Jeff Hanneman of Slayer (1964-2013)

Jeff Hanneman 1964-2013

I got into hard rock/metal at the tender age of 10 during the summer of 1985. Hearing Eddie Van Halen rip it up on Michael Jackson’s new single “Beat It”, hearing Sabbath’s “Iron Man” used as the ring music for my favorite wrestling tag team The Legion of Doom and happening across a midnight showing of KISS Meets the Phantom of the Park one night on TV all within a few months of each other had a profound effect on my musical interests. I began with KISS, Van Halen, Black Sabbath which led me to Iron Maiden and Judas Priest which ultimately lead me to the heaviest metal of the day: thrash. By the next summer in ’86 I had been introduced to the seminal thrash album, Metallica’s Master of Puppets, and thus began my obsession with all that was fast and heavy in music.


I was freshly into middle school by this time and most of the other kids into metal were a couple years older than me and about ready to leave for the big leagues of high school. I never hung out with them as at that point in life a couple years age difference was like generations. But one Friday as I was leaving school to walk home, I pulled out a copy of a Metallica cassette (can’t remember which one) I had on me to look at the cover and walked past one of the older metalheads I had seen around the school hallways. He took notice of my Metallica tape and flashed me an approving thumbs up. Then he withdrew something out of his pocket and began to hand it to me, simply saying “Slayer. Dude…SLAYER!.” It was a brand new cassette of the Reign in Blood album. Ladies and Gentlemen, that guy was Jeff Hanneman.

No, I’m joking. It wasn’t Jeff, but the generous metalhead who had handed me the cassette then said, “Just give it back to me on Monday. “ Then he pointed at the tape and grinned “…it’ll fuck you up.” So I took it home for the weekend, listened to it and yes indeed it did fuck me up. So much so I can honestly say this: Slayer was the first band to ever scare me. The sheer intensity and brutality was way too much for me to handle at that stage of my musical discovery. As heavy as Metallica was, Slayer was still a huge leap above that. So I finally found the mystery metalhead on Monday, returned his cassette to him with the affirmation that yes, it fucked me up and I put Slayer on the shelf for a year or so. It wasn’t until ‘88’s South of Heaven that I gave them another shot and finally “got it”. I’ve been Slaytanic ever since.

Slayer had a huge impact on my approach to playing heavy music. My guitar playing style (when it comes to heavy music) is largely the product of the 4H Club: Hendrix, Halen, Hetfield and Hanneman. There are elements of all those guys in my playing whenever I pick up a guitar, crank the gain and get loud. The thrash band I had as a younger man, Minotaur, had their base sound deeply footed in the Slayer model of aggressive attack. And that’s what Slayer was..aggression personified. ‘Tallica is often credited with taking the Sabbath sound to the next level, but I give that credit to Slayer (I’ve always likened Metallica more to Motorhead). They took the menace, doom and evil that Sabbath projected, soaked it in grain alcohol, punched it in the mouth with brass knuckles and then sent it into the pit flailing wildly with a straight razor.

I was fortunate enough to see Slayer live 3 times in my life. Each show was a severe ass-kicking of the best kind. I was able to introduce my wife to the live Slayer experience in 2007 when they co-headlined a tour with Marilyn Manson. She blames them to this day for the awful bladder/kidney infection she got that night during their set.

And now, one of the men most responsible for all that is suddenly gone. And the metal world is poorer for it. Kerry King is, for all intents and purposes, the face of Slayer. He has the overwrought extreme image that people reference with Slayer : the nail covered gauntlet, sprawling tribal tats that traverse his arms, neck and head, the Viking beard. But Jeff was truly the musical backbone. Hanneman was the substance to King’s style. When I look at my all-time favorite Slayer tunes, they are all musically penned solely by Hanneman and the lyrics were either co-written or fully written by him: “At Dawn They Sleep”, “Angel of Death”, “Raining Blood”, “Hell Awaits”, “Behind The Crooked Cross”, “South of Heaven” (lyrics by Tim Araya), “Spill The Blood”, “War Ensemble”, “Dead Skin Mask” (lyrics Araya), “Seasons In The Abyss” (lyrics Araya), “Bitter Peace”, “Stain of Mind” (lyrics by King), “Disciple” (Lyrics by King), “God Send Death”, “Jihad”, “Final Six”, “Eyes of the Insane” (Slayer won a Grammy for this one), “Human Strain”, “Psychopathy Red”….you can’t mess with that.

Jeff was always my favorite member of the band. Quiet, a bit aloof..just sort of stood back and allowed King and Tom Araya to handle the majority of the press. But he was articulate and blunt when he did take part in interviews. He seemed like just a regular guy who enjoyed his Jager, hockey, showing his dogs with his wife and playing guitar in one of the world’s most badass bands.

In 2011, he was bitten by a spider on the arm and began a long battle with necrotizing fasciitis (flesh-eating disease) due to not seeking immediate medical treatment. He had to halt all activities with Slayer in order to focus on recovery while the band continued to tour with a fill-in guitarist (the very capable Gary Holt of the also legendary Exodus). During the very early days of fighting the illness, he was reportedly in a coma for a period of 3 days and had several surgeries to repair damaged tissue in his arm. During periods in 2012, reports began to bubble up that he was recovering nicely and that his return to the stage with Slayer was imminent. He even made a special appearance onstage at one show that year. But as 2013 dawned other reports stating that Jeff was still very much ill began to surface. Nobody really knew the true nature of his circumstances so it was an utter shock when on May 2, 2013 at the age of 49, Jeff Hanneman passed away in a hospital due to liver failure believed to have been linked to his ongoing fight with the complications from the spider bite.

Jeff created a sonic vocabulary with his work in Slayer that musicians continue to draw from steadily and is a pioneer. The bands directly influenced by his work are legion. His contributions to the canon of extreme music are indisputable.

The future of Slayer is a bit uncertain at the moment. I think for me on a personal level, I consider the band to be over seeing how many times I refer to them in the past tense in this posting. Jeff was too much of a pillar of the band for it to ever be the same for me. But if they continue recording, I will surely check it out. But I’ll be truthful, my expectations are low.

One last parting comment (Jeff had a twisted sense of humor and I think he would appreciate where I’m coming from with this): There is nothing lighthearted or funny about dying too young or about the disease that claimed Jeff. But let’s be honest, dying slowly from a flesh-eating disease caused by a poisonous spider bite….how fucking metal is THAT?!! \m/

Only in Slayer. Dude…SLAYER.

EVH Wolfgang Stealth Special Review

I’ve lusted after an EVH Wolfgang model guitar for years (and in case you didn’t know, EVH stands for Eddie Van f****n’ Halen), all the way back when he was with Ernie Ball and it was just a Music Man model. He left Music Man and went with Peavey for a stretch, which is where his model was christened The Wolfgang. I heard guitar after guitar player I knew who had played one say it was one of the best guitars they had ever played. Eventually he left Peavey and went to Fender where they gave him his own branding: EVH. A lot of refinements had been made since the Peavey days (where guitarists were already raving about the guitars) and everything I was hearing was over the moon positive about the EVH version of the Wolfgang. So I began seriously considering acquiring one. But that deep burning want didn’t turn into a desperate need until earlier this year when they unveiled the Wolfgang Stealth model. Then it wasn’t even a choice. I had to get one.


But it almost didn’t happen. I ordered mine as soon as they were available for pre-order on Musician’s Friend. But after three months of being back-ordered, I was getting antsy. I had my finger on the trigger of canceling the order and instead getting the white, maple fretboard version of the Wolfgang. But a great friend of mine (thanks John!) urged me more than once to be patient and wait for the true object of my desire. Not long after the second or third time of talking me down off the ledge, I received notice that my guitar had shipped. And after an excruciatingly long three days, it arrived. And John was right: it was worth the wait.

After tearing open the shipping box, just the case alone had me impressed. It has molded Eddie stripes on the hardshell flight case and virtually indestructible industrial grade plastic locks (won’t rust). And when I opened it, white doves flew out with roses in their beaks. Not really, but it was an excellent moment, similar to when Indiana Jones opened concrete tomb for the first time, exposing the Lost Ark. There the guitar sat in a bed of gorgeous red plush, like a king’s robe. Beautiful. *sniffsniff*

Visually, the guitar is unique to the arsenal of Eddie. It’s called the Stealth because aside from the cream body binding, cream on the zebra humbuckers and the back of the unfinished maple bolt-on neck, this weapon is solid black. The body has a thin (to let the wood breathe a bit) satin black finish, as does the front of the headstock. All hardware is also black. But the most striking new feature is the ebony fretboard. Eddie has always been traditionally a maple fretboard guy, but apparently on a lark he had somebody make up a Wolfgang with an ebony board. Turns out, he liked it so much that a Stealth is now his preferred guitar.


Mine is the Special ($1400) instead of the more expensive USA made model ($3000). The only differences between the two are that the Special was put together in Japan, doesn’t have a carved maple top and the binding is one ply on the body only (as opposed to multi-ply binding on both the body and the headstock). Everything else is exactly the same: basswood body, the unfinished maple neck, the ebony fretboard with vintage sized stainless steel frets, genuine Floyd Rose with D-Tuna, Bourns low-friction pots and EVH designed humbuckers and tuners. Top notch quality through and through.


Picking it up out of the case, the guitar is light and extremely well balanced. The body was a bit smaller than I expected. Makes you realize how small a guy Eddie is; the guitar looks a bit more substantial on his shoulders. Similar to how big the Gibson SG looks on Angus Young, yet it’s a rather small guitar. I’m 6 foot, 225 lbs. so it’s a bit ukulele-ish on my frame but that’s cool..I enjoy the feeling of “owning” a smaller guitar. Feels more a part of me and I can manhandle it a bit more. Like Hulk Hogan in a wrestling match with Danny De Vito.


