Showing posts with label Steve Perry. Show all posts
Showing posts with label Steve Perry. Show all posts

CD Review: Anthrax – Anthems


CD Review: Anthrax – Anthems
Megaforce
All Access Review: B+

Anthrax - Anthems 2013
The usual mosh pit at an Anthrax show is ramping up its cyclonic fury in anticipation of the raging sonic back-alley brawls Scott Ian and company are about to start. Perhaps they’ll launch into “Madhouse” or “Indians” next or any of the other blazing thrash-metal classics they have at their disposal. And then, those crashing bodies in riotous motion come to a sudden and complete halt, the reason being that Anthrax has just launched into a Journey cover of all things.

Quizzical looks are directed at the stage, as Journey’s “Keep on Runnin’” flies out of their Marshall Stacks. Is that Joey Belladonna singing or Steve Perry? It could be either of them; it really could, as Belladonna’s wail climbs to heights few can reach. Those who’ve heard Anthems, the new Megaforce eight-song EP of classic-rock covers and two versions of the epic, slow-burning “Crawl,” off their sensational Worship Music album, would be prepared in case of such an event and not be thrown by it.

Like a raging bull that sees nothing but red, Worship Music bucked and contorted its massive, muscular bulk in such a way as to make it almost impossible to ride. Arguably the best metal album of this century, the last record from New York City’s most aggressive thrash-metal street gang was a relentless attack from beginning to end. The hurricane-like intensity, the dizzying dynamics, the simmering tension and high drama, not to mention the impassioned vocals of the prodigal son Belladonna – all of this nuclear energy was barely contained within the reactor known as Worship Music, until it melted down so spectacularly in 2011.

Considering how powerful and ferocious Worship Music was, and what unexpectedly strong melodies and what bold, high-impact production it had, Anthrax has earned the right to a fun indulgence like Anthems. Unexpectedly, Anthrax plays it straight on Anthems, with vigorous workouts of Rush’s “Anthem,” Thin Lizzy’s “Jailbreak” and a crawling prowl through AC/DC’s “T.N.T” not deviating much from the originals; yet, in typically enthusiastic fashion, they inject each with fresh energy and lively performances. And their playing is more impassioned on “Keep on Runnin’” and Boston’s “Smokin’” – which has a particularly rowdy atmosphere – than on any of the others, as the pulse of both covers absolutely races.

Clearly, they cherish these songs, and they’re so respectful of them that they don’t take any unnecessary chances in their handling of these treasures. It is surprising, though, how they treat these Anthems with kid gloves and avoid giving them a good thrashing. Ultimately, what Anthems proves is that, if they wanted, Anthrax could simply be a great no-frills hard-rock band, especially with Belladonna on the mic. His vocals are astonishingly clear and melodic, fitting the material like a glove. And if Geddy Lee ever chooses to relinquish his singing duties with Rush, Belladonna could step right in and the Canadians would not miss a beat, as evidenced by his piercing treatment of “Anthem” from 2112.

Why Anthrax chose to give the expansive, chugging epic “Crawl,” one of the heaviest songs off Worship Music, a makeover is anyone’s guess. Taking a stab at a remixed version, Anthrax fleshes out “Crawl” with strings, giving it a darker, moodier and more menacing character. Undoubtedly a labor of love for Anthrax, Anthems does no harm to the songs of their heroes, and the thicker, heavier groove they give to “Big Eyes” by Cheap Trick improves the original. Could they have made less obvious choices? Maybe, but then, this is what Anthrax wanted, and had they picked deeper cuts, that pure joy and unabashed eagerness that is so prevalent here might be tempered. And that would be a shame.
   Peter Lindblad

CD Review: Neal Schon - The Calling


CD Review: Neal Schon - The Calling
Frontiers Records
All Access Review: B+
Neal Schon - The Calling 2012
There actually was a Journey before Steve Perry arrived. What people forget is, originally, the band showed little interest in making the kind of bite-sized, pop-rock ambrosia found on albums like Escape and Frontiers. Writing aching, overwrought romantic ballads such as “Open Arms” and never-say-die guitar anthems like “Don’t Stop Believin’” that all tended to breathe their last after only a few minutes of life wasn’t what Neal Schon had in mind.
Coming from Santana, he imagined a collective of virtuoso musicians indulging in sprawling rock instrumentals that paid no attention to the clock. And while that went over exceedingly well in live settings, Journey’s early records – Journey, Look into the Future and Next – all floundered commercially. Journey’s record label gnashed its teeth, of course, and decided a change in direction was needed. The rest is history.
In his heart of hearts, though, Schon has always relished the opportunity to stretch out musically, and he goes further than he’s ever been before on The Calling, his jazz-tinged, progressive-rock seventh solo album. Collaborating with former Journey drummer Steve Smith, Schon mingles moods and textures like a chemist, layering guitar and bass parts – comprised of some of the heaviest riffing and wildest soloing he’s ever unleashed, as evidenced by the powerful grooves of the metallic title track – over Smith’s complex, highly technical rhythms. There are periods of combustible fury and contemplation in the string-laden “Back Smash,” a sweeping epic that features silvery waves of synthesizer and crashing guitar chords, and “Carnival Jazz” sends a barrage of ground-to-air guitar missiles into the sky over Smith’s frenetic stick work, before devolving into a jazzy rain of acoustic piano.
More exotic, but no less menacing or dramatic, the mushrooming “Fifty-Six” finds the supersonic Schon flying at unsafe speeds up and down the fret, while in the 1:15 “Irish Field,” Schon goes it alone, weaving together strands of expressive six-string fingering into a fragile, but absolutely beautiful, sound sculpture. A nod to Hendrix, “Blue Rainbow Sky” is Schon’s “Castles Made of Sand” or “Little Wing,” albeit a more expansive version of both. And then there’s “Six-String Waltz,” swinging gently to and fro to hypnotic, if somewhat predictable, effect, while the bluesy “True Emotion” is surrounded by a dark, starry atmosphere that makes one want to lie on the hood of a Trans-Am and stare into the night.
Proving, once and for all, that Schon isn’t ready to lay down his axe, The Calling combines Schon’s overdubbing wizardry with his need for organic musicianship, and Smith, along with keyboardist friends like Jan Hammer and Igor Len, provide a constantly evolving and shifting backdrop that perfectly contrasts and dances with his scorching leads. Heed The Calling and it might just make you think differently of Schon.

-            Peter Lindblad