When Ace Frehley releases an album like Space Invader, what you can expect to get from it can be summed up in one, single phrase. Let’s be honest. It’s going to have whatever he damn wants in it. Frehley is a rock legend. Yes, there is an emphasis on the word legend. He’s a founding member of KISS. And, while they currently tour along with Def Leppard without him, he’s got a another solo album on the shelves today.
Listen to him, and he will point out that he continues to be the best selling member of the original band when you compare each member’s solo work. He’s one of the best guitarists to ever walk the land. You need only a few fingers on your hand to name the rest of the company in that group: Jimi Hendrix, Jeff Beck, Jimmy Page, Pete Townshend. The rest, they all have Ace to thank.
“I don’t think much about how I influenced a whole generation of guitar players because that idea is so big [laughs],” said Frehley. Pearl Jam’s Stone Gossard, Lenny Kravitz and the late Dimebag Darrell of Pantera are amongst the numerous artists whom have pointed to the legendary guitarist as a profound inspiration. “I’m not egotistical and I try to be humble about all facets of my life but it’s kind of mind blowing to know I was a huge influence on a new crop of guitar players in the same way that people like Hendrix, Page, Beck and Townshend had an impact on me. I was influenced by all those players and now I’m lucky enough to have that kind of influence on guitar players younger than me that grew up listening to KISS and Ace Frehley. It goes full circle and it’s the way that rock and roll evolves. It’s a good feeling and it makes me feel proud. I hear my influence on some players and it just puts a smile on my face and gives me a little hop in my step.”
It’s no secret that Frehley had once sought other means to add a hop to his step. His career, his personal life, has been marred by years of substance abuse. But, as of 2014, Frehley has been sober for seven years. And, with the release of Space Invader, Frehley is already comparing this work with that of his first solo album from 1978 that reached platinum status.
Now, all things considered, there is nothing cutting edge coming out of Space Invader. Everything about it has a nostalgic feel that takes one back to the ’70s. First, the subject matter is a tip of the hat to his KISS stage persona as The Spaceman. Second, the album title is reminiscent of the arcade game of nearly the same name (Space Invaders – also from 1978). Even the album cover would look sharp plastered on the side of an arcade game cabinet. This is a fact that is certainly not missed by Frehley, as evidenced by his cover of The Steve Miller Band’s “The Joker.” Nonetheless, Frehley is not a young buck cutting his teeth trying to establish a signature sound to separate himself from the rest of the pack.
Oh, no.
You know how you often read music critics describe a song, or a band, as “arena rock,” and you’re not so sure what it means, so you go look it up in a dictionary? [Sorry. Too archaic of a term.] Wikipedia it? Right after the above definition you’ll find: See Also: Ace Frehley.
Frehley announced on his Facebook page yesterday the release of collector guitar pics in each of the first 25,000 printed CDs.
Space Invader provides music fans a showcase display of a legend at work, from singing to writing to sometimes double-timing as both lead guitarist and bassist. Antiquated as the sound may be to the contemporary fan, the best way to appreciate this album is to consider the style from the 63-year old rocker is the original source most others have imitated through the course of the past 40 years. Space Invader is available at online stores and brick and mortar retailers, or in the official Ace Frehley online store.
Key tracks: “The Joker“, “Starship“ (instrumental), “Change”
Flint, Michigan metallers King 810 have released their first full length album Memoirs Of A Murderer released by Roadrunner Records. A band, who are no stranger to arrests and controversy. Machine Head’s Rob Flynn has praised this band for their balls to the wall violent ways – But does Memoirs Of A Murderer live up to expectations?
My immediate impression with opening track “Killem All” is that this band is a mix between hardcore and death metal; if that makes any sense. It’s very aggressive sounding with very violent lyrics. The album does maintain a consistent theme with the whole “I wanna kill you” attitude that is present in almost every song. This band sends a message that they have been around violence all their life and want to translate it using metal music.
The album has aggressive electric guitar sound until the fourth track where it briefly changes pace with an acoustic but haunting sounding song “Take It”. Then the next track goes heavy again with “Fat Around The Heart” by delivering the message that the band has been around so much violence and wants to tell the listener not to try to live that kind of lifestyle because you won’t make it. Vocalist David Gunn goes spoken-word with “Anatomy 1-2” which is a good change of pace so the album does not sound all the same.
