My Amazon Reviews: Muse “Drones”

Gonna Make You, Gonna Break You.
4 Out Of 5 Stars

In all heir pompous glory, Muse are old fashioned prog-rock band, with the fat trimmed off and aspirations toward the big statement. With "Drones," that landed a live one. "Drones" is allegedly about the dehumanizing of men and the militarization of the world. Y'know, you're a drones, we fight with drones and don't you make me one. Packed with big guitars, flourishing keyboards and Queenly harmonies, it's just what a Muse fan would be looking for, The concept gets a little wavy at times, but it's all good music.

The best songs are where the band stretches out, like "Pyscho" or the sprawling "Aftermath," a 10-minute epic that starts with an Ennio Morricone whistle, plays into a Pink Floyd vibe before finally tearing into some muscular metal. And that's before Matt Bellamy even sings a note, which he does over another flourish of piano. It's not like Muse has not tread this turf before, there was the two-pronged title track to "The Second Law" and the three part "Exogenesis" off "The Resistance." Just this time, they crammed it all into one song and rock it into submission. Same for the album opener, "Dead Inside," which throbs like Queen's "We Will Rock You."

I'm all for bands making sloppy concept albums. Done well, the concept often takes a back seat to the songs (like "Drones") or overwhelms and makes the album fly along one big trajectory (think of the classic Jethro Tull album, "Thick as a Brick"). Either way, you'll get more bang for your buck, and Muse are such a great band that "Drones" is a big deal of fun, without the overwhelm. It's as much a concept album as a return to form. Top notch stuff.

     

My Amazon Reviews: Mumford and Sons "Wilder Mind"

With nary a banjo in sight.
4 Out Of 5 Stars

In what must feel as divisive as the day Bob Dylan plugged his electric guitar in at the Newport Folk Festival, Mumford and Sons put away all their acoustical instruments and jack in the electrics. I don't see how this album could do anything but divide those fans who listened to "Sigh No More" and "Babel," then come to this. "Wilder Mind" says so long to the banjos and hello to the amplifiers. Is this a good thing? How does the band deal with wanting to step into the shoes of U2?

I don't think it's any secret that Mumford and Sons always wanted to sound big. After all, even with the acoustic guitars, the songs were often all about the bombast. Think of how potent "Lover Of The Light" or "The Cave" are, even behind the sound. They are anthems meant to shake the rafters. A friend of mine even referred to "Babel" as "God and Bombast." Turning the amps up is kind of a natural progression for the band. But I still doubt anyone would have predicted the pounding that comes from "The Wolf" or "Ditmas."

What remains is Marcus Mumford's voice and his way around a lyric. The songs are credited to the entire band, which likely meant that each member designated his volume to the instrumentation, as the lyrics remain as soul searching as ever, and a little less on the God Quest side of things. And when the sonics aren't overwhelming, the songs sound as brightly as they might have on the band's earlier albums ("Believe" and "Hot Gates").

This may still come as a bitter pill to swallow for the fans expecting more of what the first two albums represent. I would suggest that you test the samples first or think about what U2 (or a heavier version of Coldplay) might sound like. The songs themselves are good enough for me to forgive the amplification, but "Wilder Mind" takes a little getting used to. Be prepared.

     

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: 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.

    

My Amazon Reviews: Tom Petty & The Heartbreakers "Hypnotic Eye"

Cast Your Spell Over Me
4 Out Of 5 Stars

Tom Petty may have been making albums for over 40 years now, but he never lost his will to rock. Even with the maddeningly uneven "Mojo," there was plenty of guitar to go around. Same with the "Mudcrutch" reunion. Now he's back in the studio after a tour that was comprised mainly of deep cuts from across all his albums and a couple of small theater residencies. All of this seems to have given Petty and the band a kick in the kiester, as "Hypnotic Eye" gets down to business and doesn't let up.

