Tom Petty And The Heartbreakers Into The Great Wide Open

Tom Petty And The Heartbreakers Into The Great Wide Open

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Petty re-upped with Lynne and reunited the Heartbreakers. The results are about what you’d expect: more retro-minded rock ’n’ roll songs presented with modern sheen and maybe a hair more oomph than fans got on Full Moon Fever. Despite the lack of monster pop singles like “Free Fallin’,” which became Petty’s calling card, Into the Great Wide Open isn’t an inferior sequel. Like so many entries in Petty’s catalog — Wildflowers, Highway Companion, perhaps even Hypnotic Eye — it’s an unassuming classic whose brilliance hides in plain sight.Petty is often described as workmanlike and dependable. As Into the Great Wide Open shows, he’s a profound storyteller with remarkable word economy. Relative to Full Moon Fever, the material is more somber and reflective, even as Petty returns to many of the same themes and locations. The title track, all about a Hollywood downfall, is this disc’s “Free Fallin’,” while “Learning to Fly” offers wobblier uplift than “I Won’t Back Down.” In the scorching-rocker department, “Makin’ Some Noise” is no “Runnin’ Down a Dream,” but it performs the necessary Heartbreakers alchemy of turning steering wheels to drum sets. After Into the Great Wide Open, Petty released what many casual fans consider his most essential LP: 1993’s Greatest Hits. On long drives, that collection should never be more than an aux chord or a glovebox reach away, and neither should Into the Great Wide Open. From lesser-known gems “Kings Highway” and “Two Gunslingers” to the Drifters-esque closer “Built to Last,” these dozen songs are among the finest he’s ever written.

Oasis Time Flies... 1994-2009

Oasis Time Flies... 1994-2009

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Wasting no time in the wake of the Gallagher brothers sudden 2009 implosion, Sony released the deluxe Time Flies 1994-2009 retrospective in the summer of 2010, just in time for the 15th anniversary of (What’s the Story) Morning Glory? The driving idea behind Time Flies is to collect all 27 of Oasis’ British A-sides, a simple idea that would seem to fit one of the great singles band, but sticking to the singles winds up leaving many great songs behind, including their manifesto “Rock & Roll Star,” “Champagne Supernova,” the lovely “Talk Tonight,” and Noel and Liam’s duet “Acquiesce,” among many tremendous B-sides, “(What’s the Story) Morning Glory” and “Champagne Supernova,” to name a few. The latter is added to the U.S. version, since it was an actual hit in America (the U.S. version does not contain “Sunday Morning Call”), but it doesn’t change the fact that Time Flies winds up missing more staples than it should…enough to make it miss the definitive designation it should carry. Nevertheless, Time Flies is a better overview than 2006’s Stop the Clocks, of which it shares ten tracks (11 in the U.S. incarnation) and not just because it’s more generous by a measure of almost ten tracks. Time Flies does a better job of rounding up the highlights from their patchy turn-of-the-millennium albums -- actually, it emphasizes Heathen Chemistry almost a bit too much, with its five tracks outweighing the number of selections from Definitely Maybe and Morning Glory -- and has space for selections from their smashing final album Dig Out Your Soul, including sneaking on “Lord Don’t Slow Me Down,” which makes its album debut here along with the 1994 Christmas single “Whatever.” All that’s enough to make this the Oasis comp of choice until the definitive collection comes around. [Time Flies is improved considerably in its deluxe edition which is the U.K. double-disc expanded by a third disc containing a concert from The Roundhouse in London

