CD Reviews

My Rating System

My rating system is based on the "5 star being outstanding"; "1 star being poor" system with quarter of a star increments for those in-between. (see below). If you wonder why my ratings tend to be more favorable than unfavorable, keep in mind that I primarily rate what I buy for myself to listen, too. So high ratings means money well spent. Also, I prefer to write favorable reviews over unfavorable ones. So if you are wondering why I haven't rated the new Van Halen album yet ...

Outstanding

Excellent

Good

Fair

Poor

No Stars Terrible

I know my reviews are lenghty and perhaps a little too technical for the average reader. If they are a bit too much, I suggest a quick scan of the review which should include the first and last paragraph and the first and last sentence of each paragraph in between.
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Danger Danger: "Four The Hard Way"

3/4

"Four" is the follow-up to Danger Danger's Dawn, the 1995 import which can only be ordered U.S. domestically through the band's official website . "Dawn" was the debut for new vocalist Paul Laine and marked a heavier, nastier Danger Danger that did a damn good job of adding a little grunge to the normally melodic metal sound that has become the center-piece of D2's music. A damn good album, so be sure and check out the soundbytes for "Dawn" and "Four" at Dawn's Danger Danger Site. Well, enough of the bullshit and on with the review.

"Four The Hardway" starts out with one of four songs that was written for the "Cockroach" CD that has yet to be released due to legal battles with Sony/Epic. "Still Kickin'" lets it be known what every true D2 fan knows; the band is gonna be still kickin' ass until they're in the grave. I will never forget picking my copy up at the post office, poppin' it in the car, and the bass comin' out of my subwoofer was rattling my doors and windows. For those that have been lucky enough to hear the "Cockroach" version of this song, this song highlights the differences in the old and new D2. While the "Cockroach" version was polished, metal, "cock rock" {pardon the pun :)} yet done to perfection, the "Four" version is a rawer, heavier sound which still manages to maintain the essence of D2's patented driven, yet still melodic sound.

Same goes for "Sick Little Twisted Mind", the second of the "Cockroach" tunes. This song begins with some trademark powerchords by Andy Timmons cutting across a heavy bouncing bass by Bruno and drumming extraordinaire, heavy style, courtesy of Mr. West. For some reason, I picture Ozzy Osbourne drueling over this song as a follow-up to "No More Tears". If you haven't figured out that the boyz of D2 can play you've got to check out the instrumental break in the middle of this song--totally wicked!!!

"Goin Goin' Gone', the third "Cockroach" tune which was penned by Ravel, West, and Timmons, begins with the new bassy, bouncin' beat that guarantees that you can't keep still in your seat (reminiscent of Hagar-Van Halen). Complimented by Andy's thrashing chops and some nice keyboard textures provided by original D2 member, Kasey Smith, this is one of the more balanced tunes and it certainly deserves some airplay. In addition, this song showcases Paul's versatile voice in which he seems to know when to put the edge on his vocals at just the right time. So call-up your DJ and start making some requests for this one.

The last of the "Cockroach" tunes, "Afraid of Love", has a Def Leppard-like sound to it. This song would have been a sure-fire hit back in the days of "Hysteria" which just makes one wonder how far Danger Danger would be right now if Sony wouldn't have prematurely exterminated the "Cockroach". In comparison to the "Cockroach" version, I like Paul's deeper, soulful vocals better, but I wish the guys wouldn't have slowed the tempo down. It's still a great song with a lot of potential, I just heard it the other way first.

My personal favorite on "Four" is without a doubt"Jaded". "Jaded" is D2's closest attempt to alternative music today and they do it successfully. This song was wrote by Paul and Scott Brown (who co-wrote many of the songs on Paul's "Stick It In Your Ear" album. There is some excellent guitar work by the Brunos' on it (dig those flange and wah effects in the intro and on the "I know you think I'm a freak" part.) In addition, Paul puts his wah guitar touches on the song most noticeable in the licks played on the second verse. If this song gets any airplay, it is guaranteed to break Billboard's Top 40.

