Pandemonium Cheesecake

So I've decided to rename this blog. It now shares a name with my old radio show on 90.1fm WUSB. Don't like it? Too bad. Inspired by a friend. I thought I'd take a crack at writing about music every day as well. Can't imagine I'm going to be able to do one a day, but I'll try for 100 or so by the end of the year.

In 1982 Rush released Signals , their ninth studio album and a complete reversal in sound from their previous record Moving Pictures . The synthesizers, which had been used for moods and accents on the previous records, came forward to dominate the sound. And I hated it when it came out. I was like 'this is worse than your mom eating a puke sandwich' (hey, I was 12 forgive me). Rush was my first favorite band and this was one of the first albums that I was looking forward to its release. I was hoping for Moving Pictures 2, or something closer to the sound of their previous five studio albums. Something with a thirteen minute song about space, or gods, or trees. What I got was the opposite. Instead of driving arena rock I got fuzzy humming synth/pop. Like their debut, Signals sticks out in their catalog like a cold sore on a prom queen. Have I mentioned that I hated it? My dislike for the record continued for a long time. I was in my mid 30s when I finally redisc...

The second ep in a series of three from one of the most influential bands of the 80s. It's hard to listen to this record and not to hold it up against their previous work. It's unfair to the Pixies because most bands would have trouble following up masterpieces like Doolittle or Surfer Rosa , especially after 20+ years. The four songs that make up EP2 aren't anything exciting, there's no "Gigantic" or "Monkey's Gone to Heaven" and its clear that Pixies 2.2 are still trying to find a sound. They shift back and forth from Trompe Le Monde era to early Frank Black solo work, but never stray too far from the guitar driven, quiet-loud-quiet blueprint that made them so important to the growth of countless alternative bands that followed in their wake. The opening track "Blue Eyed Hexe" is their attempt at an AC/DC song, and its a good one at that. The riff is pure Angus and the chorus is lifted from the Highway to Hell album ...

The Band - Cahoots (1971) The Band's fourth album has more in common with its previous release Stage Fright  (especially lyrically) then its first two albums, but still sounds like the Band. Having departed from the story telling of the first two albums, the themes on Cahoots  are more personal, echoing where the band was at the time. Robbie Robertson was taking over as the main songwriter, taking sole credit on 8 of the 11 songs and co writing two others. The shared lead vocals of Richard Manuel, Levon Helm and Rick Danko are still there, as are the rich textures that Garth Hudson cons from his Lowrey and, as always, Robbie Robertson trying to find a way in with his guitar parts. Cooler than the B-3? Maybe, the beard does help. The lead track "Life Is A Carvinal" is the bands attack on the phony nature of show business. Helm and Danko get their only co-writing credits of the album here along side the Dixieland horn chart from Allen Toussaint. The highlight of...

What do you get when you cross Wire-like guitars, Clash-style aggression, Kinks-esque pop sensibility, a pair of heroin addicts and a midwest girl who wants to rock (and fuck) just like the boys? You get the self-titled debut from The Pretenders. Released in 1980, The Pretenders is a mixture of punk, rock and new wave; bridging the past to the future. Distinctly divided into two halves (remnants of the pre-CD days), side one is where Chrissie Hynde and the boys (guitarist James Honeyman-Scott, bassist Pete Farndon and drummer Martin Chambers) rip through the first seven (of 12) tracks. Everyone from The PIxies to Bikini Kill took notes from this album, cribbing Hynde's disjointed/angry young woman lyrics and swiping Honeyman-Scott's sonic play on guitar. "Precious" is a big piss-off to her old hometown Akron, and a brilliant opening song. One that allows her to drop both the S & F-bombs, a rarity for a major label release from the early 80s. LeBron James...

I spent the extra hour last night watching 'Zombieland' instead of listening to records, but at 2am the neighbors usually frown upon a loud stereo, so I decided to make last Sunday 'Record Day'. Van Morrison - Astral Weeks (1968) - Hailed as a classic, this is one of the most unique albums in rock's history despite also being one of the least rock albums. Jazz, folk, blues & classical are all better descriptions for the 8 tracks that make up this song cycle. This is not one of those albums you'll get right away, it may stir emotions upon your first listen, but it needs to be listened to repeatedly as it unfolds. Famously recorded in just three sessions with Van singing and playing guitar in a booth and the rest of the musicians playing live in the studio along with him. Only the strings and horns were added later. Besides Van's stream-of-consciousness lyrics, its the upright bass of Richard Davis that stands out the most, especially on the epic ...