One problem people were complaining about with the first batch of Wolfgangs a couple years ago was that the frets were jagged along the edges. Being that the frets are stainless steel, that can really tear up the edge of your hand. And it’s a bit costlier to fix too at your local guitar shop as steel frets are harder to work on than the standard, softer nickel kind. But there was no such issue with mine, as the edges were perfect. A few quick runs up and down the neck left me smiling right away. It comes factory strung with EVH brand strings, .009-.046. Right out of the box there was zero fret buzz, no dead spots and the action was perfect for me. Notes and bends sang clear from the first fret up to the 22nd. The neck felt great in my hand and that fretboard….sweet butter.


The Floyd Rose is set so it sits flat against the body, so it only works in one direction..down, like a traditional tremolo. This is Eddie’s preferred set-up as he is a big believer that all components should be in contact with the guitar’s body in order to have maximum resonance. I hit the whammy bar hardcore for a minute or so and it stayed in perfect tune. The D-Tuna worked flawlessly. For those who aren’t familiar, the D-Tuna is a device patented by Eddie that is installed into the low E string of a Floyd Rose that drops the E string down a whole step to D with a tug. A simple push pops you back up to E. It stayed in perfect intonation before and after.


Plugged in, I was concerned at first and considered sending it back as I didn’t sound just like Eddie. What kind of shit is that??? Eventually I came to terms with my mere mortal status and began putting it through its paces in accordance with my own abilities. I’ve read many a review stating that many folks prefer the Special without the maple top as it makes for a warmer guitar. Many people find the maple on top of the basswood a bit shrill on the USA model. I’ve never played the USA so I can’t really compare, but I do love the generally warm sound of the Special.


The pickups are designed and wound to Eddie’s specs, (basically hotter versions of his original PAF) directly mounted to the body (again, that resonance thing) with no adjustable height screws. The pickups are extremely well-balanced..no particular frequency overpowers the guitar. The bass is solid and crushing. All thump and no warble or mush. The mids are solid and full; no cardboard or honk. And the treble sweetly screams without being ice picky or tinny. Muted notes chug gloriously and harmonics jump out of it. Notes bloom and sustain beautifully. Clean it shines as well, particularly with both ‘buckers engaged. In fact, the double humbucker position is probably my favorite setting, dirty or clean. But individually, the bridge humbucker is crunchy like you want a bridge bucker to be and the neck just sings with creamy goodness. These pickups, coupled with the fretboard and body, make this a very LIVE guitar. It will point out every flaw in your playing. Be sure your muting is up to snuff. Sloppy players will hate thing. (P.S. A note about the three way pickup switch on the upper horn of the body, Les Paul style: it’s reverse wired. Eddie did this to facilitate tapping, so he didn’t accidentally keep knocking it out of bridge position.)


A big point of debate I’ve read are the Bourns pots. More specifically, the low friction volume pot (the tone is normal friction). Basically, the low-friction pot is like a worn in pot, looser in its travel to better allow volume swells with the knob. Some players complain it’s TOO easy and that they were constantly knocking the control around as they played. I had no such problem….makes me wonder about their strumming technique. Anyway, I love the Bourns pot. As soon as they are available aftermarket, they are going in all my guitars. I enjoy not fighting with a stiff pot when utilizing swells. And a cool note about the knobs: the white marker line on the black MXR knobs glow in the dark so the position can be seen in low light stage conditions.


I opened up the back to check out the wiring and again, flawless. I’ve always worked on my own gear and am rather familiar with the electronic guts of a guitar. The workmanship is excellent. Clean, shiny solder joints, everything is shielded properly and all components are quality. Eddie had them leave the cavity unfinished (to help the wood age better).


According to Eddie and the guys who helped him bring his ideas to fruition, everything on this guitar is designed to work with everything else, to interact in a specific way with all the other parts to achieve his full tonal vision. To paraphrase them, this isn’t a guitar to change and upgrade. And I actually agree with that for once. I’m a born tweaker; I don’t own a guitar that I haven’t messed around with in some capacity or changed out pickups/electronics. This is the first guitar I’m going to leave alone. The only thing I’ve done to it is replace the standard strap buttons with Dunlop straplocks and that’s all I’m going to do to it.


I’m extremely happy and satisfied with this guitar. It has met and exceeded my expectations on all fronts. It handled the varied strains from Slayer, KISS, Hendrix, Maiden to Albert King and Booker T and The MG’s with equal aplomb. It’s definitely a PLAYERS guitar. Each component was designed for maximum effectiveness. It’s tough and does its job.


Now I’m thinking of getting the white one too.

I'm Going Through Changes...

As the old Black Sabbath song goes.

Yes things are changing. For the better, I hasten to add. The job I’ve been waiting on for two years has finally come through and I’m tentatively set to begin work this month on the 26th. It’s a great opportunity. It will allow me to provide better for my family and allow my wife Maureen to stay home with the kids, which has been her dream ever since she first got pregnant. It’s definitely her turn and she has more than earned it.

But as positive as all of this is and as excited as we both are about it, it’s very bittersweet. Ever since our first son was born, I’ve been the parent who has been home everyday. The proverbial Mr. Mom. My first thought after I got off the phone with the recruiter who told me that I would be starting work soon was “I only have three weeks left with my boys”.

I’m a lucky father. Most don’t get the opportunity I’ve had to spend so much time with their kids. I realize how rare and special it has been. I got to see my little boys grow and change everyday before my eyes from a perspective few fathers are lucky enough to have.

The plan all along was for Maureen to stay home. When I first applied for this job, we thought I’d have it in just under a year. The process took much longer than that and for the last two and half years my only job has been to be Daddy. And I’ve loved it. But it’s time to shift things around.

There’s a hell of a lot I’m going to miss. The little moments you get to witness during the day: the impromptu hugs, hearing those little laughs all day, making my oldest his waffle in the morning, and most of all, just being able to sit and hold my kidswhenever I felt like it. Of course there are things I’m not going to miss: the tantrums, food being thrown, the just organized room being trashed, the defiant yells and screams. You know, the stuff that makes parenting REALLY fun. But it’s time for my wife to get to experience both the little joys and irritations that only come from being with a toddler and baby everyday. And maybe she’ll be more successful at the potty training than I was (with the kids…I’m still not ready yet). Maureen has spent more than her share of time heading off to work early in the morning when wanting nothing more in the world than to stay home with her babies. The time has finally come where I can give her that priviledge. And I do it happily. But not without a tear and a small heartache.

I don’t know if our two year old will remember at all that he got to spend his first two years with Daddy. I know our 6 month old won’t. But I sure will.

Van Halen- A Different Kind Of Truth Review

The problem most veteran rock bands run into when they release new music is invariably the ghost of their glorious pasts looms over them. That old, classic music has emotional attachments that is hard for the new material, no matter how good, to compete with. How can a brand new tune compete with a song that glows with the warm sentimental sheen of 20-30 years of memories? It’s a real tightrope; a band runs the risk of sounding derivative of itself if they try too hard to repeat a past formula but they also risk alienating the ever faithful classic fan base if they stray too far from said formula.

So how did Van Halen do with the first full album of new material in 14 years (not to mention the first VH album with David Lee Roth back on vocals since 1984)? In short, every veteran act that is releasing new music this year had better start training because they have an incredibly high bar to get over. KISS, Sabbath, Rush, Marillion, Cult, Metallica…... this is your blueprint. Van Halen have managed the impossible by releasing an album that takes everything you loved about classic VH and bringing it into the 21st century while retaining it’s original luster. All while NOT sounding dated. They even added a couple new wrinkles here and there. It’s retro and modern at the same time.

A big reason for this is undoubtedly due to the fact that the majority of the album are reworkings of old demos from the ‘70’s. They’ve unfairly caught a lot of undue criticism for this. Initially, honestly, I too was a little skeptical. I was fearful of a “lazy” album; an album full of hastily recorded retreads that had the potential to sound tired and uninspired. It could’ve been the proverbial “let’s make a quick buck on our name” album. The relief I felt upon finally hearing the finished 2012 versions of those old tunes was quickly upgraded to jubilation. I knew it’d be good….I just wasn’t expecting it to be THIS good. There is nothing tired or lazy about this album. This is a band who still has the mojo. Tight, focused and ENERGETIC; the energy coming from this disc would be hard for guys half-their ages to keep up with. This isn’t some classic rock act simply going through the motions. This is vitality and a still flourishing creativity. The fact that a lot of tunes are old demos means nothing. That’s what demos are for: to bookmark ideas that haven’t reached fruition to save for later. It’s standard practice for all types of musicians, artists, authors, scientists, producers, philosophers, directors, etc. to revisit old ideas. People hung up on if it’s an affront to their misguided interpretation of “artistic integrity” or not are missing the point completely. An exciting disc made up of older ideas is just that: an exciting album. Screw everything else. And that’s what this album is: exciting. If you want a boring recording made up of all new ideas, there’s always Chickenfoot. I’ll be sitting here getting my ass kicked by this disc while you’re over there feeling full of integrity and bored out of your skull.


Individually, each guy shines on this album. It’s an achievement from both a band perspective and for each member. This is Wolfgang’s recording debut and for me he’s the MVP of the album. They really traded up with Wolfie. There has never been bass playing of this caliber on a VH album. Very Sheehan-esqe. I was expecting the usual plodding root 8th notes (not ragging former bassist Michael Anthony but let’s be honest, the bass playing wasn’t what you listened to a VH album for), but Wolfie steps up and is Eddie’s equal. For once, the rhythm section underneath the leads are as interesting as the soloing that’s going on above it. Really makes you listen to the album in a different way. I found myself seeking out Wolf’s parts. And Eddie must feel the same, as the bass is very prominent in the mix. It shares equal sonic space..you can tell he’s very proud of his boy! And it’s no surprise Wolfie is good; he was groomed for the band by his dad and Uncle Alex. Alex and Wolfie have gelled completely and the bottom end of Van Halen has never been more solid. It’s a BAND, in every sense of the word.


