BLOG HAS MOVED

Hey Everyone,

I recently moved my Blog over to Wordpress. The link is now as follows...

rightontimemusicreviews.wordpress.com

Thanks for checking it out!

-Carl

Allister- Dead Ends and Girlfriends

Readers from my blog over the past few months will remember my review of Senses Fail’s album Let It Enfold You. It was an album that I listened to lots in High School, looking back; I am not sure how I did it. Allister’s debut album is also in that class. It’s not nearly as bad an album as Let It Enfold You; it’s just so juvenile on so many levels. It’s not a shock since the band members were just out of High School themselves when they recorded it. Still, if I was to have created an album fresh out of High School, it would not have included some of the material contained on this record.

It’s really my biggest gripe with the record, its immaturity. I mean, for what the record is, it truthfully isn’t bad. For a pop-punk Drive-Thru records band from the late 90s, it’s actually quite good. The music isn’t the most complicated but at the same time, it’s well-played. You can tell by the record that the guys can actually play their instruments. Drummer Tim Rogner does tend to fall into the typical “punk-rock” style of drumming at times, which is to say he plays as fast as possible while repeating the same basic pattern that will be familiar to anyone who has listened to punk over the last 15 or so years. Other than that, the album’s music doesn’t really make the record stick out, but it’s not a complete detriment to its quality either.

Now we come to the lyrics. Before I start, let me preface this by saying, the cover of the Fraggle Rawk theme song is probably the high point of the album. It doesn’t seem that it was some ploy by the band’s management to try to be “unique”. It’s just funny. Also they covered the Backstreet Boys “I want it that way”. That cover actually was a little creepy, since it sounded almost too much like the real thing.

Since Dead Ends and Girlfriends was released, Allister has created two more albums (with one coming later this year). Their lyrics have grown much more “mature” over the years, but this album is pretty rough. Songs like Jacob Thinks I’m Gay seems like something a 13 year old would come up with. Friday Night is another song that anyone over 17 will roll their eyes at. Here’s a sample “Gonna get loaded...were gonna get f**ked up tonight…” A good soundtrack to a 15 year old getting drunk for the first time, but for the rest of society, it just doesn't fly. Those are just two examples. The rest of the album is similar in tone. Like I said, the album really isn’t all that bad; taken for what it is, there has been worse. The immaturity brings the record down though.

Grade---C-

Sublime- 40 oz. to Freedom

It’s been 18 years since Sublime released their debut full-length album 40 oz. to Freedom, and it sounds just as fresh today as it did back then. If there was ever an album that captured the essence of being young and partying, this is it. For a debut album, 40 oz. really pushes the boundaries. Most bands would show some growing pains in their 1st album, maybe the lyrics aren’t the best, or maybe the record isn’t “tight”. Not so with Sublime’s first album. It ushered in a new kind of music to the mainstream. It took the California ska/punk scene, threw in some reggae, and a bit of dub to create something totally different than anything that came before…or since.

Musically, the album is well-played and it shows that Bradley Nowell could play many styles on guitar and play them all well. Hardcore Punk? Look at New Thrash. Dub Music? Waiting for my Ruca is your jam. Want a ballad? Badfish is one of the bands best songs. It’s really amazing that a band was able to blend so many styles on their first album, while managing to not mess it up along the way. As for the other members of the band, bassist Eric Wilson didn’t bring all that much to the band in terms of innovation, but he did contribute some good solos, especially when they played songs from this album live. Drummer Bud Gaugh is underrated as a drummer. He may not be the flashiest drummer, but the guy can play.

One aspect of the band that people don’t discuss all that often is Bradley’s ability to write deep, personal lyrics. Lots of the focus was on drugs/addiction, as Nowell was battling heroin addiction, which eventually led to his fatal overdose in 1996. In addition to the songs about drugs, most have a real party feel to them. It’s the kind of album that you put on during a party on a warm summer night and just groove to. Also…instead of liner notes thanking people who aided in the creation of the album, the band included “Thank You” as the final track, pretty much an audio thanks to all their friends/family. Pretty unique.

40 oz. is one of those albums that have almost been lost in the desert of popular music. The vast majority of fans who found the band though MTV and heard only the self-titled album really missed out on a true gem. Don’t get me wrong, there have been many people who heard the band via mass media and researched their older stuff and have heard the album, but still for many, they are truly missing out.

Grade---A-

Red Hot Chili Peppers- Stadium Arcadium

As the band’s last album with guitarist John Frusicante, Stadium Arcadium is a pretty good listen for the most part. If you read this blog, you will probably see that I am a big fan of most of Frusciante’s work, and he leaves the band with one of his better performances on record. Anthony Kiedis probably sounds better on this record then he has on any other as well. It goes without saying that Flea and Chad Smith are one of the best, if not THE best rhythm sections in contemporary rock music. In terms of the actual instrumental music, it is a very diverse album. There are elements of pretty much every style of music. Since it is the Chili Peppers, there is definitely a funk influence on some of the songs, along with even some punk undertones. Branching out a bit, there is even a bit of jazz thrown in for good measure, along with the straight forward rock music.

As good as the actual music is, the place where this album comes up lacking a bit is the lyrics. Over his career, Kiedis has pretty much touched on every subject, and it seems that he is running a little dry when it comes to ideas. Don’t get me wrong, the lyrics on this album is still better than many other records released over the last few years, however it seems to evoke a “been there, done that” feeling for the listener. I mean how many songs about California can a person take before it becomes overload?

For a man who once wrote “Party on Your P**sy”, some of the lyrics on the album are almost touching (see: Hard to Concentrate). It shows that Kiedis has matured; of course he is now in his 40s, so you would hope that’s the case. The songs about relationships on the album are probably its lyrical highpoint since its shows his evolution as a writer, but other than that, the lyrics are pedestrian. They just don’t seem as personal as some of his other lyrics, which has been the case in the past.

To me, the best part about this album is the contribution from John Frusicante on guitar/backing vocals. Over the years, his approach to playing guitar has changed, and on this record he goes a little crazy. He has never really been big on solos, but that’s thrown out the window here, as at the end of Dani California (the first track) there is a minute long solo heavy on effects by the end. Throughout the album, he contributes numerous solos which show off the fact that when Frusicante wants to, he can truly carry a record. Not to be forgotten is his backing vocals. It’s interesting to hear his improvement in that regard since re-joining the band in 1998. He seems much more confident and the vocals add depth to many songs.