“Eyes” is an impressive track. The bands lyrical style changes as well as musically and goes into a melodic direction showing that the band has depth.
“Desperate Lover” goes back to the heavy and violent direction. Anyone that has ever fantasized about killing an ex-lover would love this song. Moving forward, we get another heavy track with “Boogeymen” and another acoustic track with “Devil Don’t Cry” before we get another spoken word track with “Anatomy 1-3”. The rest of the album continues with the heavy tracks before it finally closes with acoustic closing track “State of Nature”.
Overall, a solid debut. Simple but catchy rifts throughout, very violent but memorable lyrics. This band is the next controversial band, expect them to ride the wave of bad publicity, but their talent can’t be overlooked.
When I first met with Caustic Method in March to discuss their third album, The Virus, I was immediately inspired by their dedication. This album is the bands first with their latest lineup but the second take of the actual album. Concerned that the first take did not represent them, they started fresh. I have a feeling to really learn about the guys of Caustic Method one would only have to look as far as their copy of The Virus. You won’t be disappointed.
The album begins with their title track and first single; Caustic has made a smart choice making this the single to represent the album. Not only is “The Virus” an homage to Caustic fans, but the single itself showcases the complexity in their talent. The range in Matt Caustics voice is unlike what we are used to hearing in metal music. They have separated themselves from other metal bands immediately.
The third track, “Which Way the River Runs” stands out as it opens with Angel Rivera on the drums. In 30 seconds he has your heart racing with excitement. Eric Maliszewski and Darin Scott transform this song from good to great with their amazing talent. Instrumentals are the shining hero on this track.
My favorite track on the album is the final song, “Anti Hero”. If you thought you had heard all of Matt Caustic’s tricks, you were wrong. We are able to hear the softest side of his voice yet when he sings the bridge. It is eerie and chilling, but brilliant. There is nothing this man can not do. Being the most passionate song, it is the perfect end to the album.
The only complaint I have about this album is that it is only five tracks. I feel as if we have only chipped the surface of what these guys can do. However, that being said, this is a solid album. Each track represents Caustic and their incredible talent; there is no fluff to fill space. Every time I listened to this album I ended with a new favorite, each for a different reason. What did I love the most? Was it the quick change in Matt’s voice in “The Virus”, the beat of “Integrity Fails”, the drums on “Which Way the River Runs”, the bass and guitar in “Sex, Drugs, and Violence”, or the bridge in “Anti Hero”. That is the making of a great album. This is a perfect appetizer to what is next for these guys.
Wednesday, August 13 marks the drop date for My Plastic Sun’s latest EP entitled All of This, another three song excursion into the dreamy, indie, power-pop, ambient world occupied by the likes of Coldplay, Radiohead and The Beatles.
The band remains hard to pin down as each track expresses a different part of their collective musical soul, echoing their influences while creating new horizons musically. Lyrically they’ll make you play each piece repeatedly, wanting to embrace the depth of the story while floating along with the swelling melodies. While My Plastic Sun continues their tradition of self-recording, they’ve enlisted the mixing magic of L.A. based, Grammy Award winner Greg Collins (U2, Gwen Stefani, Red Hot Chili Peppers, etc.) to take the helm. As you might expect, the results are remarkable.
The single “All of This” opens and immediately grabs your senses with a rich, layered, signature sound that will be familiar, yet fresh, to those who know the band and auditory bliss to new listeners. Roy’s experience in the studio gave Greg all he needed to mix a chart-topping single, all wrapped up for worldwide consumption. It tastes of Morrissey melancholy blended with OMD romanticism fronting The Church, only better. One moment it’s sparse and dark, the next swirling in textural waves. Johnny’s voice is so expressive and heartfelt, with a range and depth of character that is remarkable, yet somehow shows another level on this song. The band is so distinct, yet approachable, dynamic, but comfortable. The result jumps from the speakers in the shape of an instant earworm.
“We Are Free” is pure, lush, romanticism, a poetic love song highlighting Johnny’s vocal dexterity and the band’s uncanny way with a hook. Roy and Johnny keep setting the bar higher as a songwriting team; they know their strengths and magnify them through the individual talents at their demand. The soft, bright, soft, bright builds and the twist in the chorus makes you wonder if the protagonist is in love or broken-hearted, pretty much what all of the greatest pop songs do. There is an element that’s left to the listener to personalize, difficult for many, these guys make it seamless.