As for Eddie, I offer these two words: EDDIE’S BACK! He is totally unhinged and going for the jugular. The unbridled tapping, horse whinny harmonics and beautiful recklessness that define his playing are all present and accounted for. None of it sounds forced..he’s ENJOYING himself again. It’s loose and playful. And the Brown Sound has returned! His sound is a lot less dense and processed than it has been since Balance. A lot of that also has to do with the fact that there are a lot less guitar tracks layered on this one. It’s much like the early albums, where when Eddie plays a fill or solo and there’s no rhythm guitar underneath. The entire band breathes. A guitar, a bass and drums and BOOM! A lot of open air moving in between everything. Nothing is crushed underneath layers of production.

This album also marks the return of the one and only David Lee Roth. Goddamn I didn’t realize how much I missed this guy until I heard this album. You had some good stuff Sammy, but Roth is THE singer for the band. His vocals aren’t quite as dynamic as the classic days (what aging singer's vocals ever are??) but the difference is minor. He still sounds fantastic and still has the old DLR swagger. His lyrics are gold ...the wit and wordplay is still ever present and has been sharpened with a heavy dose of worldy wisdom. This is Dave the Sage..High Priest of the Frosty Order. Loads of quotable material here:

“Housewife to Momshell..”
“I want to be your knight in shining pick up truck..”
“Heroes aren’t born, they’re cornered…”
“If everything is coming your way, you’re facing the wrong lane..”
“Love ‘em all, I says, let Cupid sort ‘em out…”
“Last time you turned your radio on, did it return the favor?”
“Don’t want ‘em to get your goat? Then don’t show ‘em where it’s hid..”
“Trust in Allah, but tie up your camel..”

...just to show a few.

I’ve seen some on-line reviews that call the lyrics dumb. Ironic considering the lyrics on this album are far from the typical cock-rock odes to debauchery that made up the majority of the classic VH material. These are some of the best lyrics on any VH album ever. But the Internet has shown that a disturbing amount of people are devoid of the essential tools of sarcasm and context. Frankly, alot of it flies over people's heads. They completely miss the twinkle in the eye with which the lyrics were written. Kind of like Muhammad Ali with his rhymes. How can anybody take it so seriously? These are the kind of folks who take Looney Tunes literally and can’t fathom how Bugs Bunny carries that giant hammer in his pants all the time. Wait, where are the pants……?

Now for the important stuff...the tunes:

TATTOO- This tune made people nervous when it was released as the first single. They were expecting more of a barnstorming song to be the single and panicked, thinking this was indicative of the direction of the entire album (silly to do with any single, really). Now that we can rest assured that there are plenty of head slicing shredders on this album, we can take a look at this song in it’s proper context. It really is a left turn from the rest of the album. A grooving, mid-tempo radio friendly tune. Hooky vocals, classic Eddie solo..nothing too caustic or cage rattling. Interesting way to open the disc. It’s really misdirecting….it’s the jab that causes you to cover your face while the body blow you didn’t see coming right behind it knocks the wind out of you. I like the song a lot. A fun, sing along tune that primes you for the rest of the album. And knowing that such a killer album awaits after this song leaves you free to enjoy it without feeling bad about yourself.

SHE’S THE WOMAN- The pace picks up here. A swinging, hard driving back beat, with a ZZ Top-ish shuffle on top. If the middle section sounds a bit familiar it’s because the original version of this tune is where the bridge from “Mean Streets” was taken from. The structure of the bridge in this version stays pretty similar but is updated for 2012. Could definitely hear this on I or II.

YOU AND YOUR BLUES- The riff/vibe harkens back to the F.U.C.K. days. Another mid-tempo groover. The lyrics have an interesting twist: Dave quotes the titles of classic rock and blues songs. One of Dave’s stand-out vocal performances here..he let’s his voice go in the chorus, preaching his testimony of finally being free of that woman and her blues that have been dragging him down. Overall, this is my least favorite tune on the album but that does NOT mean it's a bad song; it's only in comparison to the other songs on here. This is one of those albums where even the least song is really, really, REALLY good.

CHINATOWN- This is where the album really jumps off for me. From here on out, they put their foot on your throat and refuse to let you up. Van Halen meets Motorhead on this tune..just relentless from start to finish. I think this is what people were wanting and expecting from the first single. This is classic that classic Van Halen juggernaut in spades. Begins with a furious tapping run by Eddie and then shifts directly into top gear with crisp, machine gun double bass drums and Eddie/Wolfie grinding out spitfire flurries of notes in unison. Brutal. The ending has some sick interplay between Ed and Wolfie before wrapping up. My personal favorite. Some people won't like it due to the sheer speed-metal velocity, but it's right up my alley.

BLOOD AND FIRE- Another favorite. Very much in the Diver Down/1984 vein. Eddie plays with a pretty clean tone here. Solid rocker that I imagine will make it into the live show. ..the chorus is easy to latch onto and the lyric “Look at the all of the people here tonight” just begs for audience interaction. One of my favorite solos on this disc.

BULLETHEAD- Quick, driving, punky number ala “Atomic Punk” that also would be at home on I or II. Energy is high here. Lots of grit and venom.

AS IS- One of the crown jewels. The 30 second clip Van Halen released as a teaser faded out just after the heavy, quirky intro riff and really left you wondering where the song was going. It quickly transforms into another double time locomotive. Suddenly, after the solo, it breaks down into a short, twisting, sludgy riff reminiscent of the intro that feels like you’ve taken a U-turn too fast and are trying to hang on, then gives way to a country clean picked riff that leads right back into the frantic pace of the main body of the song. That quick sojourn into the sludgy riff after the solo is a phenomenon I call “Ninja Riffs”. And they are all over this album. They are badassed riffs that come from out of nowhere, cut your head off and then disappear never to be heard again after a couple bars. That’s one thing about this album..nothing overstays it’s welcome. They hit you, BAM! and then are on to the next thing. Another favorite..a Top 3 for me.

HONEYBABYSWEETIEDOLL- Another song that left you going “WTF?” when you heard the samples. Again, it faded out just after the weird intro. But the wait was worth it. This is the darkest, heaviest thing on the album…recalls the flavor of Of Women And Chidren First. Very thick sounding. The bass really carries the weight on this and sounds like it’s going thru a MuTron filter. Eddie also plays around with some pitch shifting effects and his tone just nastily stings you. The song ends as bizarrely as it begins. Another favorite. Eddie really twists out some left of center Eastern melodies on the bridge and solo. One of the coolest songs here. Along with "Chinatown"and "As Is", this rounds out my Top 3.

THE TROUBLE WITH NEVER- Wah-soaked Vai/Satriani-like main riff here. Songs stays tight in the pocket until it opens wide on the chorus…big chords, the bass drives it and there’s lots of classic VH “ahhh” and “ohhh” background singing. The solo really blossoms and the combo of Wolf and Alex really shines under the solo. This was the first full tune besides “Tattoo” I heard before the album was released and it was when I first became aware and impressed with how Wolfie had gelled with Alex. The riff after the spoken word breakdown is another Ninja Riff that just guts me. They could’ve created a whole other tune based off of that; it just crushes.

OUTTA SPACE- Another tune culled from the ‘70’s demos, this one coming from the original Gene Simmons produced demo. Riff really reminds me of Maiden’s “Two Minutes to Midnight.” But that’s where the similarity stops. Its another energetic straight ahead punky rocker in the vein of Bullethead. Real classic sounding stuff. Would work great live.

STAY FROSTY- This song was the surprise of the bunch for me. I thought very little of it when I first heard the samples. Seemed like just an Ice Cream Man re-write. I heard more of the song when they used it in an episode of CSI and liked it a bit more. But I didn’t really come to appreciate it until I heard the full album version. Dave is really the star here..he’s dispensing his worldly wisdom in that full Sage mode I mentioned before. The music maintains that Ice Cream Man swing throughout and Eddie lets loose on the last half of the song. A lighthearted, fun tune that does nothing but rock.

BIG RIVER- Wolfie and Alex drive this with a pumping stomp groove that pushes everything along before it while Eddie’s riff rolls along like, well, a big river, on top. Another favorite. The bridge breaks down to another Ninja Riff before Eddie dives into the solo..the album’s best, IMO. It’s his “All Along The Watchtower”. He takes the solo through three distinct moods before returning to the main theme. And again, Wolfie really shines underneath Dad’s solo. Since the Top 3 is full, it's now in the Top 4.

BEATS WORKIN’- Epic opening to the final song on the album. After the intro, they settle into a solid pocket that grinds forward. The chorus recalls “Feel Your Love Tonight”. A short bass interlude after the bridge transitions the song into some primo noodling from Eddie that elevates into the quick but climatic outro.

And just like that, the album is done. Seems like it went by way too fast. This is one where I feel a couple of extra tunes wouldn’t have hurt anything. Most albums I feel could be edited down by a song or two, but this flows so well and is paced so perfectly that when the end comes, you’re just not ready for it to be over. It begs repeat listenings.

Bravo, gentlemen. The powers that be in the band have made no mention of continuing to collaborate beyond this tour but they also haven't said that this is it either. So here's hoping things continue to go well because as long as they have work of this caliber up their sleeves, I'll be first in line at the store on release day.