The album was a bunch of Grammys and it was pretty deserving of them. It’s not the Chili Peppers best album, but it has flashes of greatness and for me was one of the better albums of 2006.

Grade---B+

Omar Rodriguez-Lopez Quartet- Sepulcros De Miel

If there is one word that describes Omar Rodriguez-Lopez’s solo career, it is prolific. Let’s be honest here, he has released eight albums in the past year (with one more coming in 2010 in addition to the two released already this year). It’s amazing he finds time to do anything else in life. Oh wait, he also released a full-length movie in February…and it’s only June. His solo career has been interesting to say the least. He doesn’t just stick to one sound, instead going from genre to genre.

On Sepulcros De Miel, Rodriguez-Lopez enlists the newly created Quartet which includes many of his Mars Volta band mates, and friend/former Red Hot Chili Peppers guitarist John Frusicante. It is one of those albums that it takes a few listens to really sink in. As with most of his solo records, Rodriguez-Lopez pretty much takes convention and throws it out the window. A mixture of electronic music and “progressive” (whatever that means nowadays) rock describes the album in a nutshell.

One of the best things about this album is the price. Free. Well, it can be downloaded for free from his website…or you can donate as much money as you wish to download the album. The donations go to “Keep Music in Schools”, a charity that Rodriguez-Lopez has chosen to benefit from the proceeds from the album. Pretty cool move in my opinion. He certainly doesn’t have to do that, and the fact that the band is giving any money raised to a charity is awesome. If you do decide to download the album, DEFINETLY give over at least a few dollars.

Back to the record…As mentioned, Sepulcros De Miel takes a few times though to really understand it. Actually, scratch that. It’s an album that I’m not sure CAN be understood (even under the influence….tried it….didn’t make any more sense). The most impressive part of the composition is the synthesizer work done by Rodriguez-Lopez and Frusicante. Those two are artists in the truest sense of the word, not just musically (Frusicante paints and was involved with Rodriguez-Lopez’s film as executive producer). Their guitar work is great as well, but coming from those two it’s not a surprise.

In terms of being “accessible”, the album reaches that level to a degree. It’s a bit of a journey, and for those not into experimental rock music, it may be a chore. At the same time, it’s way easier to listen to then Rodriguez-Lopez’s album with Jeremy Michael Ward from 2001. For fans of Rodriguez-Lopez/Frusicante, this album is a definite pick-up and worth at least a B. Still, for the average listener it gets knocked down a letter due mostly due to the fact that most people won't "get it".

Grade----C

American Hardcore (The History of American Punk Rock 1980-1986) ---Soundtrack to Film

For those new to the hardcore punk scene of the 1980s, the soundtrack to the film American Hardcore is a pretty good place to start. The movie it is based on is an interesting retrospective look at the burgeoning punk scene of the early 1980s. Being born in 1986, sadly I missed out on being part of the movement. Still, for anyone who listens to contemporary punk rock music, this album should be required listening. It is far from perfect, but it does show the roots of the majority of bands that encapsulate the Warped Tour generation. There are some glaring omissions but for the most part, it serves its purpose of chronicling the major players of the original hardcore scene.

True to the genre on which it is based, the album blasts through 26 songs in less than 39 minutes. It is these short blasts of intensity that characterized hardcore during that time period. Honestly, not much has changed, but it seems like most hardcore today is an imitation of the hardcore of 30 years ago. It is not a style of music that has seen much innovation lately, but the bands of the 1980s were so original that it’s really hard to improve upon the products that bands like Bad Brains and Flipper produced during that time period.

As good as this album is for people who are interested in the punk rock genre; it’s also not for everyone. The songs are fast paced bursts of distortion with slurred/screamed vocals. Those who are not a fan of punk rock will probably pass this album off as a bunch of noise without any artistic merit. In all honestly, some of this is true. Many of the bands were not the most adept musicians on their instruments, but punk rock was/is not totally about technical proficiency, more about the message in the lyrics.

The high points on this album are probably from the bands who could actually play their instruments. I hate to re-name bands in the same review, but Dr. Know of Bad Brains is a good guitarist as is Greg Ginn of Black Flag. They are two of the most influential guitarists in punk rock, and are still going strong today. Most of the bands on this album are forgettable in the grand scheme of things. At the same time, they highlighted different interpretations of the movement, so I guess in that respect they are necessary. American Hardcore is a good album for a person new to punk rock or who wants to get a taste of the beginning of the genre. For most others, the album isn’t the best pick-up.

Grade---B-(for a fan) C- (all others)

Been Gone For A While...

Hey Everyone,

I know it has been practically forever since I updated my Blog with some new reviews. There are quite a few reasons for that, however don't fear....coming soon includes album reviews by the red hot chili peppers, omar rodriguez-lopez and (finally) the american hardcore soundtrack. I usually have done about 12 reviews a month...well I have seven days. Better get to work!!

-Carl

Black Flag- Loose Nut

By 1985, Black Flag had evolved from a pioneering hardcore punk band to a punk influenced quasi-metal band. Greg Ginn grew disenchanted with the confines of punk rock in and of itself and he took the band in a totally different direction. Rather than focusing on the style of music that got them a devoted following, Ginn decided to have the band focus on slower, more melodic music. If nothing else, it showed the band to be much more talented musically then most bands of their era. Talent however, only gets you so far in music. You need to be able to create something that people would want to hear. The style shift alienated the band from much of their fan-base, who was pretty much looking for another album like Damaged. If you look for a punk album, be prepared to be heavily disappointed. As a metal album, Loose Nut (SST Records, 1985) is a mixture of good and bad.

Black Flag’s later work showed the limitations that are so often found in punk rock, threw those aside and created some very influential music. Many “grunge” bands held up Black Flag’s later style as an influence. Even for those grunge bands that did not cite Black Flag as a basis for their music, the sound of albums like Loose Nut is similar to many grunge records, almost a foreshadowing of the popular music about a half-decade in advance.

On Loose Nut, guitarist Greg Ginn built upon his unique style found on Black Flag’s previous record, Slip it In. His metal riffs mixed in with some lingering hardcore punk sensibilities are a joy to listen to…for a few songs. After a while, it just starts to sound the same, the songs blend into one another way too much. There are some definite highlights of Ginn’s style on the album, with the high point being his solo during the song Bastard in Love and the entire composition Best One Yet.