My second personal favorite is the song"Goin All The Way". This song reminds me of where Bon Jovi and Richie Sambora could have been had they not sold rock n' roll out. "Goin All The Way" marks a return to the sexually oriented lyrics that have always D2 a fun band. Today's music has went so grossly overboard for the darkside of human life exemplified by Kurt Cobain's suicide, that I think people have forgot that rock n' roll is about sex, humpin', shakin' or whatever you wanna call it. It's about getting your "rocks off", not blowin' your brains out. Thanks guys, for the sanity break.

Speaking of sanity breaks the fun continues with "The Girl Ain't Built to Sleep Alone". This has some excellent tongue-in-cheek lyrics and one hell of a drivin' guitar riff with just the right beat and some cool hooks. Play this one loud, not only will it sound better, but you will also notice Bruno "rip out" the bass riff for "Naughty Naughty" as the song is fading out.

Paul shows he has a sense of humor in "Heartbreak Suicide". Pulsating bass, catchy hooks, and damn cool lyrics make this song another candidate for Top 40 radio. So keep an eye on this one.
"I Don't Need You", which contains some catch-phrases from "Crawl" on the Dawn CD, is simply irresistible. "Poison in My Veins", "Acid in My Rain", "You're Not My Habit", and "I'm not your whore" just make you wonder if D2 isn't takin' a jab at some of today's grundge. But hey, this song with its drivin' bass, pounding drums, and buzzing guitar bring a smile to your face despite the suicidal lyrics. This one really grows on ya.

"Captain Bring Me Down" is the most serious song and probably the least D2 sounding song on the CD at times reminiscent of the Beatles. It's about the dangers of alcohol where "The Captain" was once a person that had the world in the palm of his hand, but now doesn't have control of his own life, "Your glory days have come and gone away." This song is starting to grow on me although I would say it is my least favorite on the album, but still a good song. I know a lot of others really like the song.

Finally, US fans get a break with the bonus song "Comin' Home '98 ." Coming off a long European tour, it seems like the boyz are taking this one to heart and glad to be comin' home to the US. I know that us fans back in the States are sure glad to see 'em and can't wait 'till they bring their tour somewhere near our homes.

"Welcome home, Danger Danger, I hope to see ya soon. Thanks for the best album of 1998, too."

David Collins 4/15/98

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Vixen: Tangerine

1/2

Let me begin this review by saying THIS IS NOT THE SAME VIXEN. I say this now to avoid having my mailbox bombed with people wanting to know if the rating is a mistake or if I have lost my musical wits. I say this because many people and most of the critics unfairly lumped Vixen in the same category as a lot of the other metal acts such as Slaughter, David Lee Roth, and Bon Jovi that seemed to think that "the look" was as important as the musician.

For Tangerine, not only did Vixen get a facelift by donning new, do I dare say more feminine, threads to replace their studded leather attire of the 80’s, they also ousted bassist and former GIT graduate/instructor, Share Pederson and lead guitarist Jan Kruehmond. But never fear, lead vocalist Janet Gardner, drummer Roxy Petrucci, and GIT instructor Gina Shihle, have managed to give Vixen a complete musical makeover that make this album the most pleasant surprise of the year.

Words such as "bubblegum", "uncreative", "cliche ridden", "copy cat", and "sub par" are no longer applicable when it comes to Vixen’s song writing which was the focal point of past criticism of the band. Gardner and Stihle who together wrote all twelve tracks for this album have captured and perfected a style of music that not only fits in with 90’s music, it is as original and diverse as any album released this year. In addition, the lyrics are more mature and are very well suited to the music. In fact, trying to find another song or group to reference these songs to in writing this review was nearly impossible, but in some cases I did anyway and I’m sure some will wonder "Where does he gather that from?".

Kicking off the album is the song "Page" which features Janet Gardner with a raspier, coarser style than before accompanied by music that has a beat and feel remotely reminiscent of Queensryche’s "The Thin Line" . The title cut, "Tangerine", which is about a young girl wasting their life away on drugs, has a similar appeal although it is a little more upbeat due in part to the driving bass lines throughout. "Never Say Never", is one of the best songs on the album since it captures the best of Vixen past and present. Gardner’s vocals are like a fine tuned machine shifting gears from what sounds like a sassy Ann Wilson to a female Hetfield (growl) to vintage Janet Gardner in the chorus. Thus, she has lost nothing but only expanded her voice so she can sing different styles.