Roots

This past Wednesday I took my boys, Gage (2 and a half) and Luke (5 months), to visit their great-grandfather Bud (or as Gage likes to say, "Papa Buuuuuuuuuuuuudddd") at his house. It was a fun visit; my aunt Karen was there to help with Luke while Grandpa and I took Gage outside to go see some horses, play basketball and just be outside to enjoy the amazingly warm 65 degree February day.

My grandparents built that house right before I was born. So for me and my cousins Val, Sabrina, Will, Michael and Troy (miss you buddy) that house is the house we associate with them. That's the ONLY house we think of when we hear the term "Grandma and Grandpa's house". It's always been there to welcome and accept us no matter what.

Collectively, my cousins and I, we all couldn't be more different from each other in many respects. Especially me (I'm sure each cousin will say it's them). It's tough to be the coolest one of the bunch...my cross to bear I guess. Anyway I digress. The point is we all have our individual quirks and such, but under the roof at Grandma and Grandpa's it didn't matter. We were all accepted and celebrated for what was uniquely ours as individuals and as members of the family. A very warm, loving and inviting space in which to exist and just be. It's where Grandma and I would plan trips to the moon and where Grandpa taught me my first guitar chord. It was open C.

My grandmother passed away in November of '07. The Tuesday before our visit would've been their 59th anniversary. We all miss her terribly, Grandpa probably most of all. I would've given anything for her to be able to see me get married and to meet my two boys. Since her passing, I can count on one hand the amount of times I've been over to the house. It hasn't been on purpose, just the usual busy nature of life. Grandpa also hadn't felt like hosting the usual festvites that were traditonally centered there: Thanksgiving, birthdays and Christmas. Only in '10 was there a family gathering at Grandpa's for Christmas for the first time since her passing. There was one last year as well, but I couldn't attend because I had gotten out of the hospital Christmas Eve (another story for another time) and was too tired to attend. Made me sad to miss it. Some of the best memories of that house are from Christmas time. Not to mention all the birthday parties. Mine and Grandma's were close together, Nov. 26 and Dec. 5 respectively. So while the family was gathered for Thanksgiving, we often combined them into a dual celebration. NOTHING like a full Thanksgiving dinner followed by birthday cake and presents. Not to mention the occassional cake fight that would break out; I'm pretty sure I still have icing somewhere in my left ear.

Alot of time has passed since those days. Us grandchildren have grown up and are all doing our own things. Some of us have gotten married. My goofy ass even went so far as to have kids of my own. And I was here with them now at this house I did so much growing up in. On the way outside, Gage was walking in between Grandpa and I, each of us holding one of his hands. I couldn't get the whole circle of life (and all that crap) thing out of my head....came this close to holding Gage up in the air Lion King style. There was something terribly surreal about watching my own son run and explore the same yard and woods where I spent many a summer and holiday doing the same.

My mind began to wander and eventually it headed straight backwards. Thankfully, Grandpa was around to help keep an eye on the kid because part of me suddenly wasn't there. Half my brian was remembering walking along the fenceline to get around to the pond to go fishing; playing horseshoes with my uncles; the time I threw a boomerang I found in the garage, not expecting it to come back...but it did (I had to duck and it skinned my knuckles as it wizzed over my head); being lifted off the ground by Tippy the dog when I was a toddler; running, wrestling and sometimes fighting with my cousins in that big yard; cooking out on the grill on the porch........I was suddenly trying to keep all the memories that popped up like a flood from squeezing out of my eyes.

I turned away for a minute and walked over to the tree I brought them to plant years ago when I was in the 4th Grade and our teacher Mrs.Porter gave us each a sapling for Arbor Day. I picked up a pine cone from the tree (now a good 150 feet tall) to take home and turned back around to look over the expansive property to see all the ghosts that were flooding my brain again. It hit me at that moment that, someday, another family may be living in this house, playing in this yard. Perhaps they won't like where my tree is planted and cut it down. One day someone may move our memories out so they can move their own in. I can't describe the feeling of how it felt to see the past all at once and wishing you could capture it in one place forever, where nobody could ever touch it and rearrange it. When I was a kid, man, this place was FOREVER. The world out there was going to change but this place never would. It was somehow immune to the changes of time. And it overwhelmed me to realize the fact that that wasn't true. And all I could think, almost bitterly, was "Dammit...it all went by so fast. Too fast." There are times you don't feel like being a grown-up for just a minute, wishing you could step back into something that's not coming back and breath it in one more time. So I stood there, just enjoying being where I was for the moment, hanging on to it. Watching my son trample on the same hill I had. Happy that he is getting to enjoy a bit of what I enjoyed about being here.

We went back inside after a good hour and Gage continued to run and explore inside the house. He had a scab on his head from a few days before where he ran into the island in the middle of the kitchen, discovering he wasn't short enough to clear it anymore. It made me chuckle as he ran past the spot in this kitchen where I did the same thing when I was two.


Later, the kids were packed up and we were heading back down the driveway. I looked over my shoulder back at the house and remembered what a wonderful feeling it was (and still is) to come over the hill of that road and see that house sitting on the hill. Knowing all the love that awaited us (and still awaits us) there. I looked in the rearview at my boys and thought that even though my childhood is over, their's is just beginning. And it's my job to make sure theirs is as filled with the same loving memories as mine was. You know, circle of life (and all that crap).

There will be many more visits to see Grandpa. This visit certainly wasn't the last. He just turned 80 and is in good health; still spry and good-humored. There are still memories to make there. This day was just one of those times in life where you realize how much something means to you..how much something is a part of you. And how nothing lasts forever no matter how much you may wish it would.

Carnival Of Souls-The Lost KISS Album?

Carnival Of Souls is the red-headed stepchild of the KISS catalog. It may be KISS' most divisive and misunderstood album of their career; even more so than The Elder, arguably. Some fans dismiss it as an attempt to simply cash in on the "Seattle Sound", the grunge vibe that was at the top of the charts in those days: heavy down tuned guitars and darker socially relevant lyrics. Others, like me, see it as just a more mature, heavier KISS ( I know, I know, who the hell wants MATURE KISS right?) and an exciting change in direction. Sure, I suppose there could be superficially some elements of the grunge sound there, but it still sounds like KISS to me. And let's be honest, KISS has always chased the latest trend to a certain extent; let's not forget the disco pop sound of 79/80 or the slick hair metal sound of the late 80's. Even their original heavy blues rock sound in the '70's was purely of the times. They've always channeled what was going on around them to one degree or another.

As if the criticisms from some fans isn't bad enough, even Gene and Paul like to deride the album as a failed experiment. Although, I do tend to take Gene and Paul's assessments of their own work with a huge helping of salt; they tend to trash and attempt to minimize anything that they deem unsuccessful. The Elder was a commercial flop when it was released in '81. Yet, it's become a fan cult favorite. But getting them to acknowledge the album in a live show is nearly impossible. So in true KISS fashion, if it didn't make money, it doesn't get played.

Carnival Of Souls came at an odd time. For the first time since Lick It Up in '83, the unmasked version of the band (which included Bruce Kulick and Eric Singer) had regained it's hard rock footing with 1992's Revenge. For me, it was glorious time. KISS quit looking like a bunch of Vegas whores with cheap perms and got back to basic black leather, scraggly hair and bad attitudes. Their sound nastied up again and the live show contained alot of classic material largely ignored during the hair metal heyday of the '80's. It was the most KISS like they had been since they removed the make-up. The Kulick/Singer line-up proved to be the most versatile incarnation of KISS ever. Gene and Paul were more focused than they had been in years, Kulick had been let loose from the typical slick '80's shred playing shackles he had been placed in previously and was really getting a sound of his own and Singer brought an unbridled vitality with his drumwork. And I was excited as hell as to what they were gonna do next.

As '95 came and went, I had heard rumblings that their latest recordings were much heavier and darker than Revenge was. I, of course, could not have been more delighted. That's what I wanted from KISS again..the teeth. At this point in their career, I just wasn't looking for yet another ode to their cocks. Been there done that. I even heard some song titles: "Hate" "Jungle" "Childhood's End"..I liked what I was beginning to hear about the upcoming album! But of course, in came 1996 and we all know what happened that year: the KISS Reunion bomb was dropped on the planet. Ace and Peter walked back into the fold and all activities with the Bruce/Eric line-up were indefinitely put on hold, including the release of the newly recorded album.

But we KISS fans are resourceful and it didn't take long for a bootleg version of the new album to surface. It was going around with the title Carnival Of Souls. So I got my bootlegged cassette copy of it and immediately fell in love with the album. It was everything I had hoped it would be: a focused, heavy, incredibly written and performed, creative KISS album. Not long after, due to the unreal success of the Reunion Tour, it was announced that Bruce and Eric were out of KISS for good. It officially ended one of the best line-ups in the band's history and putting the prospect of the album ever being officially released into limbo. As exciting and magical as the Reunion was, I couldn't help but feel a sense of loss that this amazing album may never officially come out and that we'd never get to see the line-up that recorded it play any of it live.

Carnival Of Souls finally did get it's official release though. It was quietly put out with no fanfare on Oct. 28, 1997. It was titled Carnival Of Souls: The Final Sessions with a simple cover of the band in the studio. There was a super cool cover originally planned for it (a creepy leather S&M mask, with fire leaking out of the open zippers) but they let their rights to use it expire. "Jungle" was released as a single and did fairly well. I heard it on the radio quite a bit actually. I haven't heard a new KISS single receive as much airplay since. But that was the extent of the promotion for it. Talk of the reunion album with Ace and Peter was in full swing at that time and Carnival Of Souls was pretty much ignored by Gene and Paul and treated as an afterthought. It was essentially stillborn.