While the rhythm section of bassist Kira Roessler and drummer Bill Stevenson is competent; neither really breaks any new ground on the album. They do however, provide the backbone for Ginn’s guitar work and while nothing sticks out in their performance, they do not bring down the record. Singer Henry Rollins is his typical self, bringing intensity to the album that became a trademark of his. He could make Gospel songs sound bad-ass. If he wasn’t present on this album, it would be easily forgettable. His emotional outbursts on the album take pretty average metal songs and turn them into something much more palatable. Not for everyone, Loose Nut is an album for those looking to hear everything from Black Flag, but it’s not exactly their finest hour.

Grade---C

Love You Moon- Waxwane

Put simply, Matt Embree is among the most talented musicians in current alternative music. His work as guitarist/singer/songwriter for the RX Bandits has been groundbreaking. The band has created music that is innovative and complex while still maintaining a style that even non-musicians can appreciate. Love You Moon is the solo side-project of Embree where he plays acoustic guitar and sings. On Waxwane, he continues his musical journey with some impassioned songs that run the gamut lyrically from love to politics while showing off his ability with an acoustic guitar.

Embree has a very distinctive voice and his vocal range is pretty impressive. Due to this, the songs on Waxwane have more emotion then they would with another singer. The album was recorded live, which is one of Embree’s hallmarks, as the last three RX Bandits albums have also been recorded live. This is a vital aspect of the album, as it allows him to show that he can create a strong album without relying on studio effects. So many rock bands nowadays have such heavy effects on their records that it is a detriment to the sound rather than an enhancement. Embree shuns this in his albums and it should also be mentioned that he used analogue techniques during the recording of this album.

The music on Waxwane is relatively bare bones in that most of them are Embree, a guitar and the listener. RX Bandits band mate/drummer Chris Tsagakis makes some appearances on drums and Lauren Coleman adds some back-up vocals on some tracks. Honestly, if it was just Embree on these songs it would be enough for an enjoyable experience.

The first song on the album is Screams in a Vacuum, which sets the tone for the rest of the album. A five minute song with just Embree and his guitar contains some of his best lyrics on any album of his yet, including his work with RX Bandits and The Sound of Animals Fighting. The album does have many political statements within it, as the song The Last Words of Nicholas Berg shows. As much as the record does have a political slant at points, it’s never overbearing for those who disagree with his views. That’s worth mentioning since some bands that have politics in their music tend to be divisive.

Really, there isn’t that many negative moments on Waxwane. It’s not an all-time classic however it’s an album that wears its emotions on its sleeve. Embree released the record in 2008 on Sargent House/Mash Down Babylon Records, and if you can pick it up, then give it a shot. For someone who is looking for a laid-back album with deep lyrics and great guitar work then give Waxwane a shot.

Grade---B+

Bad Religion- Into the Unknown

When I think of Bad Religion, I think of hard, fast punk rock. Into the Unknown is the complete antithesis of that. After releasing the album How Could Hell Be Any Worse?, the band went in a totally different direction, focusing on progressive rock heavy on synthesizers. It was quite the departure from their previous work. The fans voiced their displeasure and the album’s musical direction was quickly abandoned by the band, which thankfully went back to their punk rock style on the Back to the Known EP.

The question is whether the album is any good. I wasn’t alive back in 1983 when the album was released on Epitaph Records, but if I heard it back then, I’d say it sucked. In 2010, it still sucks. I give the band lots of credit for trying something totally new and expanding the band’s musical ability. With that aside, Bad Religion wasn’t meant to create the style of music present on Into the Unknown. The album has been out of print since the early 1980s with no plans for a re-release by the band.

Most bands that completely change styles abruptly tend to have one main issue. That issue being that the band isn’t that adept at creating music in that genre. Not to say that the guys from Bad Religion are bad musicians, they are very talented…in the punk rock genre. I don’t hate the fact that they experimented, but the album sounds like a whole new band, not Bad Religion trying something new. That’s the main issue with this record, it sounds like a crappy version of Rush rather than Bad Religion.

Thankfully, this album is only eight tracks that do sound like a cohesive unit. It’s not like the tracks don’t seem to fit with one another. They actually do quite well and the album flows fine. That is probably where the positives end. Why the band decided to go in the prog-rock direction has never really been documented in interviews with the band, but as I said they smartened up quickly and went back to their original style. If I had to pick one track that stands up though many listens, it’s probably the third track Billy Gnosis. It’s a pretty good prog-rock song which proves that the album is not a total loss. Greg Graffin sounds out of place on the record, he seems almost unsure of his voice. A failed experiment to say the least, it costs a lot of money on Ebay on vinyl and isn’t even worth 10 bucks, except to hear one of the biggest let-downs in the history of punk music.

Grade---D-

Omar Rodriguez-Lopez- Se Dice Bisonte, No Bufalo

My first exposure to Omar Rodriguez-Lopez’s solo work came about a few months ago as I was researching about John Frusicante and his collaborators. I was intrigued by the experimental style of music that Lopez records, and went to my local record store (Tunes in Hoboken, NJ) and picked up Se Dice Bisonte, No Bufalo. As a fan of his previous band At The Drive In, I knew the album was going to be an experience...what kind I did not know. Fortunately, the experience was nothing but positive and the music took me on a trip as I listened to it alone in the dark in my room with my eyes closed. There are some albums that are meant to be heard in their entirety, and this is one of them. This is due mostly to the fact that the songs flow into one another and to hear one random cut doesn’t make sense a lot of the time.

The album starts with a 26 second song entitled The Lukewarm, which is basically a bunch of ambient sounds that gets you ready for the album, and it leads into Luxury of Infancy, a solo guitar piece that is just fun to listen to. It is far too short though, at just over a minute, but combined with the opening set of sounds, is a pretty good start to the record. There are very few traditional songs, if you describe a song as a vocalist with a backing band. Those songs are a breath of fresh air while the instrumentals seem to blend into one another after a while. That was probably done intentionally as the album really is an experience from beginning to end.

Along for the ride with Rodriguez-Lopez, is Mars Volta band mate/singer Cedric Bixler Zavala, who provides the vocals/lyrics to the record. His unique voice brings so much to the music on Se Dice… just as his cadence has on many At The Drive In/Mars Volta albums. He is one of the top lyricists in rock today, and his presence on the album is vital. Also making an appearance is the aforementioned Frusicante who contributes guitars to the track If Gravity Lulls, I Can Hear The World Pant. It’s not the most accessible album to those who are looking for a typical rock record. It is however, a record that shows off Rodriguez-Lopez’s talent as a guitar player and producer.

