Showing posts with label Geffen Records. Show all posts
Showing posts with label Geffen Records. Show all posts

Saturday, February 23, 2019

Asia - Asia

Geffen Records: 1982

You'd forgive me for thinking this would be better. Given the pedigree of the players involved, how could anyone initially think otherwise? The band Yes guitarist Steve Howe ended up on? Hell, I'm sold already. Geoff Downes may not be the definitive Yes synth player, but he was involved enough to be considered honoured alum, so I'll dig on what he's doing too. That John Wetton dude, long time session bassist with Yes, King Crimson and Uriah Heep: sounds like as fine a prog-rock resume as anyone of the time. And those Palmer and Lake chaps, of Emerson, Lake & Palmer, they have a darn good reputation among prog-rock heads, especially Greg Lake from his time in King Crimson. Throw in some nifty Roger Dean cover art, and I'm ready to throw this self-titled debut album from super-group Asia on. Screw what all the haters have said about this band over the years, this is gonna' rock my socks off the clock on the corner block. Hollycock!

Then opener Heat Of The Moment starts, and my face drops. Oh... That song. They were behind it. I... honestly had no idea. Absolutely I've heard it tons on the classic rock radio, the ultimate '80s radio, and the generic pop hits radio, but it never clicked for me it was by Asia. Like, the distinctive Howe guitar action I'm familiar with is almost utterly absent. No, that's not it, he's there, but buried in the mix, on equal footing with Downes' synths, Palmer's drums, and Wetton's bass. Rather, it's all about Wetton's lead vocals, which makes sense for a radio-friendly tune – no time for technical prog-rock wankery in a three-to-four minute jangle. Same goes for Only Time Will Tell, another song featured aplenty on all the aforementioned radio stations. For sure you get some solos from each player involved, but as brief seconds-long spurts, not minutes-long exercises.

How? How could Howe and co. stoop to such commercial pandering? As always, my old man had a nugget of wisdom when I inquired him about it. After the previous decade was spent getting dicked by shady labels and making little scratch for all their artistic endeavours, shooting for the charts had to be an enticing offer for these guys. I'm sure their deal with Geffen Records was a lucrative one, David Geffen snatching up anyone he could with promises of favourable contracts to establish his hip new label. Just, y'know, make sure you get some hits on the radio while you're at it. And Asia certainly delivered that.

And guess what! Once past those obvious arena rock anthems, Asia turns into the sort of prog-rock outing I was expecting, with plenty o' musical showcases and highlighted Howe guitar action among the power-pop choruses. Yeah, there's cheese, production's a little too studio polished, and it ain't a touch on their '70s stuff, but it's not so embarrassing as other '80s prog-rock went. At least on par with Yes' 90125, if you will.

Friday, August 5, 2016

Neil Young - Trans (Original TC Review)

Geffen Records: 1982/1997

(2016 Update:
Eighteen-hundred words. That is the count. That is the amount of verbal splooge I spattered out almost a decade ago in my first attempt at writing a Neil Young review. Could it have been helped though? It was during that year's summer wherein I 'got' ol' Shakey's music, diving deep into his discography, unable to sate this craving for more of Young's work... more... MOAR! There was honestly no good reason for me to use a trance music review website as a glorified outlet in proclaiming how much awesome I heard in his music, but I had to tell 'em, Johnny; I had to tell the world. When would I ever get another chance? What, a personal blog where I review everything I own? Hah, 2006 Sykonee laughs at such a silly notion.

So of course a ton of information in this review is hilariously redundant to any consistent reader of mine, and the fanboy gushing does get tedious the deeper you go into this behemoth. Was funny reading my little pseudo-script again though, as lately I find my sentiments drifting closer to Aging Hippie as opposed to self-insert Hip Teenage Son. Time really does slip away the older you get and- oh my God! I just realized I'm currently the same age as Neil Young was when he made this album! I gotta' get me in on some of that Artistic Experimentation vibe, pronto. Maybe a review written completely in binary? Ah, no.)



IN BRIEF: A true oddity.

You can’t keep a good rocker down. No matter how many times it’s appeared Neil Young would sabotage his career, alienate his fans, or simply fade away, he comes roaring back into the spotlight, as relevant as ever, his protest album Living With War released with great controversy earlier this year. With such charming songs titled Let’s Impeach The President, you bet it raised a stir.

