Reviews – Page 101 – 7th Level Music

Gary Wilson – It’s Friday Night with Gary Wilson

I’ve been mildly obsessed with Gary Wilson’s music since seeing him perform at Levitation Chicago earlier this year. It’s to the point where I’m probably dressing up as some variation of him for Halloween. I’ve been awaiting his new record of avant-garde lounge music, Friday Night with Gary Wilson, for months.

It starts with the brief, chaotic, and weird “A Tree Cries in the Wind.” It’s some sort of tape-looped fever dream of a car crashing through a swanky bowling alley lounge and then into the recording studio next door. It moves into “I Want to Hold Your Hand Tonight,” which gets us back to familiar Gary Wilson material – A guy just wants the chance to treat his lady (the ever-mysterious Linda, in this case) right. “Every night is Friday night,” Wilson sings as he lays down peppy electric organ grooves. Every night can be Friday night with Wilson’s music if you open yourself up to it.

Wilson tells Linda “I’m Going to Take You to a Thousand Dreams,” including flying to the moon, walking through the park, and making sweet love to the sound of a rather hot guitar solo. “You’re the Coolest Girl Tonight” isn’t about a girl who’s cool as in Miles Davis / Fonzie / Joe Cool-type of cool. It’s about a girl who’s cold to everyone around her, but Wilson can’t resist her beauty and the chance to thaw out this fine lady and show her a good time.

Gary Wilson’s Fridays aren’t always smooth, however. “Sick Trip on Friday Night” has him too timid to talk to Linda, even though he knows he’s the right guy for her. He goes through it every weekend. The quirky synths on it bounce like the thoughts and dreams in his head.

“Yeah, let’s swing,” says Wilson at the beginning of “We’ll Dance into the Stars.” Dancing on the moon and through the galaxy is a common theme on the record, and this groovy lounge cut is perfect for a slow dance (or an all-skate) aboard your favorite starcruiser.

Wilson’s obsession with Linda continues on “Like a Scene from a Movie Long Gone.” It even starts with the lyric, “Gary loves Linda.” Wilson sings about himself in the third person and then in the first, so you’re never sure how much of his songs are fantasies and how much is something that really happened to him. The song has some of his best electric piano work on the record.

“The Mermaid Song” is about a dream in which a mermaid sings for Wilson from the ocean, possibly luring him to either the love of his life or his doom. Wilson drops Linda, Cindy, and Cheryl’s names, but is any of them the mermaid, or is the mermaid a composite of all of them? Wilson’s synth work on it is outstanding. Beck wishes he had grooves this good.

The drums on “Soon I’ll Be Kissing Sandy” almost sound reversed, but the song is too playful to be weird. “Linda” returns after that, with some nice strings accompanying her. Wilson name checks his band (the Blind Dates) in it, and even one of his best hits, “Linda Wants to Be Alone,” in it. The groove on this is so sick that it needs antibiotics.

Even a song with such a blue title as “You Made Me Feel My Misery” can’t avoid Wilson’s ultra-lounge grooves. Wilson pines for a lost love, even though the relationship was miserable. “I Thought of You Last Night” is a weird mix of crowd noise, ambient piano, drunk synths, and something a bit nightmarish. It quickly fades into “I’ll Make You My Dream Girl,” which makes me wonder about Wilson’s obsession with the girl mentioned in the song.

The album ends with “Sometimes I Cry Late at Night,” an instrumental that showcases what a damn good pianist Wilson is. His skills are easy to miss in many of his songs as you listen to his quirky lyrics or dance to his lounge grooves, but Wilson is a fine jazz player who can put it down with the best of them.

You could spend your Friday night watching bad TV and eating those leftover chicken wings, or you could spend it with Gary Wilson, the Blind Dates, Linda, Sandy, Cheryl, Cindy, and a bunch of other fine ladies. I know what I’d pick.

Keep your mind open.

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Rewind Review: Bebel Gilberto – Tudo (2014)

I don’t know how I missed that the lovely Bebel Gilberto released Tudo in 2014, but I’m glad seeing her live reminded me to pick up this record. It’s another beautiful mix of bossa nova, electro, and lounge music that only she seems to be able to create.