In terms of negatives on the album, there really aren’t that many. As mentioned, it’s not the easiest album to listen to if you don’t like progressive rock or music with many mood shifts. That fact alone makes it hard to recommend to the average listener. You really have to have an open mind to enjoy this record. It’s a great listen for the most part, it just gets really “busy” at times and the ambient sounds mentioned may throw off people who don’t expect it. Still, Se Dice…is a very solid release that was recorded in 2005 but not released until 2007 on his own label Omar-Rodriguez Lopez Productions.

Grade---B+

Bayside- Live at the Bayside Social Club

It’s hard to not lump Bayside in with pretty much every “emo” band out in the wilderness that is popular music. Based purely on their style of music it is pretty easy to do so. Also, being on Victory Records doesn't help their cause, as this album was released in 2008 on the Victory label, one that is known for their pop-punk acts. At the same time, Bayside has something about them that makes their music less cookie-cutter then many of the other bands of their genre. Part of it has to do with the fact that they are a great live band. This album proves that. Fans of the band say “Bayside is a Cult”. In some ways that is true, as Bayside has an extremely dedicated group of fans. Another reason that they are more unique then their contemporaries is that they have released an acoustic album which didn’t totally suck. It shows that the band can actually create interesting music outside of the “emo” genre.

Don’t get me wrong, if you are looking for groundbreaking music that pushes the limit of what can be done musically, this isn’t the album for you. If you’re looking for an album that is well-played with some great guitar solos from guitarist Jack O’Shea, then give it a shot. The fact is that Bayside is not the most original band to ever walk the earth, but they create some layered music in the studio that actually translates to the stage. This is reason enough to give the album a decent grade.

As mentioned, O’Shea really plays well on this record. He doesn’t really do anything that over the top; however his solo on the song The Walking Wounded is pretty good. To compare him to Frusicante or Matt Embree may be pushing it, but for what it is, he definitely has talent and this album highlights it. Singer Anthony Raneri has a better voice then many of his “emo” peers, and his ability to use his voice to create a vibe of emotion makes the music have some staying power once the album is over.

There are some negatives on this album besides the ones mentioned above. The sound quality was good…almost too good. It seems like that there was some studio enhancement on the record, since the crowd seemed to be at the perfect volume for the entire album. The cheering never made a dent in the reception of the instruments. Something seems a bit fishy there. The lack of originality is a bit off-setting as well. Still, Live at the Bayside Social Club is a pretty good record for the most part.

Grade---B-

Bad Brains- Bad Brains

Regarded by some as the definitive hardcore punk album, Bad Brains self-titled album does live up to its reputation. If a person is a fan of punk music, look in their collection. If this album isn’t there, do them a favor and buy it for them. It makes a great gift, as the tunes are timeless for fans of the genre. Released in 1982 on Reach Out International Records (ROIR), it quickly made waves in the hardcore punk world. Four black men playing a style of music that was heavily dominated by white bands was revolutionary. Also, the band was part of the Rastafarian movement which made their music even deeper. Not only a hardcore band, Bad Brains also played some adept reggae tunes on the album as well to show their mellow side. It was a bit of a shocking tempo change on the album, and it shows the band’s musical talent.

The main catalyst to the band’s overall sound and stage presence is lead singer H.R. Looking at tapes of the band live during the early 1980s, he was a wild mustang of enthusiasm on stage. His dancing and delivery of the lyrics are legendary. His rapid-fire delivery of lyrics is probably most evident on the song “Pay to Cum”. Even for a fan of early 80s punk rock music, I still have no idea what some of the words are, and I have heard this song probably 200 times (no joke). His scream heading into the song “Banned in D.C.” really gets you amped up for the lightening fast song that is probably my favorite track on the album. The speed of the music is still faster than most songs present in punk today, almost 30 years later.

As much as H.R. is important in the band’s style, it wouldn’t mean much if the band behind him was sub-par. The good news is that the actual musicianship outweighs the contributions from the singer. Dr. Know is probably one of the best guitar players to come out of the punk scene of the 1980s. He, along with Greg Ginn of Black Flag took the concept of punk rock guitarist and turned it into an art form. He is probably at his best during the reggae tunes however. He could play fast punk songs, but the ability to play slower songs is almost more impressive.

The rhythm section of Earl Hudson on drums and Darryl Jennifer on bass also ranks among the top in the punk genre. Like I said, the mixture of hardcore punk and mellow reggae shows that this band was about more than just playing as fast as possible. This album was among the first hardcore punk records to really define the genre. From the first cut to the last, Bad Brains self-titled album ranks as probably the best example of early 1980s hardcore punk/reggae music.

Grade---A+

Senses Fail- Let It Enfold You

It’s funny how time can change your opinion of an album. When this album was released in 2004 (my Junior Year of High School), I didn’t stop listening to it for at least a few months. I guess that shows my lack of musical knowledge at the time. Then again, I was looking for an album I could blast out of my car speakers that was loud and had screaming. Let It Enfold You fit that bill, so I figure I got what I was looking for. In terms of the “screamo” genre (if you can call it a genre), the album is mediocre at best. If you’re looking for screaming, loud guitars, and pointless lyrics…then look no further.

Give credit where it’s due. Senses Fail came about in the early part of the previous decade and was able to ride the coat-tails of the screamo movement by creating an album that pandered to the “Hot Topic” crowd. Like I said, I once enjoyed this album…sadly. To say that the studio enhanced the band’s music/Buddy Nielsen’s vocals would be the understatement of the year. Go on Youtube and find a live cut of theirs from this era. I saw them live and let me tell you…these guys were among the worst live bands I have ever seen.

There was one good point from this album however. I don’t want to say all negative things; at least the song titles are inventive. The best cut on the album is Rum is for Drinking, not for Burning. It’s less than three minutes long and is a pretty good song to be honest. It is actually one of the top 10 screamo songs I have heard. Still, other than that one song, the album is very forgettable. You can tell the album was produced to the point where all the life that was present in the music was sucked out of it. When I was 18 years old, this album would get a solid B. Oh, how times have changed.