The ending piece, “Your Prayer” is especially poignant with the recent loss of Robin Williams at his own hand. You can feel the emotion drip from Johnny’s voice as he tells this tale of those who stand strong for another through the pain of depression and addiction. There’s an element of Thom Yorke channeling here, the soar to falsetto is emotive and realizing, the depth of topic, takes me right back to the first paragraph. Radiohead, The Beatles and splash in a little Butch Vig for color. Brilliant stuff.
From my first listen I’ve championed this band. The combination of talents and their range, mixed with the extraordinary songwriting provides the listener with a world-class product that rivals any being made today. My Plastic Sun has been opening some big doors this year receiving strong airplay on Sirius XM’s The Coffee House with “Couldn’t Love You More” being the top-played song for ten weeks running. This bringing the band the opportunity to record live in the SiriusXM studios and perform live on The Coffee House. Don’t let this band pass you by, they’re offering the new EP as a download for free on their SoundCloud page. Check them out online and spread the word, this band is on the rise!
My Plastic Sun is:
Johnny Cummings (pictured on the album cover): lead vocals, piano, synths, organ, mellotrons, lead electric guitars, acoustic guitars, bass, and banjo
Roy Stein: drums, percussion, sampling and programming, assorted keyboards and synths, electric and acoustic guitars, and background vocals
Sam (Overhand Sam) Snyder: electric and acoustic guitars
From the bizarre wreckage that was the breakdown of popular metalcore band, As I Lay Dying, comes Wovenwar. The band is comprised of the entire As I Lay Dying lineup, sans disgraced vocalist Tim Lambesis – recently sentenced to six years in prison for the attempted hiring of a hitman to murder his wife; taking his place with vocal and guitar duties is, Oh, Sleeper’s, Shane Blay. With so much controversy surrounding the formation of the band, could they craft an album that would cut through it all?
The lead up to this album was a bit of a mystery. Details about the band outside of the lineup were kept from public knowledge. They seemed to appear out of nowhere during all of the Lambesis news coverage. The project was unveiled with a series of short videos posted online. It wasn’t until the release of lead single “All Rise” that anyone had a clear idea of what the band would sound like. The choice to debut with that song was the perfect one as it’s the strongest cut on the record and really does sum up what Wovenwar sounds like. As the release of the self titled record loomed, two more songs were released, finally giving fans a clear understanding that Wovenwar might have something special up their sleeve. And they certainly do.
Wovenwar have unleashed one of the most impressive debut records in a long time. Where As I Lay Dying was marred with stagnation, Wovenwar feels fresh beyond fresh in a metal landscape where everyone seems to be competing with each other to create albums that sound like their chosen genre and nothing else. Wovenwar certainly have ties to metalcore but to label them as such is unfair. The guitar work is split between the lead going off on wonderfully catchy noodily melodies with the rhythm section absolutely holding down the fort with driving force. This is guitarists Nick Hipa, Joe Sgrosso, Shane Blay, bassist Josh Gilbert, and drummer Jordan Mancino at their best. One has to now wonder if they felt limited within the confines of As I Lay Dying, because this album plays like these guys felt like they had something to prove. The songs on Wovenwar’s debut are full of melodic layers, the right amount of aggression, and riffs and lyrics that will stick in your head for months to come.
Despite the masterful instrumentation, the star of the album is vocalist Shane Blay. This guy has pipes for miles and can start laying claim to being one of the best vocalists in modern metal. He has a dynamic range that flows with the music and proves that the decision to go with predominantly clean vocals was the right move thankfully avoiding the good cop/bad cop clean/screamed vocal trap bands like Five Finger Death Punch suffer from.
Wovenwar will satisfy both metal fans and fans of radio friendly hard rock which open them up to the chance for the mainstream success their former/other bands never reached. Time will tell if the buzz around the band will switch from bizarre curiosity thanks to Lambesis’ predicament to praise for creating a phenomenal album, but Wovenwar deserve to be at the top of the metal/hard rock world. If Avenged Sevenfold can do it with an album that sounds tantamount to a cover album, Wovenwar can do it with originality, creativity in songwriting, and the ability to create catchy music you can’t, and won’t want to get out of your head.
