My Amazon Reviews: Fall Out Boy "Save Rock and Roll"

Did it really need to be saved in the first place?
3 Out Of 5 Stars

Fall Out Boy proclaim their mission. That mission? "Save Rock and Roll." This after a long stagnant period where the band had allegedly broken up, lead singer Patrick Stump had his solo album, and Fall Out Boy seemed dead and buried. Not so, as they claim in the first song. "I'll fix you like a remix then raise you like a Phoenix," Stump yelps over the usual bombast and distorted pop that enjoys a current vogue.

Which is what frustrates me about "Save Rock and Roll." FOB's albums were pastiches of rock and pop elements that rang clear as a bell and had seemingly endless energy. Main songwriter Pete Wentz seemed to groove on Michael Jackson and The Rolling Stones in equal measure, especially on their best album, "Infinity On High." Despite the album's title, rock and roll is surprisingly absent from the music overall. It's more pop and elements of hip-hop, closer to Stump's solo "Soul Punk" than a FOB album. They also succumb to the loudness wars; "Save Rock and Roll" is compressed within an inch of its life. The mix is so bricked up that it's enough to fatigue your ears.

There are highlights, like "Phoenix," the lead single "My Songs Know What You Did In The Dark" and the title track, which features a fine appearance by Elton John. FOB also lured Courtney Love to scream a few times on "Rat A Tat," Foxes (whoever she is) on "Just One Yesterday" and rapper Big Sean for the OK "The Mighty Fall." Guest appearances are fine to broaden an album's palette, and frankly Elton's appearance makes "Save Rock and Roll" a better song than it probably would be without him. That doesn't rescue "Save Rock and Roll" from its homogeneity or the blatant fact that the band has done much better. For all the heroic bravura in its title, "Save Rock and Roll" is merely average.

     

My Amazon Reviews: Nirvana "In Utero"

An Utter Sandblast of an Album
4 Out Of 5 Stars

The members of Nirvana were so caught off guard at the explosive success of "Nevermind" that it took them three years to record the follow-up. They were even quoted as saying they wanted to make an anti-nevermind to shed some of their fans who looked at the band (and in particular, Kurt Cobain) as movement leaders. "In Utero" was somewhat successful at that attempt, as it is possibly one of the loudest and most distorted albums recorded by a major rockstar band. Producer Steve Albini's original production was so harsh that the record company demanded a remix, which was done when the masters were turned over to REM producer Scott Litt, who remixed them under the title of "additional engineering."

But even he couldn't smooth out the roughest edges of "In Utero." The band got its initial wish as well. "In Utero" was selling on a slower pace than "Nevermind" was until Cobain decided addiction, success and depression were too much for him and he ended his own life. That act reignited the sales of "In Utero" and the whole Cobain as spokesman of a generation rage. His suicide still doesn't detract from the album's strengths and flaws. Cobain was a unique songwriter, in that his style of 'soft-loud-soft-screech' version of verse-chorus-verse altered songwriting for a whole generation of acts. And when he was on, he was stunning. There's no denying the power of "Heart Shaped Box" and "Dumb" or the depth of the haunting "All Apologies." Drummer Dave Grohl was the feistiest drummer in a long line of skinpounders, and bassist Kirst Novoselic held the bottom together in the midst of all the chaos.

At the same time, the album's flaws are glaring. The intentional dissonance can sometimes get in the way of the band (like on "Radio Friendly Unit Shifter," which sounds like a slam against the record company's insistence on getting another "Smells Like Teen Spirit") or the crash and burn howling on "Scentless Apprentice." But when you consider that this was the kind of Stooges' "Raw Power" approach Nirvana was aiming for, it's pretty amazing that they got away with it. Also, given that the music was essentially Cobain's suicide note to the world, it cemented "In Utero" as a riveting punctuation point to the end of Nirvana's lifespan.

     

My Amazon Reviews: Richard Thompson "Across a Crowded Room"

Love is a Bitter Mistress
4 Out Of 5 Stars

Richard Thompson is an amazing guitarist, a passionate singer and a terrific songwriter. He's also a man who views love with a cynical eye. "Across a Crowded Room" is one of his albums that followed in the backwash of a nasty breakup with his wife and musical partner Linda Thompson. As such, Thompson's idea of a love song is to sing "love letters you wrote are pushed down your throat, and leave you choking." While this is a stunning musical achievement of an album, it's not a feel good collection.

Thompson's ruminations of love gone sour extend to the song titles; "Love In a Faithless Country" and "When The Spell is Broken" leave little doubt to where their loyalties lie. Even the perky "You Don't Say" turns itself on its head as Thompson listens to friends telling him about all the nasty things the ex is saying, but the moondog in Thompson answers all these accusations back with "you mean she still cares? You don't say?" Then a stunning guitar lead takes over. Which is the best thing about any given Richard Thompson album. Despite the way he looks at the world, you're in the presence of one of the world's most incredible guitarists. He can sting like he does on "Little Blue Number" or fill the room with atmosphere as he does on "Ghosts In The Wind" and "Faithless Country."

"Love In A Faithless Country" may be one of my personal top ten Thompson songs (this coming from a guy who's seen Thompson live five times, from 1986 to the present). Under a haunting guitar figure, he describes a love affair in terms of warfare and espionage. Claiming that "always make your best moves late at night, always keep your tools well out of sight," before breaking into the twist of the chorus's "that's the way we make love." The ghostly background singers and martial drums contribute to an overall sinister feel.

Thompson has written some songs that are folk classics ("Beeswing," "1952 Vincent Black Lightning" both spring immediately to my mind), but "Across a Crowded Room" is one of his best albums. I'll also recommend "Rumor and Sigh," "Front Parlor Ballads" and "Shoot Out The Lights" for some of his most enjoyable work.