Grade---D-

Red Hot Chili Peppers- Californication

After the disappointing 1995 album One Hot Minute, the Red Hot Chili Peppers brought back guitarist John Frusicante for their 1999 album Californication released on Warner Bros. Records. After a five year descent into a drug hell that left him near death, Frusicante kicked heroin and emotionally accepted an invitation back into the band in 1998. At that point, the Chili Peppers were at a pivotal point in their career. After the failed experiment with Dave Navarro on guitar, the next album appeared to be the one that would make or break their career. Enter Frusicante, who was the catalyst to the bands successful album Blood Sugar Sex Magik. It’s no shock that the Peppers have had their best selling albums with Frusicante on guitar, mostly because his style fit the band like no one else yet.

It’s been over 10 years since this album came out (went by REAL fast) and looking back at it, it really does seem like an album created by a band in transition. Frusicante was still in the process of recovering from his drug use both personally and professionally and singer Anthony Kiedis began using drugs again during the creation of the album/the tour that followed. Still, even with these issues surrounding the recording, the album still ranks as one of the top albums of 1999. Look past the hits and dive a bit deeper, you might be surprised with what you find.

My favorite song on the album is Right on Time. It shows off every member of the bands unique talents. Anyone who has heard the Peppers earlier work knows that Kiedis used to rap the songs as he was not the best singer before taking lessions. This song is a bit of a throwback as it combines Kiedis’s rapping with Flea’s funk-slap bass work. Chad Smith holds the beat with some furious drumming and Frusicante shows off his falsetto in the background that he would use more on subsequent albums.

Don’t get me wrong, the hits off the album are songs that will be played on the classic rock station in 20 years, but for a band coming off of/experiencing so much turmoil, it’s really a remarkable album. It was the beginnings of the band’s most successful period and really set the stage for what was to come in the years to follow. Simply put it was a great album that had very few low points.

Grade---A-

The Smashing Pumpkins- Zeitgeist

As the newest full length release by The Smashing Pumpkins, Zeitgeist is in some ways brilliant, and in others a total letdown. It’s hard to call this album a Smashing Pumpkins album since the only original members are singer/guitarist/songwriter Billy Corgan and drummer Jimmy Chamberlin. On the record, Corgan also provides bass parts, played keyboards and produced the album, along with Chamberlin. In essence, it is Corgan and Chamberlin collaborating, not a Smashing Punpkins album. Still, there is some good music to be found here, and it does show off the talent of these two individuals, if nothing else.

Say what you will about Billy Corgan but it’s hard to deny the man is a talented musician. After this album, it seems that it has become “cool” to rip Corgan for even creating this album in the first place. All Music said that “returning to his marquee name gave this reunion a sense of desperation, as if he had nowhere else to go.” That sentiment was not uncommon by music reviewers when the album came out in 2007 on Reprise Records. Still there were some positive reviews with Rolling Stone giving the album four stars. The fans have spoken, as the album was certified Gold by the RIAA in 2007.

From the opening song, Doomsday Clock (one of the heaviest Pumpkins songs yet) to the ending Pomp and Circumstances the album is a roller coaster ride. With heavy studio-enhanced guitar work, Corgan also layers the parts to such an extent where it almost becomes too much to handle. It’s like he went for the most complicated compositions he could come up with. Modesty has not been the hallmark of the Pumpkins over their long career and this album is no different.

Chamberlin shows on this album that he is still among the top echelon of rock drummers. It could be argued that he is at his best here. He sure had to be, since a sub-par performance would have dragged this album down from average to a failure. The work of Chamberlin is really what makes this album what it is. Corgan has always made grand statements with his music but it seems at this point that he has gone overboard, almost like he is trying too hard.

Grade---C-

The Clash- London Calling

As one of the most overrated albums in the history of punk rock music, the idea that London Calling is an all-time classic album is lost on me. Released in 1980 on Epic Records in the United States, The Clash created an album that reached mainstream success while other albums that were just as “groundbreaking” aren’t as heralded. The Clash was referred to by some as “The Only Band That Matters.” That’s pretentious on the part of their fans/the media/their record label to say the least.

London Calling, as mentioned, is in my book, completely overrated. At this point, it seems like most people who rate this album so high are almost looking at it from a nostalgic point of view. You could argue that other albums were just as innovative at the time. Bands coming up in the United States during that time were also creating a new movement that would change music as well.

What then sets London Calling apart from those other albums? Not really all that much. Maybe the fact that band was actually able to play their instruments competently and in a few styles was the reason. There were definitely other bands that could do that though. The art-rock scene of New York and the hardcore scene of California/Washington DC were just as vital to punk as The Clash was.

Joe Strummer was among the top punk singers of his era. Mick Jones was a very talented guitarist who created some great riffs on this album and influenced a generation of guitarists. All of this is great. However, other albums from the same time (Television’s Marquee Moon for example) have all that in their music as well. As for making political statements, you can’t tell me that The Clash was the first punk band doing that either. The reason this album is ranked so high is that it reached mainstream success. There were other albums that got great reviews at the time that didn’t reach the general consumer that were just as good or better as London Calling.

Grade---C+

Ataxia- Automatic Writing

Every now and then, an album comes along that merges different musicians of various styles who create something totally fresh and different. Automatic Writing is a great example of that. Featuring current Red Hot Chili Peppers guitarist John Klinghoffer (on drums), John Frusciante on guitar and Fugazi’s Joe Lally on bass, Ataxia was mainly a studio band. They created about 80 minutes of music during their brief time together, half of which was released as the Automatic Writing EP in 2004 on the Record Collection label.

A mostly experimental rock album, it sounds like very few albums out there. Those knowing the band’s connection to the Red Hot Chili Peppers will be very surprised at the direction that this band takes. It shows the musical ability of Klinghoffer more than anything since he is a guitarist by trade yet on this album plays drums while contributing lead vocals on Another. Frusicante produced the record as well as the lead vocalist on the other tracks while playing guitar and Lally shows his proficiency on bass. Playing mostly post-punk/indie alternative rock with Fugazi, he plays in a style that brings to mind some of the Mars Volta bass work.

One of the best aspects of this album is the vocal job done by Frusicante and Klinghoffer. Hearing Klinghoffer on this record as a lead vocalist shows that the background vocals for the Chili Peppers is in good hands. He doesn’t hit the high notes at the same level as Frusicante, however he has good control over his voice. Speaking of Frusicante, his performance is typical of his albums from that era. A mixture of falsetto high notes mixed in with some unclear enunciation as he slurs words both sung and screamed.