In 1994, Grunge was at its peak, fans of music were wondering where metal was. When Pantera started to make a name for themselves in the early ’90s, another metal band started emerging out of the California bay area metal scene. Vocalist/guitarist Rob Flynn from Oakland, left his original band Vio-lence and started Machine Head. Teaming up with lead guitarist Logan Mader, Bassist Adam Duce and Drummer Chris Kontos. On August 8, 1994 Machine Head unleashed their debut and arguably their best album Burn My Eyes. Combining elements of thrash metal, street metal, hardcore, and groove metal. Machine Head became a force to be reckoned with.
The album starts with a bone crushing anthem “Davidian” which not only sets the tone for the album, but for setting the tone for Machine Head’s career, and for a new generation of metal. “Davidian” contains the fastest and most killer drum fills ever in any metal song and the power rally cry of “let freedom ring with a shotgun blast” has been cemented to fans of metal everywhere. The duel guitars and harmonies of Flynn and Logan have been unmatched ever since.
The album rolls into what would be another iconic song “Old” showcases the street side of Machine Head. The band shows off their Oakland, California background with all the crime stories and gang-life that they dealt with. “Old” paints a powerful picture with moving lyrics and insane riffs. “Old” has been a staple in every live Machine Head show.
You can’t help but feel like such as badass when you listen to this album. As you continue to listen, you get sucked in even more when you listen to “A Thousand Lies,” “None But My Own,” and “Rage To Overcome” before the album gets to the very haunting and disturbing “Death Church”. There’s no dull moment in this album. It’s a master piece from start to finish.
It’s nearly impossible to pick out a “best track” everything stands out. But the song with the most build up and emotion would easily have to be the track “I’m Your God Now”. Later on, the album showcases a disturbing take on reality with “Real Eyes, Realize, Real Lies” which is montage of 1993 and 1994 news clips talking about riots, and the need for revolution against the American government. The album closes with “Block” which is loaded with a lot of catchy guitar parts which has become a trademark to Machine Head’s sound.
Overall the album is still a masterpiece. Machine Head has released many fantastic albums but not even 2007’s The Blackening matches how powerful Burn My Eyes was. The original lineup of Rob Flynn, Adam Duce, Logan Mader, and Chris Kontos were only together a very brief two years, but they made it count with Burn My Eyes. A reunion will likely never happen. After Burn My Eyes, three-quarters of that lineup returned for 1997’s …The More Things Change before Machine Head took a turning point where guitarist Logan Mader left the band before The Burning Red was released. Since then, Logan Mader has become an acclaimed producer. He even produced Five Finger Death Punch’s debut The Way of the Fist. And Chris Kontos sat behind the kit for thrash outfit Attitude Adjustment. Adam Duce and Rob Flynn stayed together until last year Flynn fired Duce from the band. Duce, recently settled a lawsuit against the band, Rob Flynn is the only original member of Machine Head left, but the band is still dishing out killer albums and putting on unforgettable shows. But it’s time for the band to start playing more songs off Burn My Eyes because more of these songs need to be heard live.
Until then, let freedom ring with a shotgun blast!
Do yourself a favor and purchase Burn My Eyeshere. It’s a must own for any fan of metal.
New Jersey thrash metal outfit Overkill unleashed their 17th album, White Devil Armory, a couple of weeks ago and could possibly be the best metal album of the year. It is a nonstop thrill ride from start to finish. Overkill has been overlooked for many years because they were never considered the “big four” of thrash metal. White Devil Armory makes the argument that it should be rebranded as such.
The album starts out with the intro “XDM” which is just a short but haunting instrumental tune. Then all of a sudden BOOM! the album gets in your face and makes your ears bleed with “Armorist”. Overkill has never sounded better and showed no signs of slowing down. Armorist is a song made to be played live.
The album never slows down. White Devil Armory continues to hold the pedal on the gas with “Down to the Bone” and “Pig” before going into the six minute bone shattering anthem “Bitter Pill” which is the lead single off the album. Dave Linsk’s guitar solos are groovy as hell and the vocals of Bobby “Blitz” Ellsworth are as fiend as ever. But what stands out the most is the drumming from Ron Lipnicki. My arms and legs get tired just listening to those drums pound.