Whereas almost all of Young’s musical peers sustain their careers with Baby Boomer nostalgia, Neil has managed to once again draw the attention of us younger folk, regarding him as ‘one of us’ rather than an honored elder; an impressive feat for a sixty year old. And not only by appealing to current Fight The Man mentalities, but also by realizing the potential of the internet as a communication tool, something this technologically savvy generation is quite adept at. In this way, he’s snared numerous new fans who’d normally dismiss him as some old musician, and many have discovered a vast discography containing more diversity than any member of the Woodstock generation. From grungy rockers to folksy crooners and dabblings of much, much more, there’s quite a bit to check out. However, few of Young’s albums are more unique and confused more fans than his electronic one.

Just imagine the following scene in 1982:

Aging Hippie: Well, most of my old favorite bands suck these days, but good ol’ Neil’s managed to remain consistent. I’m sure this new album of his won’t disappoint.

*Throws Trans on the record player*

Aging Hippie: Hmm, this first song’s kind of weak. Never been much of a fan of this new country rock, but still kind of catchy. Maybe the next one will be better.

*Computer Age starts*

Aging Hippie: What the...? What’s with those synths? They’re so bloody loud. And that drum beat’s so repetitive. Ah, well, at least Neil’s got some good guitars and... HEY!! What the fuck’s with his VOICE!!?? What the hell did he do to it??? Is this some kind of JOKE!? ...the hell? This next song’s got it too!! What’s going on here? Hey, son, get in here!

Hip Teenage Son: Yeah, Dad?

Aging Hippie: I’ve heard you listening to stuff like this before. You have any idea what Neil’s doing here?

Hip Teenage Son: THIS is Neil Young!? Haha! You’re joking, right? It sounds like Kraftwerk. This can’t be Young.

Aging Hippie: It’s Neil alright. Do you have any idea what’s going on?

Hip Teenage Son: It sounds like he’s doing New Wave, although really heavy on the vocoders. This stuff’s popular in Europe right now.

Aging Hippie: New Wave? Hell, why’d he go and make an album like this?

Hip Teenage Son: Well, he’s said he’s a fan of Devo, so-

Aging Hippie: God, this sounds like shit. Who’d want to listen to this crap? Hell, rockabilly would be better than this, even twangy country. Why does all music suck now?

Hip Teenage Son: Hey, this stuff’s really cool, y’know. It’s the sound of the future. It’ll probably be super-popular in the 21st Century, with massive concerts and festivals being thrown to play electronic music. People will take wicked drugs that put your 60s stuff to shame, and we’ll use computers to talk to one another and revolutionize the way music is made. You’ll be able to store your huge record collection in the palm of your hand! It’s going to be great!

Aging Hippie: ..........

Aging Hippie: Son, have you been into my acid again?

It’s ironic one of Young’s most despised albums by his old fans has gone on to become something of an intriguing curiosity with his new ones, because let’s face it: even if we all don’t like it, we still get this computer music; our parents mostly don’t.

Unfortunately, because the album flopped in 1982, Trans was deleted from American circulation. You can only find it in Europe now, and not always cheaply due to the growing mysticism surrounding it. Were the songs really as bad as our parents thought? Did Young do Kraftwerk justice? Does it hold up today? With a growing number of electronic music fans curious about Young’s foray into synths and vocoders, now’s as good a time as any to shed some light on the subject.

It helps to understand Young’s mind frame at the time, as he’s always been one to put every ounce of impulsive emotion into his music. As with many rockers of his generation, the 80s were a scary place to be: synthesizers, drum machines, and tech-savvy producers were making regular old bands passé, especially since the general public didn’t mind this tinny new wave of music. But whereas his peers cowered in their safe, traditional corners, Young, ever fearless in his endeavors, tackled synth music head on, gleefully embracing everything it had to offer.

So, yes, Trans is more concept than novelty, and boy does he throw himself into the role of Robo-Rocker. The aforementioned Computer Age bridges the gap between humanity and the digital, with great synths and super-catchy guitar riffs. And through vocoder effects, you can hear Neil’s apprehension of a synthetic future. Interestingly, only with the lyrics “And you need me; Like ugly needs a mirror” does his voice briefly return to normal. He’s accepted this future, and from here on the robots rule most of the album.