The album now occupies a space in Cyber Kissland where fans like me endlessly laud it's merits and others treat it as the plague. It's still a top five KISS album in my eyes. I hold it up as a relic of the time KISS surpassed my expectations and their own cliche's to deliver something I feel is truly special. Once they decided to go back to the old reliable arena anthems and "fuck me, suck me" formula when they put the paint back on, the adventurous spirit displayed on Carnival Of Souls was laid to rest.

Sure, I realize ragging KISS for singing songs about banging girls and how amazing their penises are is like ragging on water for being wet. I'm a KISS fan, so naturally I have an utmost affinity for the pocket/rocket and knees/please tunes of their golden age. I still listen to those and still cherish them. Always will. KISS' foundation lay upon poon tunes. But as I got older (and as they did too) hearing guys reaching AARP age continue to write about the joys of young tail got a bit old and, well, kinda creepy. And rather hackneyed as well.

What COS represented to me, at the time, was band that was comfortable with who they were and who didn't need to rely on the cliche's of their past. Obviously, I may have been wrong considering how quickly they ditched that whole direction in order to dress up and sing all those old odes to their love guns again. And they made millions doing it. Again. So naturally when they did Sonic Boom a couple of years ago, it was a "classic" style KISS album with plenty of schlong references like "tower of power" and talking about getting "all up inside". A looonnng way from the more pointed and articulate criticisms of life, religion and the human race on COS tunes like "Hate", "Jungle", "Seduction Of The Innocent" and "It Never Goes Away". Instead of more tunes about family bonds and friendship, like "I Will Be There" (for Paul's then newborn son Evan) and "Childhood's End", we get Paul Stanley (a married man almost 60 and father of three) still trying to sound like a swinging single guy out for a lay on a Saturday night and Gene Simmons spinning more yarns about hot women that can't resist him as if his pot belly, wig and two kids don't exist.

Evolution isn't always a bad thing. Blackie Lawless from WASP began his career in '84with the single "Animal (Fuck Like A Beast)". Then in '89 he put out the more socially conscience The Headless Children album. It was a huge step up both musically and lyrically from anything he did before. And he ran with that direction since. And those albums are among my favorites in their discography. Hell, today he doesn't even play "Animal" live anymore.

Yeah, dark and serious was never the KISS thing. They've long been the clown princes of decadence and fun. That's why we all liked them to begin with. They ultimately are a soundtrack to the good times in life and maybe aren't suited for a long career of deep-thinking. And I can't really fault them for going back to what made them famous (read: money) to begin with. But for a time, it was nice to see the band evolve and move forward into uncharted territory for them. And they did it brilliantly. So let's hear it for the KISS-era that never was. It may not have been as popular as what they did end up doing with the Reunion, but I would've been satisfied if KISS finished out their days putting out albums like COS and playing smaller places. Creatively, it was far more interesting than the "Remember all that stuff we did before? Well, here it all is again" approach they've taken since.

God Stuff Part II: The Christian Persecution Complex

Recently, I had a small exchange with somebody about NBC leaving "Under God" out of the Pledge of Allegiance. This writing isn't directed towards that person, but the more general attitudes the short conversation brought to mind.

They expressed that the powers that be are in a constant push to eliminate God from our lives and Christians should stand up and let themselves be known with a loud, unified voice against this supposed attack on their faith. While I can appreciate being annoyed at the exclusion of "Under God" (even though it wasn't in the original pledge at all. It was written in 1892, adopted by Congress in 1942 and "Under God" wasn't edited into it until 1954. But that apparently is beside the point), I find the idea that Christianity in this country is being threatened with extinction rather silly. But then again American Christians love a good persecution complex; after all, martyrdom goes with the whole Christ thing. There's no greater martyr icon than Christ on a cross.

I single out American Christians because the kind of uptight zealotry I'm talking about seems to be a product solely of the Land O' Uncle Sam. It may not have been invented here but it has been perfected. Citizens of other countries have said as much. Sure every nation has it's zealots and extremists, but when it comes to good old fashioned obnoxious Christian evangelicalism, we take the cake.

And before I go further, I'm not trying to paint all Christians in this light. Far from it. I know some damn fine Christians that I'm proud to associate with. They are humble, giving, accepting, non-judgemental and peaceful folks. Sadly, they seem to be an anomaly among the majority. So this is directed to the rest of the masses I encounter.

To my eyes, Christianity is well represented in this country. Christianity is the biggest religion in the world and the U.S. has the largest number of Christian citizens in the world. Not a bad start. Stats like that take you right to the front of the line. There's not a single day that goes by that I'm not reminded of some body's Christian faith. Just walk down the street: Churches on every corner, crucifix pendants around many a neck and rear view mirror, vanity plates and bumper stickers praising Jesus (In fact, the Virginia DMV is now going to be making available "In God We Trust" plates), businesses with those little Jesus fish on their signs like some sort of secret code, Christian Family Bookstore chains in large shopping complexes accessible by all major roadways, people on street corners (and sometimes even knocking on your door) handing out Christian literature and at Christmas time, there are large groups of folks who will walk around in public singing Christian Holiday songs to anybody who will listen. And sometimes people will even throw money at them for it. MONEY! Not stones, spears or knives but sweet, sweet green.

I see tattoos all the time, openly displayed, of Christian images: crosses, Jesus, angels, saints..I've even seen a couple people with a crown of thorns tattooed around their heads.

Turn on the radio or TV. There are multiple stations and channels dedicated 100% solely to the Word. People like Joel Osteen fill entire STADIUMS with the faithful. And he profits handsomely from it. Legally. Songs like "You Light Up My Life" and "Jesus Take The Wheel" have been number one, best selling songs. And let's not forget a film called "The Passion Of the Christ" that was kinda popular.

How about our government? Churches have power where they aren't even SUPPOSED to have any. Separation of Church and State is largely ignored. The Founding Fathers (who were DEISTS, not Christians...look it up) were explicitly against having clergy involved in political affairs. It's only logical they were touchy about that. They just fought a little war of independence (you may have heard of it) to combat, among many other things, the theocratic power of the Church of England, who cheerfully imposed rules on the colonies such as that missing a certain consecutive amount of days of Church warranted jail time. Yet from the very beginning, the clergy began exerting their influence in political matters. There were to be no official religious tests to hold office, yet unofficially, even today candidates have to claim a Christian set in order to be down in the 'hood to have hopes of even being considered for an election. There's not alot of openly Muslim, Hindu or (gasp) atheist folks on the halls of Congress or the White House. Christmas receives a Federal holiday as does Easter; we don't get any days off for Hanukkah, Kwanza or Ramadan do we? Hell, the biggest Christmas Tree in the nation is in Washington D.C. every year. Churches also wield an influence in government decisions and candidates, yet they are exempt from paying taxes. They get to have their cake and eat it too.

That doesn't seem like persecution to me and it sure doesn't reek of victim hood. It sounds like Christianity has the lion share of freedom and influence when compared to everyone else. When I think of religious persecution, I think of the Middle East, where you can be jailed or killed for showing expressions of the wrong faith in public. I think of the Holocaust where millions were slaughtered because they were the wrong religion. I think of the Crusades and Spanish Inquisition where Christians themselves murdered and tortured those of opposing beliefs. How about the Jesuit priests who came over to this new land to bring the message of eternal love through torture, imprisonment, thievery, rape and execution to the Indians?

I don't view reminding Christians that while they want people to respect their boundaries, they need to respect others as well to be oppression. Hordes of Christians with signs, yelling angrily at somebody entering an abortion clinic? I see oppression of some body's birthright to make their own reproductive choices. When I see Christians rallying to stop same-sex marriage, I see oppression of civil rights. When Christian groups seek to teach creationism in schools and attempt to block scientific advancements such as stem-cell research, I see oppression of intellect and progress. When they attempt to ban books, music and movies I see oppression of creativity and choice. When I see them oppose other people's constitutional rights to freedom of speech and religious freedom, I see the oppression of a civil and free society.

And I don't count banning prayer from public schools, the ten commandments in courthouses or nativity scenes from the front of government buildings as an assault on faith. Sorry. They don't belong there. Having reasonable boundaries is not a raping of rights. I know Christians generally have a hard time with the word "no", especially when it prevents them from steamrolling over everyone else. But there are countless other unhindered ways to express faith in this country...they don't have to hog them ALL. Also, by the way, saying "Happy Holidays" instead of "Merry Christmas" isn't an affront to God either. There are other major holidays in December besides Christmas. It's just a nice way to include everybody without making assumptions. While we're at it, though I celebrate Christmas, it wouldn't be the end of the world if I was told "Happy Hanukkah". Let's be adults and accept the kind sentiment behind the words instead of getting hyper about technicalities.

It seems like Christians have never gotten over being fed to the lions in Rome all those years ago. They've carried that underdog mentality with them to this very day, even though they've taken over most of the world. It's a very militant mentality. It's in their language when they refer to themselves: "Soldier Of Christ" "God's Army, "Prayer Warrior" etc etc. It only reminds me of what Robert Ingersoll said: "If there be an infinite being, it doesn't need us to defend it." But what more do they want, honestly? Bibles delivered to every home like phonebooks? Is their current slice of the ecclesiastical pie not big enough? There's not much left to take, really. They already have the most influence, privileges and funding of any religious group in the country. I thought charity was an important virtue..leave something for somebody else. I think many modern Christians are too busy trying to be Christians rather than trying to be like Christ. There is a very real, and very huge, difference between the two.