The opening track, “Somewhere Else,” is sung in English and Portugese and lures the listener into taking their dream vacation, be it for real or even in the vastness of one’s mind. It even includes birdsong in the background, which I assume happened because someone left the window of the recording studio open and birds naturally land and sing whenever Ms. Gilberto even hums a tune.

“Nada Nao” (“Nothing”) is just Gilberto’s voice, an acoustic guitar, and hand percussion. It’s a fun, toe-tapping track. “Tom de Voz” (“Tone of Voice”) is a short and sweet song highlighting (What else?) Gilberto’s lovely voice.

“Novas Ideias” (“New Ideas”) has Gilberto singing alongside her frequent co-writer Seu Jorge. It will instantly make you happy, as it’s a fun samba-influenced cut that you need to play on your next date or slip to the DJ at the next wedding reception you attend. Her cover of Neil Young’s “Harvest Moon” is outstanding and brings a whole new feel to the ballad.

The title track (which means “All”) has some of Gilberto’s best vocals, as she dances around tricky words like a ballerina spinning across stage. I love the simple organ and synths on it, too, as they float behind her vocals with the hand percussion setting the beat. “Saudade Vem Correndo” (“Longing Comes Running”) is one of her many songs that will instantly make you happy. The flute backing her up on it is a great touch. “Areia” (“Sand”) begins with chimes that remind you of sand falling through an hourglass. The guitar work on it is a hypnotic low rhythm with a slight Flamenco feel. It’s even a bit dark until Ms. Gilberto glides in to rescue us and make us think of strolling on a Brazilian beach and enjoying an ice cream cone with a lover.

Or maybe the beach is in France, considering the next song has a French title – “Tout Es Bleu” (“All Are Blue”). It’s a great electro-jazz track that has probably been remixed by DJs across the world by now. It deserves to be played at your next late night party. You can’t be blue during it, so thanks to Ms. Gilberto for giving us a cure to our doldrums.

“Lonely in My Heart” has Gilberto’s vocals slightly reverbed as some acid lounge electric beats shuffle behind her and trippy synths creep in now and then. They might be evoking the ghosts of a relationship Gilberto sings about in the track. They bring a cool energy to the song even if they don’t.

When it comes to Ms. Gilberto and I, “Vivo Sonhando” (“I Live Dreaming”). I live dreaming of her singing to me in a dim club as we sit at a small table and enjoy fresh juice and a jazz band. This song pretty much describes a scenario like that and I’d probably melt right there in my chair if that ever happened. It’s a gorgeous track that, like any good dream, is over too soon.

“Inspiracao” (“Inspiration”) is a cool electro song. I love how she can jump into electro and lounge music without any trouble. “It’s All Over Now” is a heartbreaking song about a breakup and how Gilberto wishes the best for her lover and hopes they cherish the good times they had. It’s a sublime ending to a lovely record.

You need to hear Bebel Gilberto if you haven’t before. Her songs can change the mood of any place, person, or function for the better.

Keep your mind open.

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Dunsmuir – self-titled debut

Dunsmuir are a metal supergroup consisting of Vinny Appice of Black Sabbath (drums), Dave Bone of The Company Band (guitar), Brad Davis of Fu Manchu (bass), and Neil Fallon of Clutch (vocals). That should be all you need to know to buy their self-titled debut, but if not then knowing that the record is a concept album about a group of shipwreck survivors who struggle to stay alive against natural and supernatural forces should seal the deal. Again, what more do you need?

“Hung on the Rocks” begins the story of our doomed crew, and Bone’s guitar work cooks from the opening riff. Fallon sings, “When you’re hung on the rocks, do you stand by your captain or run ashore with the natives?” It seems a fitting lyric for someone frustrated with bumbling workplace management as well as someone freaking out as the ship goes down and “the chaplain is content to dance.”

“Our Only Master” (which, according to Fallon, is science) reminds us why Appice is one of the best metal drummers out there. Davis has a blast keeping up with him and Bone’s licks venture on the edge of stoner metal. The breakdown on it is fantastic. “The Bats (Are Hungry Tonight)” is great chugging metal, with Fallon’s vocals echoing off the back wall and Davis’ bass line charging through it.