A couple of harder rockers follow. We R In Control plays on Orwellian fears, with a great combination of gritty guitar work and aggressive vocoder effects. Less effective is Computer Cowboy, as it isn’t nearly as catchy as the rest, and sounds far too muddy. It is funny though, in that Neil absolutely butchers cliché Spaghetti Western themes with the robotic surroundings; those clippity-clop sound effects are a hoot.

Offering a bit of yin between these two yangs is Transformer Man, a song about Neil’s son who was born with cerebral palsy. As pretty a piece of robo-pop as anything Kraftwerk made, this song also was part of Young’s inspiration to make an electronic album, as he could only communicate with his son through such technology. It’s a very touching song; even if Young’s synthesized voice is at times difficult to understand, the emotion that cuts through the effects is remarkable.

Sample And Hold is Trans’ ‘dance’ single. While no Blue Monday (really, how many songs are?), it’s still a mesmerizing piece of work. For one thing, at eight minutes in length with a relentless steady rhythm, Sample And Hold has a hypnotic quality that sucks you into a choking industrial setting. From sludgy guitars to dispassionate synths to mechanical percussion, this is a cold, unfeeling song, which given the subject matter makes sense. Delivered with frank yet aggressive vocoder tones, the track is about the impersonal service of finding love in an uncaring future (specifically, at an android dating service, if you interpret the lyrics literally). All this and Neil still managed to make an ultra-catchy hook. You’re guaranteed to be humming “I need a unit to sample and hold; New design; New design” long after this plays. Sadly, it bombed in the dance clubs and was quickly forgotten, but I suppose clubbers weren’t quite ready for it; even Gary Numan, who’s work this track bares the most semblance to, struggled in America. Had Sample And Hold been released a year after New Order’s seminal record rather than a year before, things might have been different.

The track can be exhausting on your psyche though, so it’s rather nice to hear a simpler song follow Sample And Hold. Kind of an electro remix of his old tune Mr. Soul, Young seems to be having a bit of tongue-in-cheek fun at those who would criticize Trans. Not only is he ‘butchering’ an old favorite but the lyrics fit the idea as well. Neil’s voice remains normal for this track, with vocoders harmonizing at various points.

That’s the electronic tracks out of the way. Do you want me to review the ‘normal’ songs, then? Do you even care? I guess I should touch on them, but fact is they weren’t really a part of Trans’ concept; story goes they were tracks for another album, but tagged on here to fill it out. It’d make sense to include some regular rockers or ballads to offer a thematic contrast to the robo-rock, but aside from Like An Inca, these tracks are just simple songs about love, and have nothing to do with the theme of Trans. Even Like An Inca, despite being a cautionary tale about the dangers of technology impeding on Mother Nature, is a far-fetched tie-in. Amusingly though, the incredibly weak 80s production on Hold On To Your Love actually works within Trans’ atmosphere, which is probably why it ended up lodged in the middle of all the other tracks.

The big question now is how much I should recommend this album. Despite all the synthy surroundings, Trans still is very much a rock album in spirit. Few people could see past the computer effects just because they were such a novelty in the early 80s. In the here and now though, such sounds are common, and we can enjoy it based on its musical merit rather than the dressing it comes in. Some electronic purists may despise it for the rock overtones, claiming Neil had no business dabbling in sounds he wasn’t known for, but they be fools. Bottom line is Neil created some incredibly catchy pieces of music that holds up in an age they make more sense in. But, and this is important, Trans isn’t by any means a great album, much less a classic. Even with some strong singles, there are weak moments as well, and if you come in only looking for the electronic tracks, the regular ones will be of little interest (even though a couple of them are alright). If you are only curious about it, I’d recommend downloading some of the better tracks to get a feeling for what you’ll expect to hear. Only pick this up at its regular price if your samplings intrigue you further.

Young’s electronic phase was merely a passing experiment, as he never went in this direction again. But, as with so many of his albums, he certainly created a stir with Trans, even if it caused unintended reactions from his fans. At sixty years of age now, it’s safe to say we’ll never see a Trans 2.0, although now that he has a growing fanbase that would actually understand the idea behind such an album, a sequel to this definitely strikes me as a fascinating possibility. And when it comes to Neil Young, you never know how he’ll surprise you next.

