pointless – what exactly is he trying here?

So why should you buy this album? More than a few reasons. One, there is the imaginative Thriller, in all its original glory. Clichéd and hagiographic as this next sentence might appear, this is seriously one album that is timeless. This is ‘classic pop,’ ‘classic disco,’ ‘classic call-it-what-you-may.’ From the foot-tapping, hand-clapping groove of “Baby Be Mine” and “P.Y.T.” to the lilting vocals on “Human Nature” and “The Lady in My Life,” each of the original nine tracks is a splendid treat. In fact, seven of these nine would go on to feature in the Top 10 of Billboard’s Hot 100.

Reason two is the accompanying DVD. The stripped down live video for “Billie Jean,” – a Motown anniversary performance – while it looks lip-synced to, has Jackson at his dancing best. He requires no more than a single spotlight – no flashing lights, no pyrotechnics, nothing – to deliver a scintillating performance. And the DVD’s got the videos for “Billie Jean,” “Beat It” and “Thriller”. Yes, the same ones you used to wait for endlessly when music television had just arrived in the country.

Is it worth your money? Yes, actually. You get the videos and for completionists who wish to round off their Jackson collection, there is also “For All Time,” a ballad that was left over from the Thriller sessions, but was rather wisely left out from the album. Thankfully, the new versions which you are advised to avoid are all bunched up together at the end of the first disc. So the moment Vincent Price’s maniacal laughter track ends, just go back to the very beginning.

© Bobin James/Rolling Stone India, 2008

CD Review: Skinny Alley - Songs from the Moony Boom

Skinny Alley
Songs from the Moony Boom
*** and a half
Counter Culture Records

Four years after the debut album, Escape the Roar, Kolkata-based Skinny Alley have released this second offering. At first listen, Songs from the Moony Boom might not have the kind of instant connect the first album did – perhaps because of the breathlessly frantic rhythm section in most of the songs. But give it a fair listen, and rest assured it will grow on you. The band’s collective jazz and funk influences show through clearly in this album – be it the extended jam in “Swunk,” or the chiming rhythm guitar in “Go Figure.” The latter has gentle funk morphing into dirty riffing and back, effortlessly. On “Shape Your Life,” Amyt Datta shows us why he is on our list of best Indian guitarists.

© Bobin James/Rolling Stone India, 2008

CD Review: Avial - Avial

Avial
Avial
****
Phat Phish

Music transcends language, they say. And concrete evidence for this aphorism lies in Avial’s self-titled debut. For those not in the know, Avial is a five-piece band from Kerala that takes Malayalam folk songs and literary pieces and puts it to music. They first burst onto the scene in 2006 with a video for “Nada Nada” (the first song on this album) that quickly got circulated extensively online thanks to YouTube – at last count, the super-slick video had 56,000+ views. It didn’t seem to matter that singer Anand Raj Benjamin Paul was rendering his raw vocals in chaste Malayalam. What really mattered was the sheer energy of “Nada Nada,” delivered very ably by Rex Vijayan (ex-Motherjane) on guitars, Mithun Puthanveetil on drums, Tony John on turntables and synth and Naresh Kamath (ex-Bombay Black, Kailasa) on bass.

And it is this very energy that pervades the entire album. Despite the ‘alternative rock’ tag the band chooses for its music, this is good ol’ rock – complete with searing vocals and crunchy guitars. Hear, for instance, the guitars in “Njan Aara”: gentle arpeggios alternated with wickedly heavy distortion. Or the stadium rock chants in the chorus of “Aranda”. Of the eight tracks on this album, you would be hard-pressed to come up with a single weak one. Avial is very easily one of the best rock albums to come out from an Indian band lately.

© Bobin James/Rolling Stone India, 2008