The Killers Hot Fuss

The Killers Hot Fuss 

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There are so many garage rock/dance-rock tunes perfectly stylized and glamorous for the pop kids in the city and in the suburbs of new-millennium America. What's nice about these the bands producing these songs is how they strive so desperately to individualize themselves. On a commercial level, they do quite well in delivering catchy pop hooks. When it comes to having actual talent, a select few actually do possess attention-worthy integrity. But there are others who don't, and they disappear from the American consciousness after a brief flirtation with success. Such theories, however, are left up to the individual music fan, so let's put that aside for a moment to experience the decadent pop world of the Killers. The Las Vegas foursome introduce a perfectly tailored new wave-induced art rock sound on their debut, Hot Fuss. They wooed MTV audiences and modern rock followers with the success of "Somebody Told Me" during summer 2004. This chunky-riffed single loaded with androgynous mystery and a dalliance with new romantic energy captures the infectious delivery of the Killers as a band. Vocalist/keyboardist Brandon Flowers does his best Simon LeBon imitation; the sex appeal and the boyish charm are perfectly in place as the rest of the band accents his rich, red-hotness just so. "Jenny Was a Friend of Mine" and "Mr. Brightside" are equally as foxy as the album's first single, affirming that a formula is indeed in motion. It's hard to deny the sparkle of Depeche Mode beats and the sensual allure of Duran Duran. After 25 years, those sounds still hold up; by 2004, however, it's an incredible task to pull this kind of thing off without selling yourself to the tastes of the masses. Interpol and the Walkmen have pulled it off; Franz Ferdinand and Hot Hot Heat have potential. The difference with the Killers is that the dynamic doesn't firmly hold together. The gospel/rock jaunt of "All These Things That I've Done" doesn't quit fit around the Cure-inspired synth reveries of "Everything Will Be Alright" and "Believe Me Natalie." "Midnight Show," as much as it plucks from Duran Duran's "Planet Earth" and "Is There Something I Should Know?," does show promise for the Killers. Hot Fuss came at the right time because the pop kids needed something to savor the summer with, and "Somebody Told Me" served that purpose. Now pull out your Duran Duran records and dance like no one is watching.

Kasabian Empire Japanese Edition

Kasabian Empire Japanese Edition

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This is an improvement of Kasabians first album: 'Kasabian.' Some nice guitar riffs are in this one and I'd say It's got more packed in than their first. But Club Foot is still a really awesome song. They have a great sound, listening to classic songs like 'Shoot The Runner' up loud or playing it on an electric guitar is so much fun. You here all these songs several times and you don't know at all who the song's by until they say it on the radio. Then you hear all these other songs and you realise they are from the same band. This happened with me with 'Club Foot' and 'Shoot The Runner' (definately one of their two best songs. There is some good keyboard stuff on some of the tracks, for example: 'Seek and Destory'. They are very good at rocking the crowds with their music, good drumming. I'd advise you to go and see these guys live at some festivel or other because they're nailing those frets! You'll probably find that the lyrics are actually quite better than your first impressions of them even though you may not know the story or even what the hell he's actually talking about! He says the lyrics with pure attitude towards them, they suit how they perform. Speaking of performing Kasabian got nominated for 'Best British Live Act' which they lost out on at the Brits but still are one of the few best. The lyrics suit the music very well, good compliance between the two. There's some great slow singing. He's definately a singer-songwriter you can learn from. But I still think the lyrics need that extra edge, I just don't know why. It's sounds a bit live when you listen to some of the songs. I think Apnoea sounds weird and a song you can't really get used to and also the verse of 'By My Side'. Kasabian's lyrics are sung diffrently from other bands in that there's a lot of words sung over a few seconds. But I have to say that he's got all the musical elements you really need.

Cast Magic Hour

Cast Magic Hour

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Magic Hour's songwriting rises way above 1997's Mother Nature Calls, especially on tracks such as "Alien" and "Chasing the Day." But it's "Beat Mama's effusive pop flow and well-suited guitar and vocal partnership that gave Cast a Top Ten hit in the U.K., brandishing a firm, streamlined sound in the same vein as Paul Weller, but only to a certain extent. John Power, the La's former bass player, is extremely sharp throughout, giving "Dreamer" and "Company Man" added depth in both his guitar playing and his singing. Overall, though, Peter Wilkinson gains the most attention, sounding more professional and more focused than he did while he was with Shack and Supercharge. Magic Hour's attributes are created in the congenialness of the tracks and how they unfold, not gaining attention right away but emitting a subtle but sturdy English pop/rock charm as the album progresses. Even though none of the songs can match the strength of "Guiding Star" from the All Change album, Magic Hour still stands up as the group's second best recording.