“What Manner of Bliss” has some of Davis’ best bass work, and Bone sounds like he’s playing for an audience on the moon. Appice’s beats are simple but heavy. He doesn’t need to put in a lot of fancy fills because he doesn’t need them. He hits heavy and conveys power like the master of his craft that he is. “Deceiver” has our shipwrecked survivors lost in the supernatural as Fallon sings about the secrets of the universe and how such knowledge might be a terrible curse.

The survivors are off the deep end by the time we reach “…and Madness,” which has Bone apparently playing while someone sets his guitar on fire (judging by how hot the riffs are). Only Neil Fallon can sing a song like “Orb of Empire,” with lyrics of royal intrigue, magic, and dark societies. His vocal style is a perfect match to the band’s sledgehammering instrumentation. It’s the best metal song I’ve heard so far this year.

I love how “Church of the Tooth” starts out with slick and heavy stuff that sounds like, yes, Black Sabbath, and then Neil Fallon starts singing about iguanas, tortoises, crabs, and dark things at the bottom of the ocean. The band sinks into the Marianas Trench with a great finish of doom-metal sludge.

The remaining survivors are at the breaking point when we reach “The Gate,” as Fallon sings that his mind is about “to implode.” “Crawling Chaos” has Fallon reaching deep down for guttural vocals about the Old Ones and terrible things best left behind the veil that separates this world from a much darker one. The band plays like they’re trying to hold back or cause a volcanic eruption. I’m not sure which.

Dunsmuir is everything you want in a metal supergroup record. Again, the lineup alone should make you buy it. The two-ton weight heaviness of it is an added bonus.

Keep your mind open.

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Live: John Carpenter – July 15, 2016 – Detroit, MI

The Detroit Masonic Temple Theatre building is a massive, imposing place. It’s gorgeous, and this is the first thing we saw there.

We were there to see John Carpenter’s live film music retrospective, so this sign was a good one that the show would be outstanding.

Carpenter and his band (which includes his son, Cory, on keyboards and synthesizers, and his godson, Daniel Davies on lead guitar) have been on tour most of the summer and the Detroit date was one of the last three in the U.S. before embarking on a tour of Europe and the United Kingdom. I wasn’t going to miss this show, and I was delighted to see a screening of Escape from New York had been added to the bill since I bought the tickets. The screening was a hoot, with people hissing every time Snake Plissken was on screen, cheering for every major cast member, and laughing at Lee Van Cleef’s giant “futuristic” walkie-talkie.

Carpenter and crew opened with the Escape from New York theme and then gave us a great show combining film theme music and cuts from his two recent albums – Lost Themes and Lost Themes II.

The “Escape from New York” theme while recent 90-year birthday boy Harry Dean Stanton watches over us.

“Vortex” from Lost Themes was particularly good live, and the crowd went crazy for the theme to Assault on Precinct 13. Of course, they put a fog machine to good use for the theme from The Fog (one of the best ghost movies ever made).

John Carpenter in stage fog playing the theme from “The Fog.” What more could you want?

The crowd was having a ball (and many were hammered drunk) by this point. The theatre’s air conditioning was working at minimal levels, so everyone in the joint was sweaty and a bit rowdy. We would’ve been miserable had it not been for Carpenter and his band tearing it up through the theme to Big Trouble in Little China and nice cuts from Lost Themes II like “Distant Dream.” Davies, by the way, is a great guitarist.

The crowd went absolutely nuts when this happened.

The subliminal messages from They Live played on the screen, cutting into the film scenes shown throughout the theme. The movie, which is more prescient now than ever, and its theme struck a chord with the audience, and it was great to see the whole band wearing sunglasses in the spirit of Roddy Piper and Keith David.

Of course, they got a standing ovation for the Halloween theme.

I was also delighted to see and hear them play the themes from some of Carpenter’s lesser-seen works – In the Mouth of Madness (which I really need to see again) and the completely bonkers Prince of Darkness. They ended with Carpenter telling us, “Remember, as you go home, drive safe. Christine is out there!” before launching in to the Christine theme.

