My Amazon Reviews: Midnight Oil "Diesel and Dust - Deluxe Version"

Midnight Oil Burns
5 Out Of 5 Stars

"Diesel and Dust" was Midnight Oil's perfect storm of an album. Peter Garret was still passionate (well, he always was), and the rest of the band, in particular bassist Peter Gifford and drummer Rob Hirst, kicked up their best rock and roll A-game. The Oils shucked some of the artier motifs that bogged down "10, 9, 8..." and "Red Sails in the Sunset," and switched to dance floor propulsion. The result was the politco-rock of "Beds are Burning" became an international smash both on rock radio and in the clubs. Yet it came with absolutely no condensation of the band's roots; the songs were as fiery and as socially spiked as ever.

In fact, this may have been Midnight Oil's most homeland-centric album. Everything from the single to the closing "Sometimes" addresses issues in some form or another. Some are blatant ("Beds are Burning's" pointed look at aboriginal rights, "The Dead Heart's" anti-mining rant) to oblique (the plea to not sell out on "Sometimes" and "Arctic World"). Even the weaker material ("Whoah") would be great on a lesser album. It's a shame that few bands have ever tried to follow where Midnight Oil tread...it's been a long time since a band so forcefully took a stand AND made a successful commercial run at it.

Given the timing of their breakthrough, "Diesel and Dust" may have been at a moment when being socially and politically actionable was acceptable. 1987-88 were also the years "Joshua Tree" ruled the world and artists like The Call, Peter Gabriel and Simple Minds were making anthemic rock chart-worthy. But no-one mixed it up quite like Midnight Oil, and "Diesel and Dust" was the peak of their curve.

Bonus concert DVD shows the Oils at their incendiary best, and includes the video clip for "Beds Are Burning."

     

My Amazon Reviews: The Tubes "Remote Control - Expanded Edition"

Tube-opia!
4 Out Of 5 Stars

The Tubes were licking their wounds from the dismal dismissal of their highly experimental "Now," when they decided to pool all their strengths and shoot for a concept album. It made perfect sense that they would create a grand satire of pervasive media, since most of their best work lampooned that topic with gleefully broad strokes. This time, however, The Tubes brought on board a secret weapon in the person of Todd Rundgren. He was running hot as a producer at the time, coming off the huge success of Meat Loaf, solo albums, and the breakout of his band Utopia.

What Rundgren did to "Remote Control" was to slicken the sound to a commercial sheen that the band had lacked in the past. For their part, The Tubes came forth with a very strong batch of songs, all tied together with the Marshall McLuhan styled "medium is the message" theme. The protagonist of "Remote Control" wanders the album becoming increasingly absorbed/disillusioned with the fact that his life isn't matching the programs he's watching, from the desire for instant gratification in "I Want It All Now," to the terrific ballad "Love's A Mystery (I Don't Understand)," featuring a superb vocal from Fee.

Perhaps the most interesting moment here is the instrumental "Get Overture," which had the band showing off their musicianship in a way that was only hinted at before (though it also bears the very heavy hand of Todd). It proved once and for all that The Tubes were more than just comical music pranksters and had more to offer than the shocking stage antics of their live shows. It's hard for me to decide which Tubes CD is really their finest, but between "Remote Control" and "The Completion Backwards Principle," I'd give this disc the higher scores for composition. "TCBP" was a sleeker musical effort, but in their desire to land that elusive hit single, had a damper lyrical bite. However, in all things Tubular, you really need both.

The best two things about this re-issue? There are four bonus tracks from the long unreleased "Suffer For Sound" sessions. They show the metamorphosis of the band in transition to what would eventually be their slicker sound. I think "Holy War" is my favorite of the batch. Then there's the sound. Beefed up and sharpened considerably from my old original A&M CD, the disc sounds terrific. Add the story of the album's gestation in the liner notes, and you have the best Tubes issue in their always eclectic discography.

     

My Amazon Reviews: Black Sabbath "13"

Back to Sludge Metal
4 Out Of 5 Stars

After decades of waiting, 3/4's of the original Black Sabbath (including Ozzy) reunite for what has to be one of the most anticipated CD's of the year, the boomtastic "13." I can testify that it was worth the wait. Producer Rick Rubin told the band to go back to their early albums to get a feel for what he was expecting to produce, and the band took it to heart. This is metal so dense, it cuts like used crankshaft motor oil. It's that heavy.

If you're looking for speedy riff rocking, it's not here. This is the sound that created such anthemic dirges as "War Pigs" or "Sweet Leaf." There's even a touch of Ozzy the blasphemer as he raises the question "Is God Dead?" And they pound that riff into submission for over 8 minutes. Granted, Ozzy's voice is showing its weathering, but Tony Iommi and Geezer Butler still have the magic spooky touch. (Audioslave drummer Brad Wilk fills in for Bill Ward.) "End Of The Beginning" snakes a demented blues riff to kick the album off with a oozing pounce. Or there's "Dear Father," which tackles the subject of abuse.

The band has never been scared of heavier topics, which "Dear Father" and the anxiety provoking "Methademic" show. (Given Ozzy's recent trip to rehab, maybe even closer to home than known.) The band even throws a few touchstones from the old days in when "Zeitgeist" pays homage to "Planet Caravan." Even with that obvious reference, "13" pounds and stomps like the monsters Black Sabbath were at the peak of their powers. The sense of dread and thrill of doom still permeate the best of the songs here, and - despite their age - the band doesn't sound like they are pandering to their past or trying to stay current. "13" is every bit as tasty as "The Devil You Know" (by Heaven and Hell with Dio), just down tuned and packed with 50% more evil.

Worth the wait and better than anyone could have possibly expected at this point in their collective life, "13" is a triumphant comeback. "I ain't no hero to come and save you," Ozzy wails in "Peace of Mind." Well, actually guys, you are. Thanks for saving heavy metal for 2013.