Automatic Writing is not the kind of album you can appreciate song by song. Instead, it should be taken in as an experience. Hearing the album at 2 AM from beginning to end and letting the music take you into another dimension is highly recommended. I know it seems like this site is full of high grades, just know there are some low ones coming. Automatic Writing is a great auditory journey that everyone should take at least once.

Grade---A

Talking Heads- Talking Heads '77

As part of the first wave of punk rock in New York in the late 1970’s, Talking Heads helped to usher in a new style of music that was unlike anything seen before. Some classify Talking Heads as a new-wave band, but for me, they are a punk band. Not punk as in hard guitars/moshing as seen in the current punk scene, but a whole other animal. It raises the question of what is punk. To me, punk is doing something totally different against mainstream thought and to think for yourself; it’s an attitude, not a T-shirt or style of music. If you look at punk as I do, there is no question that Talking Heads were punk, in their own way.

Ok, with that out of the way, Talking Heads came about in the mid 1970’s after meeting in college in Rhode Island. After moving to New York, the band began playing at the now legendary CBGB’s down in the Bowery. As one of the first bands to make a name for themselves playing at the club, the Heads developed a sound that would set them apart from many of their contemporaries.

The main catalyst of their sound was singer/guitarist David Byrne. His disjointed vocal performance style was a hallmark of the band’s sound. As for the other members of the band at this point, bassist Tina Weymouth utilized a minimal approach to her playing while still creating some timeless bass lines and her husband/drummer Chris Frantz held down the beat while the band went in many different directions. His and Weymouth’s versatility was key for the sound the Heads on subsequent albums.

The most impressive thing about ’77 (released on Sire Records..in 1977) is the fact that the music seems to shift song-to-song. It’s not like they stick to one basic sound and all the songs are tied together. It seems like three or four different styles are present on the album. The art/funk style of Uh-Oh Love comes to Town goes into the second track; New Feeling sounds nothing like the preceding track, it actually seems to have a punk-attitude to it while the music seems to foreshadow the new wave movement by a few years. Psycho Killer is probably the best known track of this album, and while good, it is not the best track on the album. As a album that did something totally different and started an entire new genre of music, Talking Heads ’77 was truly a classic album.

Grade-A-

Eric Clapton- Me and Mr. Johnson

As one of the top guitar players in history, Eric Clapton has been increasing the thinking of what is possible with a rock guitar since the 1960’s. He has recorded albums under his own name since the early 70’s after creating some of the defining songs of the counter-culture movement while a member of Cream. Since his first solo album in 1970, Clapton has released 16 solo albums (18 counting his duel records with BB King and JJ Cale). All have showcased Clapton’s unique skills as both a guitarist as well as a vocalist in multiple styles. He has shown the versatility of playing rock music with Cream, to slow ballads like “Tears in Heaven” during his solo career and the blues, as seen in Me and Mr. Johnson, released in 2004 on Warner Bros. Records.

Robert Johnson was one of the top blues musicians of 1930’s, and was a big influence on Clapton’s style. As a matter of fact, both Johnson and Clapton were in the top ten of Rolling Stone magazine’s “Top 100 Guitarists of All Time” list. As a big fan of the blues and Johnson, in the early 2000’s, Clapton decided to release a blues album, with a twist. The entire album would be covers of Robert Johnson’s songs. As a fan of various types of music, this album intrigued me on many levels. While not a huge blues fan, the idea of one of the top musicians of our time covering another great musician (albeit from another era) was something I had to hear.

The good news was that my father had this in his collection, and I listened to it and was amazed. I’m not sure what’s more incredible, the fact that Clapton created such a solid album from a group of covers or rather that the songs still sound just as emotional and timeless as they were in the 1930’s. Sure they may sound a bit different with today’s recording techniques and with Clapton adding his unique spin to the tunes, but for the most part, it is a good way for the music fan today to hear a style of music that is not very prevalent in popular culture. I can’t think of one negative thing about this album.


Grade- A

Drink Up Buttercup- Born and Thrown on a Hook

Talking to Bassist Ben Money before seeing the band live, he said that Drink Up Buttercup uses lots of keys and bass during their live performance. That is definitely true, but what shocked me when they played was the vocal range of lead singer Jim Harvey. He reminds me somewhat of Claudio Sanchez from Coheed and Cambria. During the show, the band played almost every track off Born and Thrown on a Hook, the band’s debut album on Yep Rock Records released in March.

Now as good as the band was live (I told Money after he came off stage that the band was “different” but in a good way), the question would be if the transition from live to CD would be seamless. Fortunately, the album versions of most of the songs are defiantly deeper then they seemed when seeing them in person. The album begins with “Seasickness Pills” which shows off the bands roots in psychedelic rock. It starts out as a rock song and turns into dueling vocals by Harvey and Money near the end with music in the background reminding me of the ambient sounds of Pink Floyd at times.

The vocals as mentioned were great from a technical standpoint, the guys can really hit the high notes. To me though, the rest of the music, while good, was not great. Listening to the album a few times though, you can definitely tell that this was the band’s debut. The bass work by Money was average, no new ground being broken there. The oddest thing about this band is the background noises; I am not sure what to make of them. They really get creative there, as in concert they used everything from normal drums to tambourines to xylophones. As interesting as that is, it’s almost like they were over-doing it with Mike Cammarata pretty much spending the entire album/concert making almost to many sounds in the background. It detracted from the music. Still, for a debut it was good, and this band could have a bright future ahead of them.

Grade- B-

Red Hot Chili Peppers- Freaky Styley (Remastered Edition)

After using guitarist Jack Sherman for their 1983 self-titled debut album, the Red Hot Chili Peppers welcomed back original guitarist Hillel Slovak for Freaky Styley, released in 1985 on EMI Records. Combined with the addition of Slovak and producer George Clinton, the Peppers created the most experimental album in their entire catalog. Mostly based in funk music, Freaky Styley sounds absolutely nothing like the current day Chili Peppers. Dani California, this is not.

Instead, songs like Nevermind and Yertle The Turtle (complete with vocals from the band’s drug dealer at the time) are funky with great bass lines by Flea. As good as his bass playing has been in recent albums, his skills back then where he utilized more slapping/popping techniques have to be heard, there that good.

As mentioned, Hillel Slovak had re-joined the band right before this album was released, and he was a heavy influence on this album. First off, the band sounds much tighter with Slovak playing guitar instead of Sherman. Whether it was the influence of Clinton behind the boards or the fact that he was playing with Flea and singer Anthony Kiedis again will never be known.