"Peace" and "Stay" are the closest things to power ballads on the CD. Clean finger picking on electric and acoustic guitars combined with soul and blues inspired vocals, quickly make one think of "Heart" although these songs are quite unique.

"Barely Breathin’", returns to a heavier sound with the wah wah guitar and bass lines similar to something you would find on a Megadeth or Metallica album. Janet sings this song with so much intensity that you wonder if this song was about a real-life lover that did her wrong in the past. Also, noteworthy of a mention is "Machine" which sounds like Belinda Carlisle meets Nirvana and "Can’t Control Myself" which has a guitar riff that recollects George Lynch.

Of the heavy songs on the album, my personal favorite is "Shut Up". The verse consists of guitar picking (with chorus effect) on top of a funky dissonant (or out of tune) bass line and a solid drum beat by Petrucci that provides the ultimate backdrop for a pouty, dreamy sounding Janet floating through the verses before changing into a raspy, sounding Vixen in the chorus as she yells "Shut Up! Shut Up!" against a background of thrashing power chords. Meanwhile, Gina, who has kept her guitar solos a little short, but still awfully sweet, kicks into her most ferocious and longest solo on the album..

Of the non-heavy songs, my favorite is "Air Balloon". This song is an up-tempo "pop rock" song that has some similarities of Sheryl Crow’s "All I Wanna Do". The punchy bass line, "All I wanna do is have some fun" attitude, and "Sheryl Crow turned bad girl" vocals are the mainstay of this song. A clean guitar blasting blues licks throughout goes well with the catchy, fun bass line performed by Mike Pisculli who is credited on the CD as additional musician. Mike was replaced by Roxy's sister in live shows since he don't quite fit the Vixen image which seems like a violation of the ERA Amendment unless he refused to tour in drag. :) Seriously, Mike makes a big contribution to this album.

Although only eleven songs are mentioned on the album, the CD contains a hidden, and unnamed twelfth song. This song is consists of a medley of influences, most notably blues, jazz, and what I believe is a tad of bluegrass, is a showcase for Gina Stihle’s axemanship with Roxy Petrucci playing both drums and some mean flute.

In summary, "Tangerine" is a damn good album that have left no doubt that these ladies are serious musicians who have written their finest material to date. Although Gina Stihl is not Randy Rhodes, she certainly joins Lita at the top of the charts of axewielding dames although I hope she does a little longer solos when they play live. Janet Gardner, "the human voice bank", truly steals the show with her more mature, and angrier lyrics (for the nineties), catchy melodies, and her ability to make the most of a song. This is one of the best vocal performances I have ever heard period. Janet certainly leaves no doubt that she is the "top vixen" in the band. The sad thing maybe that since this is not the same Vixen, I am afraid that many of their existing, dedicated fans may have trouble accepting them. Nevertheless, I am confident if anybody will give this CD at least three listenings they are gonna like it so much they won't want want to take it out of the player for a while. It gets my vote for comeback of the year because it surpasses.

David Collins 7/19/98

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Tommy Shaw: 7 Deadly Zens

The original hype on this album was that it was to be a Best of Tommy Shaw’s solo albums with two or three new songs on it. However, once Tommy got in the writing mode he literally couldn’t quit. Before he knew it, he had enough new material by itself to make a CD. He then prioritized all of the songs, old and new, and found the new stuff had pushed all of the new stuff to the bottom of the list. The result, is a new Tommy Shaw CD, with brand new songs. Not only is this album his best solo album to date it is contains some of his finest work ever.

The first cut, and the first single, "Oceans" features an all-star line-up that includes his Damn Yankee Brothers (Jack, Ted, and Michael) on Guitar, Bass, and Drums and has Ed Roland (Collective Soul) singing the Beatlesque bridge of 8 bars. It is one of the most upbeat songs on the album and starts out with that bluesy "chicken pickin" guitar similar to the guitars Tommy and Ted incorporate into Damn Yankees songs (like at the beginning of "Mystified" and "Pile Driver"). As Tommy says on the enhanced portion, "When Ted and I get together we are nothing but a couple of black guys playing the blues.")

