The Besnard Lakes Live Review

Caught The Besnard Lakes at the Pritzker Pavilion last night for the latest installment of the venue's Free Concert Series. It was kind of a nightmare getting into the city and ended up missing a couple of songs. But what I heard was enough to whet my appetite for more. A band with a sound that big should come from more than 4 members. The Arcade Fire has 35 members and they can't reach the crescendo that Jace Lasek (guitar/keybords/vocal), Olga Goreas (bass/vocal), Kevin Laing (drums), and Rich White (drums) manage to inflict upon the audience. Add into the fact that Lasek is a master-produced and it's amazing that the band can even come close to recreating the vast expanse of their studio works. I will definitely pay to see my perceived best band in the world right now when they come around next.

Slash

Slash
Slash
EMI
LP/CD

Slash, following in the footsteps of fellow (and superior) lead guitarists like Tony Iommi and Carlos Santana, decided to put out a record with 12 different lead singers. The results are expectedly mixed. The guitarwork is, of course, not too shabby. The interesting part, as well as detriment to these songs, is that Slash conforms to the styles of the singer. With singers like The Cult's Ian Astbury (who will sing for anyone, anytime, and anywhere), Ozzy, and Iggy Pop, this technique works. Working with mediocre "artists" like Myles Kennedy and Adam Levine shows Slash playing down to their level. Not to say that they better the singer the better the song.

The album nosedives after the surprisingly pleasant "Beautiful Dangerous," with Stacy "Fergie" Ferguson. Even after the unforgiveable "Billie Jean," cover and terrible collaboration with Timbaland, Chris Cornell has still found a way to reach new lows. Once, Cornell was the greatest, most powerful voice in rock. Now, he is nothing more than Tom Waits in training. Lemmy also has a hard time fitting in here. He was much more at home on the Rise Above compilation singing Black Flag's "Thirsty And Miserable,". This collection, ultimately, is just more evidence of how Axl Rose and Slash should bury the hatchet (preferably not into each other). Musically, it is clear that they miss each other. And we miss them too.

Track Grades:

1. Ghost feat. Ian Astbury - 7.4
2. Crucify The Dead feat. Ozzy Osbourne - 8.8
3. Beautiful Dangerous feat. Fergie - 7.8
4. Back From Cali feat. Myles Kennedy - 5.5
5. Promise feat. Chris Cornell - 3.6
6. By The Sword feat. Andrew Stockdale - 5.8
7. Gotten feat. Adam Levine - 2.5
8. Doctor Alibi feat. Lemmy Kilmister - 7.0
9. Watch This feat. Dave Grohl & Duff McKagan - 8.0
10. I Hold On feat. Kid Rock - 6.9
11. Nothing To Say feat. M. Shadows - 6.5
12. Starlight feat. Myles Kennedy - 4.9
13. Saint Is A Sinner Too feat. Rocco DeLuca - 3.8
14. We're All Gonna Die feat. Iggy Pop - 7.6

Overall Grade = 6.15

Quarter Century Review: Killing Is My Business

Megadeth
Killing Is My Business....And Business Is Good
Combat
Produced by Dave Mustaine and Karat Faye

The album that began the quest of Dave Mustaine to crush his former bandmates in Metallica beneath his bootheels starts with, curiously, a piano. Seconds later, the thrashing begins with "Last Rites/Loved To Deth,". There would be no relenting again. Though Megadeth's legacy in metal is now cemented, in 1985 Dave Mustaine was desperate to succeed and to prove to his detractors that he could be a force to be reckoned with.

If comparing this to Metallica's debut Kill 'Em All, I'll probably give the edge to Metallica. However, Mustaine had a great deal to do with the songs and musical direction of Kill 'Em All, having several songwriting credits. One of theose credits was the classic "The Four Horseman,", the one song that was poached a bit here with the album's closing track "Mechanix,". Musically, the original lineup of Dave Ellefson on bass, Chris Poland on lead guitar, and Gar Samuelson is the second best of many configurations of Megadeth (first being the early-mid '90s lineup). At the end of the day, Mustaine and company definitely made a debut album to be proud of and instantly made a name for themselves as one of thrash metal's best and pioneers of the genre.

Overall Grade = 8.11

Quarter Century Review: Low-Life

New Order
Low-Life
Factory
Produced by New Order

In 1983, New Order chose to go in a new direction, departing from producer Martin Hannett. Whereas Hannett's mix of having the bass and drums in the forefront and the guitar just laying atmosphere worked in adding to the doom and dire attitude of Joy Division's records, New Order's music (despite some of the lyrical content) was far cheerier. And with their first self-produced album Power, Corruption & Lies, the band had finally freed themselves musically of the spectre of Ian Curtis.

As for the songs themselves, they no longer bore any resemblence to Joy Division either (unless you count that Peter Hook's basslines were still the driving force of the band). This was also the first time (for New Order or Joy Division) to include planned singles on an album ("The Perfect Kiss," and "Sub-Culture,"). Low-Life, for me, succeeds greatest with the album's bookend tracks "Love Vigilantes," and "Face Up,". The mix is very bright without being glossy. The results of their complete transformation into synth-pop is on display here and they do not disappoint. However, at being albeit just under an 8 out of 10, this album does not rank with classic status.

Overall Grade = 7.99

The National - High Violet

The National
High Violet
4AD
2xLP/CD

Let's just say that the Brothers Dessner should give strong consideration to making The National an instrumental band like Bryce Dessner's side project, The Clogs. Aaron Dessner is the chief composer of the music on High Violet, however, and he seems content in letting Matt Berninger's vocals turn his often lovely music into a third rate Joy Division. Imagine Dustin Hoffman singing "Atmosphere," and you have an idea as to what "Sorrow," sounds like. After 11 tracks, you are an expert as to what sorrow sounds like. "Anyone's Ghost," could be a drunken studio outtake from Depeche Mode. High Violet is, at its worst, a snooze fest. At its best, an even more boring version of The Smiths. Listening to this album is painful to me because I think of what could have been with competent vocals. As it is, High Violet is a mediocre '80s relic.

Track Grades:

1. Terrible Love - 6.5
2. Sorrow - 4.6
3. Anyone's Ghost - 4.9
4. Little Faith - 4.3
5. Afraid Of Everyone - 5.1
6. Bloodbuzz Ohio - 7.2
7. Lemonworld - 5.9
8. Runaway - 3.8
9. Conversation 16 - 5.0
10. England - 4.5
11. Vanderlyle Crybaby Geeks - 4.7

Overall Grade = 5.14