The first thing you hear is a great big fuzz blast and you know you're in for a good time. "American Dream Plan B" picks up where "American Girl" left off all that time ago, and brings her back with her boyfriend who still believes in the dream, but he's getting old enough to know it might never happen. But you'd never guess the song's a bit of a bummer because the band is laying done a sound that's pure retro Petty, organ and all. Speaking of retro, you might even feel a little Doors creep in on the next song, "Fault Lines."

All across "Hypnotic Eye," you'll find mesmerizing rock and more of the "Mojo" blues. There's a shuffling blues harp surfing the rhythm of "Burnt Out Town" and a bump and grinder nearly seven minute "Shadow People." What Petty also reminds himself here is that you can still deliver a knockout in under three minutes, and he gets that body blow in with "Forgotten Man" (dig those twin lead guitars featuring Petty and Mike Campbell) and "American Dream Part B." There's a little something for everyone here, and it's all good. Tom Petty and The Heartbreakers' "Hypnotic Eye" will cast its spell and you won't mind a bit.

    

My Amazon Reviews: Judas Priest "Redeemer Of Souls"

Stand tall, Rise up, Stay strong
4 Out Of 5 Stars

Judas Priest last appeared in the form of a metal fever dream: the double disc concept album "Nostradamus." While I happened to love it, some Priest fans were left shaking their heads. There were plenty of good tracks, but where was that one killer anthem? This time, they have nothing to worry about. "Redeemer Of Souls" is Judas Priest back to basics. Twin guitars, thunder drums, and Rob Halford's glorious shriek rising above it all. One of the songs may be titled "Valhalla," but for old fans, this will be nirvana.

You can tell Priest is back to business from the moment Halford sings the first stanza, "welcome to my world of steel." And while the departure of legendary guitarist K.K. Downing may have set fans on edge, his replacement, Richie Faulkner, plays off Glenn Tipton and kick mutual butt. Even so, with all the plundering of their iconic metal sound, you'll still find the soul of a bluesman as "Redeemer" comes to a conclusion. "Beginning of The End" echoes Black Sabbath (whose "13" was a comeback of a similar excellence) with the swamps of ancient mists folding around one of Halford's more subdued performances. Mix that up with the bludgeoning "Metalizer" or the creature feature "Dragonaut," and you'll have a Judas Preist disc that stands toe to toe with their best work.

The deluxe version offers five extra songs, starting with the riff heavy and lead stinging "Snake Bite" and the anthemic "Bring It On" being the best of the five, especially the lead guitar threads needling their way through "Snakebite." There's even a parting gift of "Never Forget," in which the band declare their eternal thanks to the loyal fans who've stuck with the band for 17 albums and multiple decades. They are defenders of the faith, indeed.

     

My Amazon Reviews: Aerosmtih "Pump"

Pump Up The Volume
4 Out Of 5 Stars

Aerosmith continued their unlikely comeback with a second powerful album, "Pump." Working off the momentum supplied by "Permanent Vacation" and still collaborating with a few hired guns (Jim Vallance and Desmond Child snag a few songwriter credits), the Toxic Twins of Steven Tyler and Joe Perry were back in a groove that rivaled their heyday. "I'm a .38 Special on a Saturday night," growls Tyler on "F.I.N.E." and he means every word of it.

Not only did they have their groove back, they were also now MTV darlings. It turned "Love In an Elevator," "Jamie's Got a Gone" "The Other Side" and the power ballad "What It Takes" into hit singles. But it's the unlikely turns that made "Pump" into a little extra. There's a Sgt Pepperish middle section on "Elevator" that comes from outside the band's usual meat grinder. And would you have ever expected Aerosmith to pick up a Dulcimer and rock out with it (as does the "Dulcimer Stomp" that precedes "The Other Side." Despite "Pump" being a through-and-through Aerosmith album, they were stepping outside their box.

"Pump" was the peak of Aerosmith's second act. The outside influences began to overrun the band come "Get a Grip" and soon after that, the usual rock and roll demons took control. However, for sheer song for song bang, "Pump" offered conclusive proof that Aerosmith were one of America's classic rock bands that had the goods to outlast many of their 70's peers.