Written by Sykonee for TranceCritic.com, 2006. © All rights reserved.

Tuesday, September 15, 2015

Peter Gabriel - So

Geffen Records: 1986

The only Peter Gabriel album you're supposed to have, even if you're not a Peter Gabriel fan. Unless, that is, you were already a Peter Gabriel fan, enjoying his work with the O.G. Genesis line-up and his following art-rock solo work. Then So is probably seen as a wack, commercial sell-out of an album, courting easy money with huge hits like Sledgehammer and In Your Eyes. Hell, he even gave this record a proper title after his first four were eponymous. That reeks of corporate interference, and it t’was, his label insisting a title so they could market it easier. Man, did they ever, So a mandatory inclusion in any generic advertising shot of CD collections. It worked though, convincing me to 'splurge' on So after spotting it in a supermarket bargain bin. Anything from the '80s with that much public prominence must have some merit to it beyond the recognizable hits, right?

Sure, although this album feels so ‘80s, it almost hurts. Part of that is strictly the production standard of the time, what with the copious reverb and hall effects the decade adored, so if you can’t stand that sound, walk on by. Granted, Mr. Gabriel was partly responsible for it becoming popular in the first place, among the first employing that distinct flat, echoing drum kick everyone associates with Regean Era rock. It also doesn’t hurt having Daniel Lanois as a co-producer either, most famous for lending his talents to U2’s most endearing work. He, too, has an inescapable ‘80s aesthetic, but his widescreen style definitely suits the ambitious, ultra-dense song-writing of Gabriel, so it’s a good pairing in this case.

You know what else was big in the ‘80s? Issues, man. Globalization was rearing its head, and people in prominent positions were all on that raising awareness shtick, Gabriel no less so than any of his musical peers. Opener Red Rain drops plenty of issues afflicting the world, the title alone a not-so subtle metaphor for the blood spilled for unjust causes. Meanwhile, gentle ballad Don’t Give Up narrows the focus closer to Gabriel’s country dealing with Thatcherism. And despite the upbeat funk of the song suggesting otherwise, Big Time is a condemnation of ‘80s consumerism. An unaware Patrick Bateman would approve if he wasn’t already a fan of Collins-era Genesis.

Finally, with world issues the hot topic of social conscience ‘80s folk, it also brought in more awareness of ethnic music. Gabriel was already a fan of such fusions, but with some pop sensibilities, he helped bring worldy sounds to Western radios in Sledgehammer (Eastern woodwinds!), Red Rain (Africa!), and Mercy Street (Brazilian forró!).

That didn’t stop him from getting his art-rock on at the end of So though. We Do What We’re Told has a meditative, rhythmic drone going for it, while This Is The Picture gets beat-jammy with Nile Rodgers and... wait, that bass tone. Could it be...? *checks credits* Laswell. Again with the Laswell. What is he, the Kevin Bacon of bass?

Thursday, September 25, 2014

Neil Young - Old Ways

Geffen Records: 1985/2000

Old Ways is regarded as one of Neil Young’s all-time worst albums. Don’t worry though, he’d probably admit it as such, the music within as much a protest album as it is a collection of throwback country jangles. David Geffen, growing annoyed by Young’s casual disregard for making chart-friendly music anymore, filed an actual lawsuit against him for not making music “representative of Neil Young”. Um, Mr. Geffen, have you heard his discography? Even before signing to your label, he’d been musically all over the place (rock, folk, blues, punk, art-house film). True, Trans and Everybody’s Rocking were new roads taken, but what else was he gonna’ do in the ‘80s? Big band jazz?

Anyhow, while faced with this lawsuit, ol’ Shakey reunited with his Nashville buddies, recorded some country-as-fuck jams intended for his new album, and if Geffen whined about it, he’d go so far as to make this his permanent new sound, essentially voiding the lawsuit. Man, that’s fighting dirty. What about your fans, Neil? All those who loved the Crazy Horse material? Or the heartfelt folk ditties? The three people fascinated by the synth-pop exploration? Forget it, this is about principle, and standing up against big corporate bullies who believe money and lawyers can get them anything they want. Taken with that context, Old Ways just might secretly be Neil Young’s most awesome album ever!