So, Christians, let's just calm down shall we? Stop being afraid you're going to be kicked out of the sandbox. You won't be. You know why? Yes, you may be the loudest, biggest kids in the sandbox shoving all the other kids around but you can't be kicked out, because you also own the damn sandbox. Nobody can make you go anywhere. You've elbowed your way to the front of the buffet line and are there to stay. So sit down, eat your food and quit whining; nobody feels sorry for you. And is writing letters to television stations for what they did or didn't say really the best use of your spiritual energy? Does God really need the airtime that badly? Are you protesting for God or for your own need to be validated? It just seems to me those tightly clasped hands that are praying unceasingly for somebody you recognize you as a righteous Christian could be better put to use doing something for the poor, hungry and ill of our society. All this other stuff seems superfluous by comparison doesn't it?

I challenge you to put your Christ where your mouth is. Instead of standing outside a clinic waving signs at some frightened and ashamed teenage girl trying to scare her into keeping the baby her scumbag father may have impregnated her with, why don't you go visit an orphanage or the child cancer ward of the hospital? Those children are already here, very scared and very alone. Instead of espousing terror, anger and bile at people you don't even know, go give THOSE kids some hope and love. Go spend time at a nursing home and visit some people whose friends and family have all passed on and left them behind. Feed somebody who may not have eaten a decent meal in months. Quit worrying about how other people are worshipping (or not) and keep your eyes on your own paper.

Listen, I'm not out to stop somebody's religious expression. Sure, I'm not religious but that doesn't mean I don't respect other people's right to be. To quote one of our Founding Fathers Thomas Jefferson,"But it does me no injury for my neighbor to say there are twenty gods, or no God. It neither picks my pocket nor breaks my leg." Go ahead, wear your crosses, drive your Christ encrusted cars, build more churches. I see the value in religion; it gives many a person hope and comfort in a harsh, cruel and unfair world. Celebrate and find joy in your faith. I won't even turn the hose on you if you show up on my doorstep to hand me a Bible. I may even invite you in and discuss it with you; there's no reason we can't be friends because we believe differently. But every once in awhile we gotta remind the guy who is talking on his cellphone in the theater that there's a time and a place for everything. Having the right to own a cellphone doesn't give that guy the right to use it when it's inappropiate. Nobody is trying to pick on him and take away his phone, people are just trying to remind him to use his manners while he's out being a part of society. So let's all relax and enjoy the movie together before I run this metaphor into the ground even further.

Thoughts on being 35.

An interesting thing happened to me this last weekend. I had just finshed my yardwork (mowing, trimming, etc.), was standing on the porch surveying my handiwork and feeling the contentment of a job well done. Then I noticed those feelings of contentment were stronger than usual...almost TOO strong. Have I reached the point in life where my lawn is the yardstick (pardon the pun) for my middle-aged Dad productivity? I expect my officially issued black socks and sandals to arrive anyday now. I'm even starting to look at people wearing sweatpants out in public and am thinking, "Why the hell not?" Truly scary times.

I've been talking about planting bushes in front of the house for a few years now. I've always put it off as I always had more exciting things to do. But this year, as Spring was just suggesting it was ready to be sprung, I was at the Garden Center in Lowe's buying bags of mulch, fertilizer and boxwood bushes. 4 of 'em. And I spent the better part of a nice evening shoveling, planting, mulching and moving large rocks to line the edges of the beds. And I loved it. Now I find myself planning further landscaping projects. And I am also now the annoying driver who slows down in a parking to gaze at the plant sale that's going on out on the sidewalk. I used to be the guy behind that person, screaming curses for them to hurry the #@**&! up.

I first noticed my slow crawl to full-on adulthood a few years ago as I was driving past my old high school. As of last sumer, I was 16 years out of high school. 16 years. That means the kids there now were just being born when I was graduating *shivers*. I saw a group of kids hanging out in the same spot I hung out. And I said, in my out loud voice, "Look at those damn kids." I almost slammed on my brakes so I could compose myself, because as I uttered those words a great understanding came over me: No wonder nobody took what we said as kids seriously..we were full of shit! Was I ever as full of shit as I think those teeagers I'm looking at right now are? YES! I got it, finally. Kids know dick. Sorry, but it's true. Full of idealistic optimism, vision for the future and a much needed dose of naive innocence in this world? Yes. But grounded in reality? No. And I found myself missing the utter freedom of that a bit. As they say, true knowledge brings suffering. At this stage in life, suffering for them is having to be without a cell phone for longer than 2 hours. So then I chuckled and drove on, knowing that someday a group of snotfaced little pricks will be there to tell THEM that everything they liked is lame too. Ah, the circle of life.

35 is interesting. You're at the peak of your 30's and are getting ready to hit the other side of the slope, the quick downward slide to 40. 30 thru 34 are really just your 20's extended. Stretched to almost breaking, really. Before 35, you can still kind of get away with some of the boneheaded stuff your 20's are for. In your 20's, a hangover has a funny story attached to it. The deeper you get into your 30's, more and more your hangover stories become just kinda sad stories. And if you still have hangover stories once you're leaving the 30's, chances are your 40's will be spent in AA.

Other changes happen too. Going away becomes alot more complicated. I remember when I could leave for a trip with literally just an extra shirt and a toothbrush. I'll be fine, let's just DO THIS!! YEEEEAAAAHHHHHH! Now even going away for just one night requires a checklist: prescriptions, antacids, headache medicine (gotta be the right kind, because that other kind just doesn't work for me), my brand of toothpaste, allergy pills (non-drowsy for daytime please), cold medicine and imodium (just in case I get sick while I'm gone), dandruff shampoo, that special bodywash that doesn't dry my skin too much, sunscreen (the skin cancer, you know) and various other lotions, meds and tidbits depending on what other affliction you're dealing with at the time.

Speaking of afflictions, you'll begin to notice more chronic things beginning to pop up. Aches and pains that come from nowhere and stay around alot longer than they used to. When I was 20, I could get hit my a truck in the morning and my bruises would be healed by dinner. Now I stub my toe and I'm limping until Christmas. Your bounce back doesn't quite bounce as much. And medical issues become more common. I got diagnosed with Hashimoto's Disease (a thyroid disease) over a year ago. It's a pain in the ass for sure and now I have something to bond with my family over on holiday gatherings, which ultimately turn into a listing of medical maladies they've all dealt with for the year. Now I'm part of the club. And it's nice to belong, isn't it?

On the more serious side of illnesses, you begin to notice the mortality in those you love around you more as you get older. My best friend since high school was diagnosed with leukemia just before Christmas last year (but is doing great now, BTW). I lost my grandmother in 2007. I lost my little cousin in 2001. You begin to see that the time we all thought we had endless amounts of is getting shorter. And therefor gets more precious by the day. So you begin to streamline life. You realize who you want to make time for and who you don't. The bullshit and drama you used to accept into your life has no place in it now. There's simply no time for it. And you find the cliche' of how fast time moves by to be disturbingly accurate.

But, I love being 35. I feel more like "me" than I ever have before. I've accepted my annoying quirks as lovable eccentricites (you learn it's all in how you label things :-) that I look forward to tormenting my wife with when we get older together. I have a son turning two this year and another one due in August that I'm excited to watch grow up. Sure, it's still disconcerting to hear songs you liked in high school pop up on Classic Rock stations and toys you used to play with be re-issued as a "Vintage Series". Hey, time moves on, with or without us. Accept it or don't. Either is fine by me because I've also reached the blissful stage of "I don't give a rat's ass."

So here's to my 30's so far. No doubt I'll look back at them once I'm 40 and say, "Man, I was a dumbass in those days, wasn't I?" Which, hopfeully, means that I got even smarter instead of just growing into a bigger asshole. Stay tuned.

Art Snob??

Sometimes I wonder if I'm an art snob because my gut reaction to art done on a computer is that it's not "real" art. What complicates this further is I can't really explain to you what "real" art is. All I know is that when I see a pretty picture and find out it's all digital, I dunno...I feel a sense that it's cheating. Cheating in the same way I see a DJ as not being a real musician. Pressing buttons isn't music and it doesn't feel like art to me either.

I'm no dummy, I fully realize the place digital art has in the world today and am trying to remain viable. I'm working against every old-school instinct and preference I have, though. I know, I know, you have to adapt to survive. I'm a Darwinist, so I get it. For the speed and versatility demanded by today's business models, digital art is a necessity. Newspapers and magazines don't have the traditional art departments anymore where people would labor over art boards, cutting and pasting copy by hand, manually cropping photographs and applying the registration marks for the printer themselves. All that is done on computers these days. Same for sign makers, stationary companies, etc. etc. Logos are all designed on computers now too. Which is nice, because lettering has always been my weakest suit when it comes to art. So I fully embrace the ability to do that on a PC.


But I enjoy looking at a painting and drawing that's been handmade. I like seeing the brushstrokes, the pencil and pen strokes. I marvel at the skill it takes to apply smooth shading, uniform lines, the knowledge of perspective. I like seeing the imperfections too. To me, that's almost more art than anything...the humanness of it. Look at an old Calvin and Hobbes book, you can see where the watercolor is just over the outline in spots and where the line value of the outline wavers just a bit. You know he sat down and did it himself. He worked it with his hands, paint, ink and a brush. Many cartoonists use the computer today not just for color anymore but for everything else too. They look great, don't get me wrong, but it's just a bit TOO perfect to my eyes. I like getting the sense that the person who drew something has a little bit of ink under their fingernails.