Another track that really stands out is “Freedom Rings” a real thrash masterpiece as well as closing track “In The Name”.
Overall, White Devil Armory is an album that cannot be overlooked. Most deffinately a candidate for best metal album of 2014. Mabe one of the best thrash metal albums of the decade too. There are no light or slow tracks; It’s nonstop thrash, very heavy album. Overkill clearly has a lot left in the tank. It’s time to really reevaluate who the “big four” of thrash metal really are.
With The Flesh Prevails,Fallujah are primed to become kings of their genre; though that might be by default because there might not be another band doing what they do. Or at least as good as they do it. Mixing the vocals of brutal death metal with the musicianship of elite level prog players, Fallujah have crafted a masterpiece of an album.
Guitarists Scott Carstairs and Brian James play as if they really wanted to find out what it would sound like if Dream Theater guitarist John Petrucci made a death metal record. But to pigeonhole Fallujah as death metal feels wrong. They combine the best of multiple genres. From synth-laden atmospheres to choppy machine gun riffs to beautiful neoclassical guitar lines, Fallujah doesn’t struggle with such a juggling act. They’re a band with a very clear idea of who they are and what they want to do. The Flesh Prevails was written with purpose, each song gives way to the one following it but also builds off the one before. If you have the time, this album is meant to be listened to from start to finish.
The opening track “Starlit Path” gives you just a taste of what’s to come; this is a record of textures. Each player getting their time to shine which leads to comparisons of Rush. And it’s strange how the biggest comparison I can make is to prog bands because Fallujah sounds nothing like them. But the craftsmanship that goes into that kind of music is apparent throughout the record. They have taken a template and made it their own. On paper, it sounds like a convoluted mess, but it works. The band seamlessly shifts from genre to genre but never loses repeating themes that tie everything together. The instrumental track “Allure” brings forth the absolutely amazing dedication these guys must have to their instruments.
But it’s the song “Alone With You” that lets you know who this band is. It’s a full-blown synth-heavy atmospheric track that is completely different from everything else on the album and feels like it would find a better home on an electronica mix. No gutteral vocals, no blast beats, no twisting guitar solos. Sparse beautiful female vocals line the song which makes this a track that challenges metal fans, usually and unfortunately a close minded bunch. This track should feel out-of-place on this record yet it doesn’t. And that’s why this album works. “Alone With You” may end up being the overlooked track on the record but it is the most important one. It shows risk and bravery and those things are too far and few in the world of heavy music.
There’s a word I keep coming back to with this album, beautiful. From the cover art to the way they blend soft vocals in at key moments, to the crystal clear guitar tone, this album is refined and sophisticated. But it’s not a hard listen. Sometimes bands seem like they want to be technical just for the sake of showing off their chops. Fallujah are not that band. They play this way because that’s the way they play. It’s not forced, it’s not faked, it’s an evolutionary step in technical death metal. Hopefully some bands with a stale sound will take notice because The Flesh Prevails has every right to be labeled influential to the genre.
At the end of 2014 it’s hard to tell where The Flesh Prevails will stand with the best of the year. There is tough competition for sure with Behemoth unleashing the monster that is The Satanist and Carnifex’s stellar Die Without Hope, but it’s safe to say Fallujah have made a defining record not only for this year, not only for them as a band, but for death metal as a genre.
Key Tracks: Starlit Path, Levitation, Alone With You
It’s hard to comprehend a time when there has been so much fanfare surrounding a “Weird Al” Yankovic release; nonetheless, in 2014, Mandatory Fun is here.
The 54-year old from Lynwood, CA launched his career tape-recording a Queen parody from inside a bathroom. Today, he is using the numerous tools of the Internet, launching eight videos in eight days upon the consumer world. It’s the most aggressive marketing ploy from the three-time Grammy award winning artist, since he was able to take over MTV’s broadcasting with previous releases.
The media blitz is still upon us, but we wish to provide you a collection of three cuts from Mandatory Fun.
First World Problems:
Yankovic invokes the musical style of ’80s alternative group, Pixies in “First World Problems.” This track is a joke on all of us, as we have all suffered from at least one affliction referenced in the song – from having someone call our cell phone (instead of texting), to purchasing an extra item online only to qualify for free shipping. It’s a song full of chuckles, until you reach that awkward moment when you realize you’re guilty of doing this too.