(note: I bought this album before I knew of its history; any of Young’s story, if I’m honest. I’d just gotten into his music, and figured everything would sound like either Ragged Glory or Harvest Moon. Definitely a crash course in discovering his erratic muse, this.)

But nay, this album’s about as country as the old West could twang. Opener The Wayward Wind even features a full orchestra, sounding like it belongs as in the opening credits to a Clint Eastwood movie where he talks to tree. Following that is Get Back To The Country, as silly a hoe-down jam as you’ll ever hear, including a Juice Harp! It’s my favorite ‘bad’ Neil Young song. Other songs like Misfits and Bound For Glory sound like they were intended as “everyday people” folk ditties, repurposed as western tunes here. The rest are pretty generic country tunes – does anyone really care if there are any more real cowboys?

Still, even if Old Ways was executed as a backhand against Geffen, Young seldom half-fasts his creative whims, fully embracing this ‘persona’ of rugged farmer and cowboy of the land. He even roped in country mainstays Waylon Jennings and Willie Nelson on harmony duties (to say nothing of the manure-ton of Nashville session musicians, including a few Stray Gator alums), with live shows that were a hootin’ good ol’ time if you were into that sort of thing. I honestly can’t give this album much of a recommendation though, as it’s incredibly genre-specific and the odds of anyone reading this on an electronic music blog being into country are zilch to none. Get out of here, Contrarian Sykonee.

Wednesday, January 22, 2014

GZA/Genius - Liquid Swords

Geffen Records

The only solo-Wu album you're supposed to have, if you're any kind of fan of the Wu-Tang Clan. Yeah, yeah, you can point to plenty other albums as strong offerings from the group, though Liquid Swords almost unanimously holds a Top 5 position regardless. What separates this one from, say, Only Built For Cuban Linx or Supreme Clientele, is it’s as much a RZA album as it is a showcase of The Genius’, erm, lyrical genius. He’d had over two years to refine the minimalist, grimy, funk-soul groove by way of kung-fu style pioneered with Enter The Wu-Tang Clan, thus Liquid Swords comes of like the Wu-Tang album RZA could have made if he’d waited a little longer to unleash his master project.

True, Bobby Steele had worked on Method Man and Ol’ Dirty Bastard’s solo albums in that time, but those seemed custom tailored to each of their personalities. Gary Grice, on the other hand, was on a comparable wavelength with his cousin in where the two hoped to take the Wu’s style, so it makes sense his first solo outing as GZA ended rich with the chop-socky mysticism and dark-as-fuck music.

My God, I could go on forever about how awesome these tracks are! Gold’s cold, operatic backing with a piecing whine; smooth as satin pianos in Duel Of The Iron Mic; the clumpity rhythms and twitchy synths of Killah Hills 10304; the guitar plucks and desolate emptiness of Cold World. And that’s just the music. GZA’s great as always with what he brings to the mic, and the rest of the Wu (all contribute in some way, though some more than others) are all still in mid-‘90s hungry mode, A-games from the whole damn Clan.

Okay, the album’s brilliance is common knowledge, accepted lore, and biological fact. I’m adding nothing here by repeating the Liquid Swords narrative. I wonder, though, of a review impossibility: someone who loved Mr. Grice’s first album, Words From The Genius, but loathed this one. I wonder... *cue Wayne’s World fade*

And gangsta rap claims another promising young hip-hop artist. It was ridiculous enough that Will Smith and Jazzy Jeff did it, but someone calling himself The Genius shouldn’t be elaborating street violence and drug deals. Well, okay, he did on his excellent debut album too, but at least Life Of A Drug Dealer retained Cold Chillin’s excellent upbeat, funky production. The music on Liquid Swords is so depressing and gloomy. Even the opening titular cut, the funkiest old-school track on here, is undone by bookending it with that samurai movie dialog.

Content aside, I guess The Genius – sorry, The GZA - still sounds as good as he did on his debut, but he hardly gets a chance to shine solo, tons of guest versus from that Wu-Tang group he’s now hanging with showing up. Man, what happened, Gary? You could have kept the old-school party vibes alive, not jump on this slummy bandwagon.


Mm, yeah, well maybe not.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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