It was a great show, and one I’m glad I didn’t miss. Catch them if you can. It’s a must-see if you’re a fan of horror films, film scores, Carpenter’s work, or cinema.

Keep your mind open.

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Live: Wolfmother and the Living Statues – July 10, 2016 – Chicago, IL

I’d wanted to see Wolfmother live for many years, but their U.S. dates were few and far between for me. A friend of mine had seen them on their first tour and described their live show as “orgasmic.”

Lo and behold, I was in Chicago on the same weekend they were playing at the Double Door. I managed to score a ticket and get there in time to meet my friend and catch the last half of the opening set from The Living Statues – a local pop-punk band with hints of Buzzcocks, Beatles, and the Killers. They had a lot of hometown fans there and put on a good show.

The place was packed by the time Wolfmother took the stage. We got a nice spot along the bar and near the stage right corner. Wolfmother came out gunning by playing “Dimension” right away. The crowd was singing and jamming within seconds. They followed up with “New Moon Rising” and then the first single off their new record, Victorious, “Gypsy Caravan.”

Wolfmother start strong with “Dimension.”

The crowd was bonkers by the time they reached “Apple Tree,” “California Queen,” “Victorious,” and “White Unicorn.”

They ended with the lead track off Victorious – “The Love that You Give” and then “Mind’s Eye,” both songs calling for compassion and looking past the illusions we create. The encore was “The Joker and the Thief,” which sent everyone over the edge into stoner / psych-rock madness.

Wolfmother flattening walls during “The Joker and the Thief.”

It was well worth the wait. My friend sent me a text message two days later that read, “I’m still high on Wolfmother.” I too had been humming the songs for two days. I’m sure the rest of the crowd was still buzzing, because Wolfmother shook the rafters.

Keep your mind open.

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The Blind Owls – All Day and Night

The Blind Owls (Joshua De Leon – guitar, Jesse De Los Santos – guitar, Carlos Garcia – bass, Dylan Romel – drums) return from the sunny beaches of Corpus Christi with their second full-length album All Day and Night just in time for the second half of summer. It’s full of catchy power pop hooks, rockabilly beats, and dashes of punk.

The title track opens the record, and it has everything the Blind Owls do so well – a slick bass line, good vocal harmonies, jangly rock guitars, and clockwork drumming. I like the way “Good Time” starts with a crunchy little guitar riff that becomes a fun rockabilly song with a rough edge. “Sweet Baby” reveals the band’s love of Jerry Lee Lewis, as evidenced by the pounded piano, bonkers guitar work, handclaps, and frantic vocals. It’s a barnburner.

“Nobody Else” has a great walking bass line from Garcia that you might miss if you’re too busy tapping your toes to Romel’s beats, so be sure to listen for it. “Home” is really a blues tune hidden in a bop song about a cheating girlfriend. “Better” has a bit of a Bob Dylan flair, if Bob Dylan were a bit more light-hearted when singing about love.

“Out of My Mind” drops the album into full-blown psychedelic material, which is a great switch from the power-pop. The Blind Owls switch gears on us just when we think we’ve figured out their game. “Fever” keeps up the psych-rock somewhat as it keeps a nice balance between psychedelia and 60’s garage rock. The track also makes me wonder if Dylan Romel is actually a robot, because his snare work seems to obey Asimov’s laws.

“Good to Me” is sharp bop-rock that will get you moving. “Searching For” is a fast, sweet love song, as is “If They Say.” “The Way” is another song about how great the singer’s girl is, and it has a nice early Kinks sound to it that hardly anyone is attempting anymore. “Mystery Man” is full of great rock swagger (and the organ in it is a nice touch). The closer is “Doctor,” which is a cool garage rock song that melds Buzzcocks with Black Angels.

It’s a fine record, especially if you like early 1960’s garage rock (and why wouldn’t you?). Get on the Blind Owls bandwagon. They’re going places, and you should join the trip before everyone else eventually will.

Keep your mind open.

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Ron Gallo – RG3

A good EP should leave you craving a full-length album, and that’s exactly what Ron Gallo’s RG3 EP does. It’s only three tracks, but they are all scorching rockers that portend great things to come from this psych-fuzz wunderkind.