The Hives Veni Vidi Vicious

The Hives Veni Vidi Vicious

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Rousing, stompin' garage rock from these Swedes, with plenty of mod and frantic punk energy to keep you grooving along. "Party party!," they seem to be saying, and you just want to join. This is a definite change-up from the usual hyper-speed pop ska-punk dross offered on Epitaph. Perhaps this arises from the fact that these guys are only distributed on Epitaph and yet are actually on the Burning Heart imprint. Plenty of fuzzed, struttin', propulsive guitar work on this disc to assault your ears. Well-worth your time to take a spin. More records like this need to exist. [The Japanese edition adds three songs taken from the A.K.A I-D-I-O-T EP.]

Duran Duran Rio

Duran Duran Rio

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From its Nagel cover to the haircuts and overall design -- and first and foremost the music -- Rio is as representative of the '80s at its best as it gets. The original Duran Duran's high point, and just as likely the band's as a whole, its fusion of style and substance ensures that even two decades after its release it remains as listenable and danceable as ever. The quintet integrates its sound near-perfectly throughout, the John and Roger Taylor rhythm section providing both driving propulsion and subtle pacing. For the latter, consider the lush, semi-tropical sway of "Save a Prayer," or the closing paranoid creep of "The Chauffeur," a descendant of Roxy Music's equally affecting dark groover "The Bogus Man." Andy Taylor's muscular riffs provide fine rock crunch throughout, Rhodes' synth wash adds perfect sheen, and Le Bon tops it off with sometimes overly cryptic lyrics that still always sound just fine in context, courtesy of his strong delivery. Rio's two biggest smashes burst open the door in America for the New Romantic/synth rock crossover. "Hungry Like the Wolf" blended a tight, guitar-heavy groove with electronic production and a series of instant hooks, while the title track was even more anthemic, with a great sax break from guest Andy Hamilton adding to the soaring atmosphere. Lesser known cuts like "Lonely in Your Nightmare" and "Last Chance on the Stairway" still have pop thrills a-plenty, while "Hold Back the Rain" is the sleeper hit on Rio, an invigorating blast of feedback, keyboards and beat that doesn't let up. From start to finish, a great album that has outlasted its era. [The 2009 Collector's Edition contains both the original U.K. release of Rio and the U.S. album mixes, as well as a bonus disc of demos, B-sides, and remixes.]

Front 242 05:22:09:12 Off

Front 242 05:22:09:12 Off

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 A combination remix collection and wholly separate album, 05:22:09:12 Off (aka Evil Off) is a semi-sequel to 06:21:03:11 Up Evil, appearing about six months after the release of the first disc. Not only is it a fine companion piece to the earlier disc, it easily stands on its own, finding the band thoroughly engaged in some of its most extreme, experimental music ever. A fair amount of the record is given over to darker plunges, with grinding industrial noise and moody, rumbling sonics used as the basis for many a composition, while other songs explicitly flirt with hardcore techno via hyperactive rhythms. More than a few compositions -- the rhythms on "GenEcide" being a great example -- sound like they're forecasting a lot of subsequent avant techno work on Warp Records and elsewhere. Another radical departure involves the use of female vocals throughout; no direct credits are given for the singer or singers, unfortunately, but contemporary interviews referred to a New York-based trio that would be appearing on the album. Combined with Daniel Bressanutti and Patrick Codenys' thrilling reinvention of their sound throughout -- little here sounds like the "typical" Front 242 familiar from Front by Front or the like -- the vocals make 05:22:09:12 Off a fascinating listen. The key tracks are "Animal" and "Angel," both of which crop up in a variety of different forms throughout 05:22:09:12 Off. "Animal" itself appears in three radically different versions at the start of the disc, ranging from understated minimalism to crisp but oddly distanced rhythms, as well at least one other take later on. "Angel," meanwhile, surfaces as both "Modern Angel," with the female singer delivering her lines with sheer threat and command over the acid-touched forward crunch of the music, and the appropriately titled "Speed Angel." Three songs reappear from 06:21:03:11 Up Evil in remix form, including a fair take on "Melt" and a wonderful mix of "Crapage" called "Junkdrome."