Currently I'm taking a class on Adobe Illustrator. Like I said, I'm no dummy. I'm attempting to keep up. But I gotta say, when I complete a project I don't feel that sense of accomplishment I get when I complete a painting. I feel more like I successfully and correctly completed a series of commands rather than created art. I'm more relieved that I'm finished than proud of what I've done. There's nothing visceral about it, no connection. When I hand draw or paint something, I can stand back and still "feel" what I did. I can remember how smooth that line went down, how I struggled with that other part, the almost zen like peace of repetitively laying on some thick coats of color or shading. The painting has a tangible texture. I can trace my finger along a brushstroke and feel the ridges of it. I shift and turn the canvas or paper constantly while I'm working. I stand, twist, sit, bend, stoop to get where I need to be. It's a physical experience as much as it is a visual one. And that effort comes out on the canvas. You can see emotion and effort in a stroke. To go back to the DJ analogy, it's the difference between hearing a guitar sample and having an actual living guitarist in front of you with steel strings and electricty under their fingers, hearing what's coming out of their hands through a speaker that's moving air in real time. I think that's what's missing for me when it comes to digital. It's just me sitting, looking at a screen, clicking the mouse and pressing buttons. It's really no fun....nothing is moving except a cursor.


I'm fully aware of the possibilities and convenience computer art offers. You can scan in a line drawing, play with the colors, re size objects, create multiple versions of a work quickly and easily. It's much easier to line things up correctly, make it proportionally correct, center it, reverse it, etc. etc. And it takes a solid knowledge of color theory and design principles to make it all look good. I'll never accuse digital artists of being unskilled. One of my big artistic influences, Derek Riggs (the guy responsible for all that amazing Iron Maiden artwork) works exclusively in digital now. Due to his artistic skill, his current pieces are amazing. But for me, they are still missing something from the days when he was slaving over an art board with a pen and brush.


Many see it as just another medium for artists to explore and there is alot of truth in that. It's the latest tool in the artist toolbox. It's up to each artist to determine it's worth in relation to what they do. As far as being necessary in today's fast paced world, I accept it 100%. As far as liking it..well, I'm not there yet.

Hypocrisy

Accusing somebody of being a hypocrite is like accusing them of breathing. Hypocrisy is a natural part of human nature. I know nobody who is immune from this fact of life. The problem isn't recognizing the hypocrisy in others, it's recognizing it in ourselves. As I've gotten older, I've realized that people just need to shut the hell up. Seriously. People love to jump up on a self-righteous soapbox, pound their hollow chests and tell others how to fix things and how the world should run. Shut up. Pound yer chest and yell at yourself in the mirror. That's where everybody needs to start don't you think? And yeah, I know I just contradicted the statement I just wrote about telling others how to live their lives. Yes, I'm a hypocrite but so are you.

So how about we have a National Day of Shut The Hell Up where everybody takes their own personal mental inventory eh? Where we all discover we are all hypocritwes, one and the same. A day where the person who rages against a big block business like Wal-Mart yet fills up at a gas station on the way to the protest shuts up. Doesn't he realize that the oil companies have more money than ANYBODY and do more damage that Wal-Mart ever could? Probably not. And he'll probably stop at a Target or a Safeway on the way home. Shut up.

The person who complains about the Immigration policy in Arizona yet doesn't step up to sponsor anyone for citizenship. The person on the other side of the coin who complains about illegal immigrants and how America needs more jobs, yet hires the aliens under the table, tax-free because they are cheap just to save a few bucks. Shut up.

The Christians who spout Bible verses who have next to no knowledge of the origins of that book and who constantly speak of a God of Love, yet use those same words from a loving God to harm, divide and judge other people. Shut up.

The pro-lifers who aren't standing in line to adopt all these unwanted babies and who cry out against abortion but yet are against teaching our children the merits of safe sex (and abistence does NOT work people, get real). The pro-choice people who use abortion as a regular birth control tool instead of using an actual birthcontrol tool. Shut up.

The people who protest gay marriage and call it sinful, yet are barely holding their own marriages together because they are out banging their neighbors or co-workers. Shut up.

The white guys who say they aren't racist yet sweat a little bit everytime a group of black guys walk by their car. And the black guy who complains about racsim yet always feels the need to remind us that he's black. Shut up.

Anybody who rails against one political party, yet blindly follows their own. Glenn Beck, Rush Limbaugh, Janene Garofalo, Anne Coulter, Michael Moore, Bill O'Reilly.....God, just shut up. Shut up, shut up, SHUT UP!!

So let's all calm down and take all of our snappy, pithy bumper stickers off of our cars that let everybody know what we believe and how clever we think we are. I don't care who you're favroite political candidate is, or if you think meat is murder or you're a dickhead hunter. I don't care what church you belong to or if you think Jesus is Lord. I don't care if you just want to Co-exist. Everybody just knock it off. It all seems like just an effort to annoy the person next to them. Life is too complicated to be summed up in a clever slogan on a bumper sticker or T-shirt.

Everybody is breaking their shouldrs patting themselves on their backs. Everbody is talk, talk talking but nobody wants to listen. Everbody loves to point the finger but nobody wants to figure out their contribution to either the problem or solution.

And you know what? It's okay. That's who we are as a species today. A bunch of soft, big-mouthed idiots who when it comes right down to it, are too afraid to be genuinely inconvenienced or put out to really change anything. That includes me. Everybody is willing to go as far as the point of ALMOST being uncomfortable. I think once we all shut up and realize our own inherent collective hypcritical natures, the world would be a better place.

Living Colour review

Living Colour

The Chair In The Doorway

Living Colour are one of the most underrated and most lethal bands on the planet. Mainstream success has for the most part eluded them because while they have been able to straddle the both the commercial suburbs and underground/indie ghetto, they've more often than not chosen to ignore the safe side of the street and prefer to tread where you need to keep an eye out over your shoulder..the place truly great music is born.


The lads of Living Colour have always had that sublime marriage of perfect pop sensibilities mixed with a crushing heaviness and disregard for convention that often leads them off into free-form, cacophonous sonic explorations. But it's controlled chaos. That the sinister beauty of Colour's music...these boys know what they're doing. If a change or transposition is jarring, then it's meant to be. What may strike you initially as a disconnected flurry of notes or noises will turn out to be the central framework from which the rest of the song is hung if you give it another measure or so. They'll lull you to sleep with a feather one moment and break a cinderblock across your head the next.


This is a band of virtuosos who do everything in service of the song, which can be rare in a band with this much talent. Many times the song is relegated to the backburner, merely serving as the platform for which a musician can showboat and satisfy their own ego. But Colour takes all that energy and puts it into the arrangement, collectively taking the entire band to a higher level. They are a true BAND and a compete sonic experience.


Individually: Bassist Doug Wimbish is the MVP of the album. His use of effects and left of center tones are the perfect co-conspirators for Vernon Reid's guitar playing. It's been awhile since I've heard bass playing this creative. His lines are the meat and potatoes of many of the songs here.


Guitarist Vernon Reid is brilliant as always...unconventional, creative and effective. His use of the intangible elements of guitar playing (noises, tones, micro-tones, scratches, flutters, scrapes, feedback) married with his expert command of odd syncopations, polyrhythms and orchestral way of stacking his lines and melodies continue to inspire and serve the cause of Living Colour without fail.

When you have two forces of nature like Wimbish and Reid in your band, you need elements in it that can yoke and consolidate those energies. And that's what vocalist Corey Glover and drummer Will Calhoun do. While Reid and Wimbish may make you feel like you're flying off the rails with them, Calhoun and Glover give you a focal point to latch onto. Calhoun's somewhat restrained (i.e. not overly flashy) drum playing only serves to intensify what the Reid/Wimbish duo have going on. That's the sign of a truly gifted drummer: he both anchors the song and allows it to fly at the same time. And Glover is able to cut through the beautiful din of his band with vocal melodies that fit in snugly with the quirkiness that can drive the musical pulse of the song. He gives order to the chaos and gives it direction.


Sonically, this album is cherry headphone material. The album is full of direct, bludgeoning riffs played by a band that means what they're playing. It's very focused production for a very focused band. The core of the album is what the four of them are playing together. But there are so many layers and tiny moments thrown in that give a song it's character and that can change the atmosphere of the song in a drumbeat. Little notes, licks and harmonization's that bubble up out of the soup and recede again. At times it's like just the reverb or decay from a note hits you without ever having been sure you heard the original note at all. And what can sound at first like a simple lone melody line can upon closer inspection be three or four guitar tracks weaving around , swelling and deflating against each other. It's a treat to just sit and listen to this with headphones. You realize that as much as Living Colour has the ability to stomp your ass, they also have an incredible sense of the subtle as well.

Songwise, there's not a clunker in the bunch. This is one of those rare albums that keeps me hooked in for the entire thing and I can play it straight through. This is also becoming rarer in today's musical climate where emerging artists are all vying for the one big single that puts them over the top instead of focusing their energies on making the ENTIRE album good.

These are master musicians doing what they do. And they do it with craft, intention and the joy that true musicians have when they are making music together.

KISS Goes BOOM!!

KISS-SONIC BOOM Review

Usually when a band makes a conscious attempt to recapture the vibe of an earlier period, it’s typically with mixed results. They usually walk the line between original and derivative, or inspired and lazy. They can really recreate that magic or sound completely contrived. With the new KISS album Sonic Boom, they’ve managed to be both completely derivative AND inspired.

If you’re looking for something groundbreaking, completely original and something you’ve never heard before, this ain’t it. If you’ve never liked KISS, this album isn’t going to do a thing to change your mind. However, if you ARE a KISS fan this album is likely to be an answer to your prayers. KISS has gone back and evaluated what has been most KISS-like about the albums of the past. And they have taken all those elements and crammed them into one album. The running commentary from the band during the recording process is this is a throwback to the mid-70’s era of KISS, but this album really plants it’s flag in ‘80’s KISS though plenty of the ‘70’s and 90’s are both well represented.