What is immediately evident for listeners of this album was that Slovak was an immensely talented guitar player, and Flea was developing into one of the best bassists in rock music. It should also be mentioned that this was the last Chili Peppers album with Cliff Martinez on drums. He played on the first two albums, and in my opinion was underrated as a drummer in the context of the Chili Peppers music.

Freaky Styley is more of a funk/rock record than anything else. The two covers on the album show the versatility of the band, especially the cover of “If You Want Me to Stay” originally by Sly & the Family Stone. The band seemed focused and when comparing the songs on this album to the demos included in the remastered edition, it appears that this album is more indicative of the sound the band wanted as opposed to the self-titled debut.

Grade---B+

Pennywise- Reason to Believe

As the last album with singer Jim Lindberg, Reason to Believe also proves though repeated plays to be the weakest Pennywise album by far. Released though MySpace Records (as a free download on the MySpace website/in stores as a conventional CD on the aforementioned label) domestically and Epitaph Records internationally, it really doesn’t break much new ground for the band. Truthfully, Pennywise’s last three albums could easily be mistaken for one another. Not since “Land of the Free” in 2001 has the band released an album that sounded somewhat fresh.

I have to be honest; the fact that Pennywise has a sound that distinguishes a Pennywise album from one of their contemporaries is a positive thing. It’s also their un-doing. Every song sounds almost too similar from the one that came before it. The first three tracks sound like they are using the same basic beat by drummer Byron McMackin.

The only song on the album that sounds different from all the others is “Confusion”, it is slower and somewhat more melodic. The song proves that McMackin is capable of playing something other than full speed punk rock beats. It still sounds like your typical Pennywise song, only slowed down a bit. This was a good start for the band, but the other 13 songs are carbon-copies of one another.

As for Lindberg, he sounds like he usually does on every other release. He has a good voice for his style, and I have to admit, I like being able to understand every word. That’s a big thing since a lot of “punk” these days includes a singer slurring the words, whereas Lindberg has never done that. Even in the fastest songs, his enunciation is impressive. The lyrics are typical Pennywise, which includes positive progressive ideas and questioning authority’s role in current society.

Even with some of these positives, the negatives far outweigh them and the album is just not worth picking up unless you are a die-hard Pennywise fan. If you do get it, prepare to be disappointed.

Grade---D+

Buckethead- Monsters & Robots

Let me get this out of the way to open the review, I am a Buckethead fan. He has produced many great albums over the years spanning a range of genres. To me, Population Override is his best album, and there will be a review of that at some point. Anyway, I have to say, as much as I enjoy most of what he does, this album just doesn’t pull me in. Don’t get me wrong, the guitar playing is great, but at the same time, the record just doesn’t seem like a cohesive unit, more like a collection of songs. It was released in 1999 on CyberOctave Records.

This album is an example of Buckethead’s more metal-influenced side. “Jump Man” opens the album, and it is probably the top song on it. It is pretty much a kind of summery of his career to date. It contains some great guitar work with plenty of studio influenced effects. I haven’t heard the song live, however it probably wouldn’t sound like the studio version. That’s not a bad thing, as he improvises during every show, so no two shows are completely the same.

The most disappointing song for me on the album is definitely “Who Me?” It starts out as a very quiet acoustic guitar piece, not unlike anything off his album Colma. Then it sounds as if he breaks a string, and makes an odd noise that is quite offsetting like a high-pitched “uh”. Very weird and it throws off what has the potential to have been one of the top cuts on the album.

Another song that should be mentioned is “The Ballad of Buckethead”. That song is unlike anything you’re going to hear on any of his other albums. Pretty much it tells the “story of Buckethead” (with vocals by Primus’s Les Claypool) which mentions how he was raised in a cage with chickens. For those not in the know, Buckethead’s website discusses how he was raised with chickens in a cage (hence the song title/lyrics)


Grade- C-

Black Flag- Damaged

The first wave of punk rock had crested by 1981, but around that time a slew of groups came up from the underground practically inventing a new genre “hardcore”. On the cutting-edge of the movement was Black Flag, who went through three singers before Henry Rollins joined the band and soon after Damaged was released on SST Records.

It’s been almost 30 years since the album has come out, and it has lost none of its intensity. Sure there have been albums that were louder (the album is mixed kind of low), but most of them seem like cheap rip-offs of Damaged. It’s funny to look at what passes for “punk rock” these days and compare it to this album as well as other bands from this era. Most bands today are all about looking “punk” and not creating music that brings something new and fresh to the table.

Greg Ginn wrote most of the music, and his guitar playing expanded the parameters of what people considered possible in punk rock. Whereas before, punk was three-chords and that’s about it, Ginn took the music in a totally different direction (more evident on subsequent Black Flag albums) that showed punk could be layered and was more than just young adult’s playing basic riffs and bitching about society.

Don’t get me wrong, there is a lot of anger on this album, and the lyrics at times may seem very clichéd but even at those moments, with Rollins’s delivery of the words, they seem to take on a new meaning. A former ice-cream store manager turned punk rock vocalist, Rollins’s vocal style is clearer than many during that time period, especially when heard live.

Seeing that this album is pretty legendary (it was in Rolling Stone’s Top 500 albums ever), it is pretty hard to pick a top song. For the purpose of this Blog, I am going to go with “Room 13” if for no other reason than the fact that it was the first song I heard from this album.

Grade---A

Nirvana- Nevermind

I almost hesitated to review this album since what more can be said about one of the most influential albums of the last 20 years? Released in 1991 on Geffen Records, it took rock music into a totally different direction. The “Hair Metal” scene of the late 80’s seemed passé after Kurt Cobain and his crew assaulted the ears of suburban America.

As Nirvana’s first major label release, the band blended punk and metal, added some Seattle flavor and went into the studio to make the album that defined the early 1990’s. Looking back at the band, Krist Novoselic was a talented bassist, Dave Grohl was a great drummer, and Cobain was competent enough on guitar to make it work, while possessing a voice that perfectly fit the music, if nothing else.

The album beings with “Smells Like Teen Spirit”, and to be honest, even though I have heard the song literally thousands of times, whenever it is on the radio or on my Ipod via shuffle, it’s always worth a listen. When it comes to songs that don’t get press, “Territorial Pissings” is the most underrated song on the album. With a pounding beat by Grohl, who was at his best in this song, and Cobain combining singing with a howl that brings to mind “Enter A Uh”, it is truly a Nirvana classic that not enough people heard.

