My Amazon Reviews: Madness “Divine Madness”

Madness is all in the Mind
4 Out Of 5 Stars

Madness madness never quite caught on in the US, despite the success of "Our House." having a huge base overseas fueled the band for decades, with trippy hit after hit. "Divine Madness" catches the singles in all their glory. There are quite a few compilations of Madness out there, but this one is the keeper.

Yes, it does have "Our House," and the classic introduction of the band in "One Step Beyond," but also the goofy coming of age songs "House Of Fun" and "Baggy Trousers." There are the unique ska-ish instrumentals like " The Return of the Los Palmas 7" and "Night Boat To Cairo." But there's something else in the method that happened with the band. Lurking under the pop veneer is often a somber note. Even the big hit "Our House" has a caveat in the chorus; "something tells me that you've got to get away from it." Not all was goofy in Madness' world.

As the band soldiered on, so did the world view. "Tomorrow's Just Another Day" was so melancholy in its tone that Elvis Costello slowed it down for a remake that wound up darker than the original. The rebuke of "Embarrassment" wouldn't have been out of place on a Costello album. But the exuberance always shines through. When it came time to do a cover song as single, they chose "It Must Be Love," British singer Labi Siffre's 1972 hit. (It was also the band's second and last single to crack the American Top 40, creaking up to a #33 peak.) It's a cheery declaration of devotion, and maybe the lease 'mad' song here.

Working through the band's catalog chronologically helps, too, as the band had two distinct periods. There was the manic early days and then a mature period that left the ska behind and concentrated more on pop. "Our House" is probably the divining point, because what follows is less frantic and more measured. You have "Michael Caine," featuring a cameo from the man himself. Describing the onlooker's desire to get close to an idol, it's also about disappointment. The lounge like sounding "Yesterday's Men" postulates getting older, and "(Waiting For The) Ghost Train" contemplates death and what comes next.

But all that is part of the complete band package. Those early singles still carry a manic punch, while the later days are more layered in their approach. If there was any other complete Madness, I don't know of it. "Divine Madness" packs it all in with a 22 song salute.


    

My Amazon Reviews: Hozier "Hozier"

That's a Fine Looking High Horse.
3 Out Of 5 Stars

Hozier hit the jackpot with his first pull of the lever. "Take Me To Church" is haunting, daunting and almost painful to listen to, which makes it virtually impossible to get it out of your head. It warranted the purchase of "Hozier," the self titles debut CD. He's got a decent voice for the near blues of the bulk of the album, and he's an OK songwriter, but one problem. None of the other songs catches fire the way "Take Me To Church" does. I'll give points to "Jackie and Wilson," it's a fairly clever bit of singer-songwriter workout. There's also the duet "In A Week" (with Karen Cowley), which offers some variety from Hozier's vocal angst. The lack of more memorable songs is exacerbated by the album's length; there's 13 songs that drag into each other. That's a shame, because "Take Me To Church" is a five star song, but the rest of "Hozier" just doesn't measure up.

     

My Amazon Reviews: Imagine Dragons “Smoke and Mirrors”

No Parlor Tricks Required
4 Out Of 5 Stars

Beating the sophomore slump and improving the game in the production department, Imagine Dragons aim for the bleachers in "Smoke and Mirrors." Someone must have told them to get in touch with their inner U2, because much of the album looks to build anthems from scratch. For a change the reach does not exceed the grasp. "Smoke and Mirrors" hits its mark more often than not.

The first single, "I Bet My Life" exemplifies this direction. Pulsing verses with a chorus that looks to hit sing-along status where played, it adds some Mumford and Sons folk stomp to the mix while building to a crescendo climax. "Shots" has a guitar line worthy of The Edge, and "I'm So Sorry" brings back the distortion of the debut album with a raw intensity. But this time they sound like the screaming was intentional. That's a big difference from this album and the debut. The sucess of which seems to have given the band the courage to play every genre they ever had plans for in their incubation days.

That includes a bit of pomp to go with it. Who would have thought that the band that made the hooky "Radioactive" would end their second album with a six minute prog-rock opus? (And maybe the only misstep on an album that is quite assured of its footing.) Or that hints of the electronic dance would underpin "Summer?" Even if once in awhile they dip into the well that is Coldplay ("Dream"), "Smoke and Mirrors" is a surprisingly good album from Imagine Dragons, as they test their musical mettle.

     

My Amazon Reviews: Sinead O’Connor “I’m Not Bossy, I’m The Boss”

In Charge
3 Out Of 5 Stars

Sounding more supple and vested than anyone could have expected at this stage of her career, "I'm Not Bossy, I'm The Boss" finds Sinead O'Connor still exploring her themes of romantic bruising, the push and pull of theology and the inner turmoil that has marked her work since the beginning. Her voice has gained a rougher edge over the years, which is masked on this album by multiple vocal overdubs. The pure voice is no longer there, but she hasn't completely ruined it (ala Joni Mitchell). She also seems a little more playful, in the tone of the album's title and latex love goddess cover picture.