Word Crimes:
OMG! Dis video will 4ever circulate da Internet for as long as theirs social media ant pour grammer.
(Please tell me you saw what I did just there. Anyway.)
Yankovic goes the way of They Might Be Giants to help educate the English-speaking world on grammar usage by doing a spoof off of Robin Thicke’s “Blurred Lines.” The highly controversial song, the live performance with Miley Cyrus, the lyrics, the subject matter, and just about everything involving this song has been a dumpster fire despite its popularity. Yankovic turns Blurred Lines into a song music critics love to hate, into one they adore. The potential uses for this 3-minute-plus video is endless – from business seminars to teach technical writing, to an addition to Common Core’s academic curriculum. But, likely, you will be seeing this for the next twenty years as a witty response to whomever attempts to write something online without consulting a dictionary. This is another track that will have you laughing until you find yourself questioning why one (or many) reference(s) is (are) funny.
Mission Statement:
The 1980s is when hippies turned to yuppies, casting aside their collective search for free love and peace for monetary growth and addressing sound investments to build an adequate retirement nest egg. Here, Yankovic takes a Crosby, Stills, Nash and Young tune and affects your brain somewhat differently than a contact high, intoxicating listeners with annoying corporate buzz phrases. Any white-collar worker is nodding his head to this right now.
Mandatory Fun is Al’s 14th release, and by far his masterpiece. Like Warner Brothers through Looney Tunes, Yankovic is able to tie in current events with references to the past, allowing listeners from multiple generations to enjoy.
Key Tracks: Word Crimes, Mission Statement, First World Problems
You can purchase Mandatory Fun through most retailers. For more information please visit his website.
Released on compact disc this week by the Estate of Jerry Garcia comes Garcia Live Volume Four, the newest addition to the updated live release series hailing from Garcia’s bulging vault. The recording comes from March 22, 1978 at Veterans Hall in Sebastopol, CA and features a tour already well represented on official releases because of its crispy playing and plentiful jamming. The now defunct Pure Jerry series spotlighted the JGB’s March 18, 1978 early and late performances, as well as concerts from February and June on the Bay Area 1978 release.
This incarnation of the ‘Jerry Garcia Band’ is worthy of deep inspection and were together from November 1977 through November of 1978. In addition to Garcia the band included, John Kahn (Bass), Keith Godchaux (Piano, Vocals), Donna Godchaux (Vocals), Maria Muldaur (Vocals) and Buzz Buchanan (Drums). This performance also features future Garcia Band member Ozzie Ahlers sitting in for the final four songs of the second set. What makes this era so attractive to fans and archivists is the nimble and airy aesthetic of the group. Godchaux and Garcia provide the color to the tunes, spinning delicate and ornate webs of melody around one another. Kahn’s hide and seek bass playing is always a unique aspect of the JGB’s rolling mystical attitude and his relationship with the clean sheet drumming of Buchanan gives the tunes a flexibility not always available to Garcia in the Grateful Dead.
Garcia’s guitar tone during this era is also something of note. His famous Doug Irwin ‘Wolf’ guitar returned in the Fall of 1977 after putting away his touring Travis Bean guitar for technical issues. The ‘Wolf’ appeared refurbished and retooled with a big brassy tone, like a huffing and puffing psychedelic horn. Garcia’s vocals during this era are also some of the most emotive and expressive of his career. While his throat still contained a youthful exuberance, its continued maturity injected wisdom and inquisitive weariness to his storytelling. The Spring 1978 Grateful Dead tour the following month from this concert is well-known for Garcia’s emotional vocal performances, especially on the ballads. This new-found vocal investment may or may not be due to Garcia’s newly found love of Persian which is well-known for its effect on many artists vocal approach.
The concert begins with usual JGB show opener “How Sweet It Is (To Be Loved by You)” always a proper number to warm up the chops and rigid fingers. The swift and skillful group floats like a feather but drops musically like a melodic anvil. There was a full moon on this evening and its effect is immediately noticeable in the magical tides being created by the band.
One of the finest versions of “Catfish John” follows next in the set and is highlighted by both Garcia and Godchaux’s melodic explorations. Each nook and cranny of the song is searched for differing avenues of expression by the duo.
