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Archive for the ‘Patrick Carman’ Category

SOUNDTRACK: JUDAS PRIEST-Rocka Rolla (1974).

Unlike Sad Wings, Judas Priest’s debut album is more of a curiosity than a cool surprise. I love this original cover–the new release has a crazy drawing on them that doesn’t make any sense with the title.  Admittedly the title is kind of dumb, but the riff on Coke works.  With the new cover, see below, the title just sounds dumb now.

The album is mostly heavy blues songs.  Although the title track has some bizarre disco elements thrown in as well (including the lyrics).  The chugga chugga in the choruses is not the chugga chugga of metal, but the chugga chugga of disco.

The biggest surprise comes with the third track, the oddly titled, “Winter/deep freeze/winter retreat/cheater.”  It’s 9 minutes long and is not so much an epic as multiple weird little pieces thrown together.

“Never Satisfied” is the closest they get to their future metal sound.  But it owes a big debt to Black Sabbath (down to the guitar sound which has the little high note in the chords that Iommi plays on parts of “Paranoid”–a sound I was always confused by but which seems to have inspired K.K. Downing).  Nevertheless is rocks pretty hard.

“Run of the Mill” has the potential to be a good rocker.  But the 8 minutes of it are rather unfocused and there’s a trippy jam in the middle.  (Again with a major Black Sabbath debt underway).  “Dying to Meet You” also has a cool sinister sound.  Both of these tracks would be well served with a better producer. The second half of this nearly 7 minute song is probably  the most metal sounding of the whole disc, although the guitar solo sound has a very Allman Brothers feel to me.

The final track “Caviar and Meths” is a two-minute instrument that is very reminiscent of trippy” Planet Caravan” style Black Sabbath.  It’s rather groovy and I’ve always liked it.  The reissue has  the band’s cover of “Diamonds and Rust.”  Because all metal bands should cover Joan Baez!

Wikipedia explains something about this album which make me feel better about it.  Apparently the band was really unhappy with the production.  Several heavier tracks were left off the album by the producer (they were later recorded for Sad Wings).  And that odd little 2 minute instrumental “Caviar and Meths” was originally a 14 minute epic written by the guy who preceded Rob Halford.  (He evidently recorded a 7 minute version of the song).  Indeed, many of the songs were written by Halford’s predecessor and Downing, so they are lacking Halford’s input. (the page was very helpful for me).

[READ: September 11, 2011] In Too Deep

Since Book Five was so awesome, I couldn’t wait to move on to Book Six.  Book Six is the first book written by an author who has written a book already (Watson wrote Book 4 as well).  At first I feared that Watson was going to squash my enjoyment of the series; it felt like there was a lot of recapping going on (I know that in a series like this a recap is necessary for people who pick up book 6 instead of book one, but it can be frustrating when you know all that backstory already).  However, at the same time, Watson also started the story in the middle of a scene, so everything was brand new, fast paced and a little disorienting.

I’m happy to say that once the story got going Watson really pulled out all the stops and this made Book Six the most exciting book so far.  In this book they travel to Australia.  As anyone who has looked into Australia knows, most of the deadliest animals on the planet live in Australia (woo hoo!) so that makes Dan quite excited.  Australia is also a much looser place to explore than some of the tightly controlled areas they have recently visited–there’s no guards in the outback.  And, when the kids hook up with an old friend of the family, Shep, they have access to tasty waves, tasty barbie, and…most awesomely, a plane.

They also have access to Isabel Kabras.  Isabel is the mother of Ian and Natalie Kabras–two teens who are rich, spoiled and ruthless.  They tried to kill Dan and Amy once, and Ian, who is a hottie, has some kind of sway over Amy–especially when Isabel tells her that Ian secretly likes her.  Isabel tells Amy that she has information about how Dan and Amy’s parents died.  She will tell her all about it if they can meet in private.   And so, for the first time in the series that I can recall, Dan and Amy are separated.  She meets the Kabras, and Isabel is looking for a trade.  Amy is suspicious, of course, and that leads to the first of many deadly animals.  It’s safe to say that Amy survives but I won’t say how–it’s very cool. (more…)

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SOUNDTRACK: JUDAS PRIEST-Sad Wings of Destiny (1976).