While that playfulness slips into the songs ("How About I Be Me") and occasionally upping the tempo ("Take Me to Church" another theology rant bucked up by self-empowerment), it makes the album a delightful listen. There's also the O'Connor who creeps under your skin, especially on the potent "Streetcars," which loses the multi-tracked vocals and allows her to use that powerful voice backed by little more than a piano and bells. It closes the CD with a reminder of just how potent an artist O'Connor can be when she's at her best.

On the opposite end, she's trod this ground more than a few times and there's not much here thematically than you've heard if you've been a longtime follower. I like the song "8 Good Reasons," but I am weary of her railing against the music industry. She's had a career that many singers would die for, even if she's not the Miley Cyrus type that she's publicly chastened. But as she states on the CD's inner sleeve, "This Album is Dedicated to Me." She still has melodic fire and opinions to be outspoken with, and with "I'm Not Bossy..." O'Connor makes a nice return to form in the manner in which she wants to make it.

     

My Amazon Reviews: Cold War Kids "Hold My Home"

Adult Kids
4 Out Of 5 Stars

The Cold War Kids have hit their stride, since "Mine Is Yours" and "Dear Miss Lonely Hearts." On the new (2014) "Hold My Home," they continue their streak of mainstream alternative albums. The album starts off strong, with three killer tracks, where the band embraces their inner U2 and shoot for the stadiums. "All This Could Be Yours" ("All That You Can't Leave Behind," anyone?) really has echoes of Bono and the boys. They are also literal types, where "Hot Coals" begs the question "whatever happened to the strong and silent type?" And to put the point into proper perspective, there's "Harold Bloom." He's an American literary critic and Sterling Professor of Humanities at Yale University (thanks Wikipedia).

"Can you be wise if you never leave the room?
There will always be another Harold Bloom
to criticize your every move."

Yes, the Kids have some fight in them. "Hotel Anywhere" looks at the process of achieving your goals, with lead vocalist Nathan Willett's call that he writes and paints, lives and breathes and "it's incredible how little I need." They also have grown braver with the stylistic choices, with the finale, "Hear My Baby Call" approximating a blues groove. With the diversity of music but clarity of purpose, "Hold My Home" is another solid effort from the Cold War Kids.

     

My Amazon Reviews: The Decemberists “What a Terrible World, What a Wonderful World”

What a Beautiful World We Live In
4 Out Of 5 Stars

After pounding out an R.E.M. sound-alike in 2011 in the form of "The King Is Dead," The Decemberists back up a bit for the more middle of the road "What A Terrible World, What A Wonderful World." There are some subtle changes, like heavier strings and horn charts, which are good. The band that crafted CD long suites now starts off an album with a song where the band apologizes for making a commercial for Axe Shampoo ("The Singer Addresses His Audience"). They know they aren't the same band that cut the masterful "The Crane Wife," and openly admit such.

What they are for "What a Terrible World..." are a crafter of songs. They've found a sweet spot between the ornate structure of those early albums to a sense of pop melody. It makes a love song like "Philomenia" all the more jaunty and "Lake Song" a hip folkie haunter. The band also sound more integrated this time around, where "The King Is Dead" was a showcase for Chris Funk, here, piano dominates many of the songs. Me. I kind of like when they get into that folk vein, as one of my favorites here - Colin Malloy almost making a sea shanty song out of "Better Not Wake The Baby."

"What a Terrible World..." will probably polarize fans who can't get over the fact that the band hit an early peak and then decided to try other things. As for me, I can respect that The Decemberists are not content to stay in one place for every album. Maybe they still aspire to be R.E.M. or even 10,000 Maniacs (some of the poetic lyrics recall the Maniacs'). What ever direction they travel, I am happy to follow as long as the music is this good.

     

My Amazon Reviews: Fall Out Boy "American Beauty/American Psycho"

Juxtapositions
4 Out Of 5 Stars

On their last CD, Fall Out Boy announced their mission was to "Save Rock And Roll." On the follow-up, "American Beauty/American Psycho," it sounds like they're still headed out on that path. There's some righteous rock here. And there seems to be a theme here, it's all about the juxtapositions.

For example, the title track. You're blending a Brent Easton Ellis horror novel with a Grateful Dead album of classic Americana. Add Patrick Stump bouncing the word "Psycho" into a bouncy sing along, and you have the makings for a concert staple. The same with "Uma Thurman." Placing the "Pulp Fiction" star inside a song that mashes in the theme to "The Munsters" is something close to a work of genius. Then there's the heroics. Suzanne Vega's "dit dit doo doo" hook from "Tom's Diner" teases the intro before Stump challenges the listener. "You Will Remember Me...for Centuries" Stump wails to music meant to be played over a sports highlights reel. Same goes with "Immortals." Fall Out Boy are back to make rock that knows no limitations (there's nothing here that resembles a sappy ballad), and you'll have a very good time if you just let yourself follow along.