This is unabashedly a KISS album. Big, dumb, loud arena rock and roll fun. No social commentary or attempts at being “relevant” here. Just big silly anthems about bad girls, good times, great sex and standing up for yourself. Lyrics are cheesy and simplistic in that classic KISS tradition and clichés abound, but if you’re buying a KISS album it’s not Shakespeare you’re after to begin with.

MODERN DAY DELILAH- Strong album opener and one of the best songs on the album. It’s Paul’s best song and also one of the strongest riffs. Surprisingly, for a KISS album, Sonic Boom is short on big memorable riffs. Most of the hooks on this album come from the vocal lines and choruses. It’s not a big, big deal but it is a bit disappointing the riffs are a bit on the anemic side. But this tune is the complete package: big riff, great vocal hooks and plenty of that Paul Stanley swagger.

RUSSIAN ROULETTE- Finally Gene remembers that we actually WANT to hear him play bass and we love it. His bass is front and center for this sleazy bit of classic ‘80’s Gene. For years, he’s delegated the bass playing to others during recording sessions and it’s a great pleasure to hear him finally step up to the plate again. The opening riff reminds me heavily of “Love’s A Deadly Weapon” on 1985’s Asylum album.

NEVER ENOUGH- Here’s where the derivative thing turns negative. The very first thing that screams to mind when the verse kicks in is Poison, as in the band Poison. This is 1980’s hair metal all the way. Paul is one of the most versatile writers in the band, in my opinion. He can write in any style he wants at will. Why he wanted to channel the Crazy Nights style (one of the fluffiest and poppiest albums in the KISS catalog) I’ll never know. Weakest song on the album for me.

YES I KNOW (NOBODY’S PERFECT) - When they talk of the ‘70’s vibe of the album, this is the tune they are talking about. This drips with that Rock and Roll Over/Love Gun sheen. One of the best Gene tracks. I hear shades of “Love’em and Leave’em” and “Mr. Speed” on this one.

STAND- Only KISS could get away with a chorus this big and syrupy. I could hear this one playing in a Disney movie. Yet as grandiose and overly dramatic as this tune is, it’s guaranteed to get every fist in the arena up in the air. This is what KISS is all about...getting fists into the air and singing along in spite of ourselves. Paul and Gene do the classic vocal trade off during the verses, always a welcome touch on a KISS album.

HOT AND COLD-When you combine hot and cold, you get lukewarm. And that’s how I feel about this Gene song.

ALL FOR THE GLORY- Another one of the strongest songs, this one sung by drummer Eric Singer. Singer has never been the weak link in anything he’s ever done and this album is no exception. His drumming is stellar and his lead vocal debut is impressive. KISS has always managed to hire drummers with great singing voices and Eric is a highlight on Sonic Boom. One of the most memorable songs here.Tommy Thayer quotes a few licks from “Parasite” and “C’mon and Love Me” during his solo.

DANGER US- A Paul tune, sounding like it could’ve come from the early ‘80’s Killers era.

I’M AN ANIMAL- The best Gene tune and a big highlight. The biggest, meatiest and heaviest riffs on the album are to be found here. Giant and lumbering in the grand tradition of “God of Thunder” “War Machine” and “Unholy”. A favorite.

WHEN LIGHTNING STRIKES- This is Tommy’s tune on the album. His voice is surprisingly strong and he really takes this one by the horns vocally. The song is very enjoyable with great energy, though I found the music to be a bit on the generic side..very AC/DC-ish .

On Tommy’s playing overall on the album: I’m not going to get into the whole Ace Frehley vs. Tommy controversy here...that’s for another time. I’m just going to judge what’s on the album by its own merits. I will say this: The ghost of the Original Spaceman looms HUGE in Tommy’s playing on this album... He didn’t just drink from the Frehley well, he fell in and drowned. At times, it’s almost as if they just cut and pasted together pieces of the original recordings of Ace’s classic solos. I mean, Ace was a big influence in Tommy’s youth, he played the part of Ace for years in the tribute band Cold Gin and then has played note for note renditions of Ace’s solos with the real KISS since 2003. So I imagine a lot (a WHOLE lot) of “Ace-isms” have melted into his own personal style. But like I said, this album isn’t about creating something brand new, but about re-creating a vibe. To that end, Tommy has done a great job. His playing isn’t very original, but it’s solid, consistent and fits the spirit of the album.

YEAH- Paul closes the album up strong. Another big ‘80’s riff with a big arena “let’s all sing it now” chorus.

Is this the greatest KISS album ever? No, it’s not. But it’s a very fun and enjoyable album that’s been long overdue. And I think that has a lot to do with how this album is being received. I’m very curious to know how this album will rank overall on KISS fan’s lists once the novelty of the first KISS album in 11 years has settled down. This may very well be the last album of original KISS music we’ll ever get and it’s a great way to cap off an illustrious career. It’s not THE definitive KISS album but it does justify that age-old rule of show business : leave ‘em smiling and leave ‘em wanting more. This album does just that.

The Ace Has Landed!: Ace Frehley Anomaly Review

It's been said that KISS is like a family. People may leave home but they are always a part of it. The original KISS was a family. Gene and Paul were the Mom and Dad; they were ultimately in charge, attempted to keep everyone in line and kept the whole thing going. Peter Criss was your crazy uncle...alot of fun to be around and warm-hearted but one too many stories about him ended with something to do with firearms, an ingested chemical of some kind or a car-crash. But Ace was your cool older brother: he had all the good albums, the best weed, threw the best parties and knew all the latest dirty jokes. He was always a blast to be around but he never got along really well with Mom and Dad and would eventually split from home under not so great circumstances. But even though he had his share of personal demons, you always knew how talented, smart and good-hearted he is and you just keep rooting for the guy to get his shit together someday, no matter how many times he's come close to total self-destruction.

Well, the prodigal son returns! Ace is back and he is sober. Also, refocused and more creative than he's ever been. Anomaly is a record from a man who has come to terms with who he is, what he's done and knows where he wants to go.

The album opens strong, with three solid from-the-hip rock n roll tunes: "Foxy And Free", "Outer Space" and "Pain In The Neck". Nothing subtle here as the album blasts to life with big riffs, kick in the gut drums and lyrics sung with that quirky "wink, wink, nudge nudge" style we all love from the Spaceman. The only "meh" moment is the weak chorus on "Neck".

Next up is his stellar cover of Sweet's "Fox On The Run". Gene Simmons once said Ace has the incredible ability to take some else's song and make it all his own. He has "New York Groove", "2000 Man", "Hide Your Heart" and "Do Ya" under his belt and can add this one with pride. I'd love to hear a total covers album from Ace someday. Most bands who do that with mixed results but I think Ace could hit that one out of the park. (Hey Ace, you'd sound amazing doing Joan Jett's "I Love Rock n Roll", Motorhead's "Ace Of Spades" and Alice Cooper's "School's Out". Just sayin'.)

One of the coolest tracks is "Genghis Kahn". It's got a plodding "Kashmir" type groove, with a tight riff played with a scritch-scratchy guitar tone that reminded me distantly of the James Gang "Funk #49". It's one of the brightest spots on the album, marred only slightly by a pointless chorus. There are no other lyrics on the tune, so the chorus sounds a bit misplaced. Edit those out and you'd have flawless instrumental. It also features the best guitar solo on the record. You know it's an Ace Frehley solo within the first three notes but you quickly see that Ace has (gasp!) matured with his playing over the years. There is a freshness that hasn't been there in a long time and you hear the wah-soaked solo just open up and blossom.

Ace threw us some curve-balls with "Change The World" and "A Little Below The Angels". Some pretty personal, socially-concious lyrics on these, where Ace confesses the mistakes of his past and how he wants to reconcile with the world for the future. Mellow and melodic, we see yet another side of Frehley's muse rear it's head. It's great to hear him still trying new things..he's obviously creatively rejuvenated and is being fearless with what he's allowing himself to express. There's a slightly cringe-worthy moment in the middle of "Angels" where he talks to his daugther (talking in a song is always lame to begin with) but it's tolerable and doesn't get in the way of an otherwise beautiful song too much. If we're talking cheese-factor, I'd still take it over anything from KISS '87-90 period.

Mr. Frehley has always sighted another New York native, Leslie West of Mountain, as an influence (listen to the first riff on Mountain's "Never In My Life" and then listen to Ace's "Rip It Out") and you can really hear it on the instrumental "Space Bear" (if you don't kow what Ace means by the term "Space Bear", do yourself a huge favor and seek out the 1979 KISS interview with Tom Snyder). A thick, back-beat hugging twisted heavy blues riff that sits on yer chest, refusing to let you up for air.

"Sister" is a song that has been floating around in the bootleg world for 15 years on demo reels and live-bootlegs. It finally makes it officially recorded debut here and it is a pummeling, crushing bit of Space Rock. Strong enough it could've served as the album opener with ease if they had wnated it that way. A favorite.

The album closes with another instrumental "Fractured Quantum", the fourth in the "Fractured" series. This is by far my favorite of the sequals to the original "Fractured Mirror" from his '78 solo album. This left me with the same feeling I had the first time I heard "Mirror" and that's saying something. Ace is one of the flashiest lead guitarists in the world who came to fame in one of the world's flashiest bands, but this isn't some guitar-hero wankfest here. He shows the caliber of his compositional skills by building a beautiful crescendo throughout the piece with simple melody, dynamics and instrumentation. Leaves me with goosebumps everytime.

The only bland spots in this album are "Too Many Faces" and "It's a Great Life". Neither are bad tunes and are enjoyable, they just simply didn't make much of an impression on me the way the rest of the album did.

Overall, I love this album. It's just what I wanted and expected from Ace, plus a little more. Ace has claimed that he's going to be putting out albums with more regularity now and this is he beginning of a long creative streak for him. To that I say with much affection, "Welcome home big brother. We've missed you."