The preceding East Coast segment of the JGB’s tour had just concluded on March 19 and a definite contrast in vibe is felt with this introductory West coast performance. The first set floats along patiently, moving through three extended versions of elongated readings of Dylan’s ‘Simple Twist of Fate’, ‘Second That Emotion’ and a respectful and regal version of ‘The Night They Drove Old Dixie Down’. ‘Simple Twist’ clip-clop’s with a horse’s strut, Garcia lending his own special poignancy to the song with melodic interpretations of Dylan’s verses that draw out visual scenes not sketched by the original interpretation.
The set closing “The Night They Drove Old Dixie Down” looks trough a misty window at battlefields of the past. Again, the song is stretched out and examined dynamically with the prime interpreter Garcia illustrating new meanings through his ariose guitar runs. This flexing version lends an emotional and introspective conclusion to the set.
The second set begins excitedly with a bounding tempo as the band introduces Jimmy Cliff’s “Harder They Come”. A kinetic groove is developed around Kahn and Godchaux’s quivering exclamations, equaling another rendition that is representative of an all time version. Garcia’s guitar is plump and round, his slithering runs hitting the central spot of the frets each and every time. These are not the speed runs, or aimless noodles that Garcia is sometimes guilty of when he may be feeling too good. These are concentrated and developed reconstructions of the melody, bent and shaped into original forms and readings. This is when Garcia is at his best. Sometimes the spaces between the notes are as uniquely expressed as the flexed one note holds. Garcia’s prowess as a rhythm guitarist which is often highly underrated is also of note in this version. Garcia scrubs until creating bubbles under Godchaux’s solo segment which in turn is sandwiched by Garcia’s solo picked excursions.
Keeping with the increasing energy of the second set comes another definitive reading with a stoic “Mission in the Rain”. Even though this song could be considered a ‘ballad’, here it sways away at a strutting clip. One of Hunter/Garcia’s finest songwriting moments, the song never quite felt right with the Dead, here it elicits a downpour of Garcia trills that reflect Godchaux’s misty keys, eventually building and thundering into a massive musical storm. Also highlighting this performance is the aforementioned Garcia vocal reading, full of tasteful over enunciation and additional push.
Part of the reason for the fame and strength of performances hailing from this era is attributed to the fact that Garcia had just released possibly his finest record with the Garcia Band. Cats Under the Stars was being supported by this tour and its songs formed cornerstones for Garcia’s repertoire for years to come. “Cats Down Under the Stars” and “Gomorrah” are played back to back here, true to the recently released studio versions but performed with the same glory and attitude of preceding numbers. Throughout the intervening years these songs would develop into ‘big’ numbers, road tested and matured due to constant playing.
Garcia Band favorite “Mystery Train” follows and as expected chugs along blowing steam. The tempo shakes like a railroad bridge with Ozzie Ahlers now sitting in on percussive piano according to the liner notes. The band cruises over crossings, under bridges and through American rock and roll landscapes on Buchanan’s choogling drums.
The smoky ‘reggae’ burn of the Hunter/Kahn number “Love in the Afternoon” is played next and brings thing back down slightly, until Garcia whips a lasso around the band and drags them into a nice mid song peak. Ahlers piano playing fits in perfectly and nary a lick is misplaced by his guest appearance.
The traditional “I’ll Be with Thee” closes the concert on a soulful and secular note. Garcia Band’s vibe was always based in American values, traditional ideas, and soulful renditions of classic melodies. Donna Godchaux and Muldaur lend their gospel voices in close harmony on this hand raising, hip swaying closing number.
The band returns for an encore of “Midnight Moonlight” which is the victim of an unfortunate tape cut at its conclusion. Most of the song is available, which is fortunate because like the Full Moon that shined outside the venue, this version is luminescent and celebratory, sending the assembled crowd to walk hand in hand across the lunar lit night.
The new GarciaLive Volume 4 is a worthy release from a well represented time in the Garcia Band’s history. Similarly to the Grateful Dead’s 1972, 1977 and 1990 tours, this era is highlighted through official releases because of its historic value, beautiful playing and unique instrumental prowess. The available soundboard recording is sweet sounding, well-balanced and loaded with delicate and powerful playing, all coming from an era filled with jaw dropping guitar fireworks by Garcia and sympathetic backing from the players.
Key Tracks: Mission in the Rain, Catfish John, The Harder They Come