Was it the album that created the alternative music scene in the USA in the 1990s and into the current day? Some may argue yes, some no. I see it somewhere in the middle. Nevermind was an album that was ‘alternative” in the purest sense of the word. In that sense it was the start of the movement. Still there were bands like Jane’s Addiction that had created masterpieces in the late 1980s and it can be argued that Nevermind was the tipping point of the revolution. Overall, it was a great album that has stood the test of time. Almost 20 years later, it still sounds as fresh as it did in 1991.

Thanks to Jim Dutch for the Japanese import version of this album.

Grade—A-

"Macho Man" Randy Savage- Be a Man

Of all the albums in existence, Be a Man may be the most unintentionally hilarious disc ever produced. For those not in the know, “Macho Man” was a popular WWF wrestler in the 1980’s and 1990’s. Most people would know him simply as the guy who told America to “Snap into a Slim Jim” in the late 1990’s/early 2000’s. Anyway, where to begin with this album that was released in 2003 though Big 3 Records…

First off, the fact that I have this album says a lot about me. What it says, I do not know. I don’t like wrestling on any level, but after being “recommended” by a friend I decided to give it a shot. The album sucks, plain and simple. “Macho Man” spends most of the disc slamming Hulk Hogan. Apparently they had some kind of feud since he keeps challenging Hogan. Again, as a person who knows nothing about wrestling or anything, I have to be honest…I don’t get it.

It does have one of the best lines in the history of music however…

“Hollywood Hulkster, your at the end of your rope so I’m gonna kick you in the butt and wash your mouth out with soap…” (from the track “Be A Man”)

In terms of his rapping ability, there is none to be found here. His voice is raspy and like I said, listening to the music makes it impossible to take him seriously on any level. In terms of humor though, if you think of the album as some kind of joke, it’s ALMOST passable. Until you look at the cover….

Grade----F

Oingo Boingo- Good for Your Soul

Ask most people about the first thing that comes to mind regarding Danny Elfman and you will get a myriad of answers. Most will remember his film scores as well as being the man behind the iconic theme song for the TV show The Simpsons. Most under 25 (and even many over that age) will have no clue that Elfman was once in a new-wave band.

Oingo Boingo actually started out their career under the moniker of The Mystic Knights of the Oingo Boingo, and won $516.32 on the Gong Show (without being gonged). After some line-up changes and the shortening of the name, the band created some very solid albums. Good for Your Soul, released in 1983 through A&M Records, it is one of those albums that not that many people have heard recently, seeing as that it has been out of print for some time.

Danny Elfman’s vocal style, while being unique can be seen as if he is just performing stylized speech, rather than singing. At the same time, he does show off his skills as a singer on numerous occasions, as seen in a song like No Spill Blood. The album for the most part is hard to describe. In some ways it seems like a product of its era, while in other it seems ahead of its time. That seems to be a contradiction, but it really is the best way to describe the album.

Take the track Cry of the Vatos for example. Most of it sounds like it is in a jungle, with birds chirping and other animal noises going on with an almost tropical drum beat in the background. In addition to the drums and ambient sounds, a horn section comes in which combines with some odd chanting to create an auditory “experience”. It is truly an experience to hear, especially when you hear the rest of the quirks that the album has. If you get a shot, just listen to Cry if you can…sums up the entire album; very unusual, however somewhat compelling.

Grade---C+

Thursday- Full Collapse

When looking back at certain times in your life, there is usually an album or two that really defines that moment. For me, Full Collapse is one of those albums. Released through Victory Records in 2001, it came out just as the line between “hardcore punk” and “emo” was blurring. Looking at the band as they perform live, and listening to their music on a basic level, one could assume that Thursday is like any other post hardcore/emo bands that came out during that time and the years since.

What puts Thursday above other bands of their genre? Certainly not the lyrics, as they deliver the typical teenage angst that is sickeningly prevalent in so much music these days. Rather it is singer Geoff Rickly’s performance of the lyrics. He is actually a very competent singer, which is more than can be said by many other bands. Pro-Tools can make any singer sound good (Panic at the Disco anyone?), but after seeing Thursday live and hearing them on their live EP, it is evident that Rickly has a good voice for his genre.

Full Collapse features a duel-guitar attack from Tom Keeley and Steve Pedulla who also provide the back-up vocals. To be honest, most of their “vocals” is pretty much your typical “guitarist who screams”, but they do it well. The most impressive aspect of their guitar playing is during Understanding in a Car Crash, where the two guitars solo really shows off the pair’s talent.

Thursday has released three full-length albums of new material since Full Collapse. During that time, the band has not reached the heights of Full Collapse again, since it seems that on every subsequent album, the band is slowly turning into a cookie-cutter emo band. Sure there are some good songs still coming, but in terms of a pure album from beginning to end, Full Collapse is still Thursday’s best.

Grade--- B+

John Frusicante- The Empyrean

Following a flurry of albums in 2004, guitarist John Frusicante took some time off from his solo career to focus on the Red Hot Chili Peppers. After the band released Stadium Arcadium in 2006, the band embarked on a two year world tour, after which, the Peppers went on hiatus. In 2009, Frusicante released his 10th solo studio album, through Record Collection.

Popping on the headphones for the first listen, the album begins with a nine minute solo guitar piece which brings to mind Eddie Hazel’s performance of Maggot Brain. It is a solid start to the record and is almost haunting in its simplicity. Not to say it is a basic set of notes, however the feeling it invokes is simple yet deep.

One thing that strikes many long-time listeners of Frusicante’s solo works is the improvement in his vocal range over the years. The albums he released while addicted to heroin consisted of mostly off note vocals, mixed in with some screeches. Rolling Stone said in a 2004 album review (post-drugs) that “He (Frusicante) now sounds more like Cat Stevens then a caterwauling homeless dude”. On this record, he shows off his falsetto that fans of the Chili Peppers have heard throughout the years, but even more impressive is his control over his voice, shifting from high to low in the same song.

Other key tracks include a cover of Tim Buckely’s Song to the Siren, which turns that classic into a long winding road of emotion, as well as Dark/Light. With appearances by former band mate Flea, and friend/frequent collaborator Josh Klinghoffer, the album is layered quite nicely. It is not just Frusciante singing with a solo guitar a la Dashboard Confessional, rather it has a depth to it that even Frusicante’s other albums lack.

Grade----A