After "Oceans", Tommy kicks into "Stop Knockin’ which features a driving, whaling lead guitar on top of an acoustic guitar with an alternative punch to it. The song stays within the boundaries of Tommy Shaw even though it ends with a crying violin solo that sounds similar to the violins in the Beatles version of "I am the Walrus". Tommy immediately jumps into the third song, "All In How You Say It", which has this cool intro with a dissonant guitar riff straight from the Twilight Zone. The first verse begins with a Wurlitzer and this awesome, funky sounding bouncing bass line in it that reminds me a bit of the bass in Michael Jackson’s "Billie Jean" but don’t let that discourage you because this song is way too cool. Tommy sings the first verse with a low voice that’s full of soul swinging emotion gradually shifting the pitch of his vocals higher as the song moves along with the second verse a full octave higher than the first. This is one of the most unique songs I’ve ever heard, perhaps intriguing and spellbinding are better words, but it is definitely one of my favorites, not only musically, but lyrically as well.

"What Do You Want From Life" showcases a palm-muted, tic tac guitar riff running through the verses with strumming acoustic guitars and electric guitars playing appreggios in the chorus. Thus, this song reminds me a of a funked-up "Runaway" (off of the debut DY’s CD). The awesome hook in the chorus allows Tommy’s voice to soar while a heavy distorted lead solo with some intense phrasing sounds as if it’s talking to you. "In This Mind", a rocker that sounds like the song "Damn Yankees" (minus Ted) crossed with "Too Much Time On My Hands" rounds out the "excellent first five songs".

Shaw returns to that bluesy "chicken pickin" that seems to keep rearing its head throughout the album. This time the "chicken pickin" is used to establish a mellow little ditty which features Shaw singing a duet with Allison Krauss. This song with its mellow, folksy charm and great harmonies manages to grow on you. Shaw also does another duet, this time with Kevin Cronin of REO. This upbeat rocker sounds most like the DY’s probably because Jack Blades contributes some pretty powerful bass runs as well as co-writing the song with Tommy.

If there are any songs better than the first 5, it is 3 of the last 4 tracks (which is actually six songs). "Inspiration" is a lot like the DY’s "Here I Come Again" but with a touch of folk. Although the guitar may not measure up to the killer 12 string intro and there is no Nugent leads, this song is much better written. The first verse showcases some killer 6 string acoustic picking with Tommy singing on the lower end of his range, before the bass and drums kick in allowing Tommy’s vocals to climb and soar above the song before it slips into a Pink Floydish ending (actually a separate song made up of taped effects accompanied by the Murmuring Tommynacle Choir.)

"Who I Am" starts out with a patented Tommy Shaw solo screaming over a bluesy bouncing bass line and some cool chorused guitar picking. This song is basically the blues sung and played Tommy style and he makes it literally come alive. It is in the order of a toned down, bluesy "Blue Collar Man" and like "All in How" it is certainly one of my favorites. In addition, to Tommy’s leads and vocals, there is some great guitar, organ, and some cool "soul singers" belting out the background vocals. This song also ends with another song called "Need Water" that features taped effects including an "Ocean" background voices saying "Sound Like I Need Water". This sounds great through stereo headphones as the effects are panned from left to right.

My third favorite, "Down on the Ground", is a bluesy, rocker that’s power packing characteristic is worthy of "Renegade" and "Tell Me How You Want It". Definitely the heaviest song on the album and a "must see live" song.

The last song on the album is "A Place To Call My Own". Like the opener, it features Nugent on lead guitar. This song is about the homeless and is reminiscent of Shaws earlier, more serious work with Styx. However, this is the weakest of the last four songs and Nugents’ solo is the brightest moment. The album ends with a hidden track that is similar to the other Floydish, tape effect songs piggybacked on to "Inspiration" and "Who I Am" although it is indeed a separate track. It is basically a chant about peace of mind and the 7 Zens and serves as a good closer to an excellent album.

David Collins 7/16/98

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