Before Judas Priest were the force behind “Breaking the Law,” they were still pioneers of heavy metal.  Except that their metal was tinged with all manner of odd progressive embellishments.  Like “Victim of Changes,” an 8 minute (!) multi-sectioned (!) epic. It’s got a great heavy riff and, damn, if Rob Halford’s vocals aren’t the highest-piched in music (I mean, we know he has a powerful voice, but the notes he hits–good grief man!).  The middle section is a delicate ballad that mellows out with breathy sighing and with very sixties-era backing vocals until Halford bursts out of that with his piercing wail.

It’s followed by “The Ripper” a classic metal song.  The best known version comes from Unleashed in the East, so it’s interesting to hear this earlier version where, for instance, “You’re in for a shock,” is followed by a different person’s scream, not Halford’s wail of the word “shock.”  It sounds a little slower but somehow a little more creepy (especially the quiet middle section).

“Dreamer Deceiver” is a creepy quiet song which seems to herald the vocal acrobatics of King Diamond, but this song has a lot more emotion to it, even if it is pretty trippy (like a cooler version of Black Sabbath’s “Planet Caravan,” perhaps).  The piano at the end is a really nice touch and leads into the confusingly named “Deceiver,” a very chugga chugga metal song with more great high notes. 

“Prelude” opens with more piano (technically this song opened the album when it was on vinyl…the cds all seem to have sides A nd B reversed so now this prelude is in the middle. It’s a dramatic near-orchestral opening (that many bands would imitate much later) to the killer track “Tyrant.”  “Tyrant” sounds just as menacing here as it does on the live album except for the backing vocals that sort of slouch through the word “tyyyyyrant”–in the live version Halford crams it all into one breath.   It’s followed by “Genocide” a brutal song that has withstood all of these years as an awesome metal track.

Unlike “Epitaph,” which is a completely strange ballad about a dying man.  It is all piano, it is quite poetic and is indeed quite sad (especially the final line reveal).  But the middle ‘upbeat” section sounds not unlike an Elton John track.  It’s quite peculiar, especially when it ends and the chugging riff slowly builds out of the ashes that turns into the stunning “Island of Domination.”  This is a disturbing track with really creepy lyrics but with awesome music.  The middle section (again with the middle section–did bands just forget about doing cool middle sections in the 80s?) slows the track down with all kinds of echoed vocals.

Although it sounds dated, it still holds up remarkably well as a precursor to later metal albums.  It’s one of my favorite Priest releases and one that I come back to time and time again.

[READ: September 8, 2011] The Black Circle

I haven’t read a 39 Clues book in a couple of months.  It’s not that I was losing interest, I just had other things that I wanted to read more.  But I will admit that a ten-book series (and now a second series) can be a bit daunting.  I’d also never read anything by Patrick Carman before, so I wasn’t chomping at the bit to get into the story again.  Well, Patrick Carman has completely revived my interest in the series.  The first nice thing was that the book is only 168 pages (sometimes a short book can really pick you up).  But aside from that, Carman brings all kinds of cool elements into the story and has more than enough intrigue to keep you guessing and turning pages.

But I was initially concerned about reading this book because Carman reintroduces my least favorite nemeses in the book: the boring and doltish Holt family.  They are big, tough, meat- heads with ridiculous political first names like Eisenhower, Hamilton and Reagan.  And every time we’ve seen them, they’ve been brutish and mean and not terribly clever (and this series is chock full of cleverness, so these guys really stand out like a sore thumb).  But Carman does a wonderful thing with the Holts: he forms a (temporary) alliance between Dan and Amy and the Holt family.  And although it is an uneasy alliance, about midway through the book, we see Dan and Hamilton (the Holt’s son) bonding over driving big powerful trucks and flying helicopters.  It’s nice to see Dan have a “friend,” however tenuous. (more…)

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