“Young Lady, You’re Scaring Me” starts off like a forgotten Byrds classic but then bursts with a great bass groove by Joe Bisirri and Gallo’s tripped-out rock guitar as he sings about wanting to move in with a lady and her twelve cats, but he’s not sure the crazy sex is worth all the other stuff that comes with it. He rips into a brief solo immediately after name-dropping the Kensington Strangler. That alone should let you know he means business.

“Put the Kids to Bed” is a psychedelic “let’s get it on” song with a little bit of a surf feel to it in the chorus as Gallo sings about crazy sex some more and feeling the panic of a long-term relationship that’s growing cold.

“Kill the Medicine Man” is a neat mix of psychedelia, horror movie film score, and blues fuzz. Gallo’s reverbed vocals go for broke and are nicely backed with some lady chanters and his killer rhythm section (with Dylan Sevey on drums). The song seems to be a plea for us to cut through dogma and see what’s right in front of us. It’s over far too soon.

The EP is over far too soon, really. It’s just ten minutes, but it’s a glorious ten minutes. Mr. Gallo, I look forward to what you have in store for us.

Keep your mind open.

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Rewind Review: Screaming Females – Live at the Hideout (2014)

Recorded at Chicago’s Hideout January 30-31, 2014, Live at the Hideout is essential for any fan of Screaming Females, rock, or quality live recordings. Steve Albini did a great job capturing the fury and power of a live Screaming Females show, and the band (“King” Mike Abbate – bass, Jarrett Dougherty – drums, Marissa Paternoster – guitar and vocals) played not only for the lucky Hideout crowd, but also apparently for everyone on the international space station to hear.

“Leave It All Up to Me” gets the album off to a fine start, showcasing Paternoster’s now-trademark shredding. “Foul Mouth” temporarily downshifts the show, with Abbate’s bass groove planting deep roots before he and his band mates take off like a nitro-burning funny car from the starting line. The band takes that nitro and uses it to almost burn the Hideout stage to the ground on “Buried in the Nude” – which is a blistering punk rock screamfest.

“Extinction” keeps the punk pumping, with Paternoster’s vocals evoking Poly Styrene. “A New Kid” has one of her best solos on the record. It moves back and forth between metal, psychedelia, grunge, and even a bit of shoegaze. “Lights Out” is one of the best metal tunes you’ve heard in a long while, and Paternoster’s solo might make you hang up your guitar.

“Sheep,” a gut punch of a song about a cheating lover, hits even harder live. “It All Means Nothing” is one of their biggest hits, and one of their best live tracks. Paternoster sizzles throughout it and Dougherty’s pulsing beat is a great foundation. His wicked beats continue on “Starve the Beat,” which has some of Paternoster’s most masterful guitar work and Dougherty and Abbate’s best clicking rhythms.

“Little Anne” is a strangely hypnotic short song that’s almost an introduction to “Pretty Okay,” which brings out Buzzcocks-like frenetic energy from the whole band. “Baby Jesus” reminds me of a spinning dynamo. It’s fiery energy that seems barely contained and could overwhelm you at any moment. Paternoster’s solo rises into psychedelic realms halfway through it and then tears into something you’d hear in a crazy anime film about starship pilots fighting Cthulu on the edge of a black hole.

The album ends with “Boyfriend,” in which the band not only topples over the edge from metal into punk rock madness, but also pulls the whole Hideout audience and anyone listening to this record with them. Paternoster screams to the rafters, Dougherty thumps on his kit harder than Chuck Norris beating up thugs in Good Guys Wear Black, and Abbate pounds on his bass with a drumstick at one point. I don’t know what will convince you that this band is a force of nature if this song doesn’t.

It’s a great live record, not only for the song selection but also for catching the power of a Screaming Females performance. If you can’t see them live, at least pick up this record. It will only make you want to see them live more or see them live again again, but that’s a good thing.

Keep your mind open.

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Rewind Review: Clutch – Robot Hive / Exodus (2005)

Clutch’s (Neil Fallon – Guitar and vocals, Jean-Paul Gaster – drums, Dan Maines – bass, Tim Sult – guitar) 2005 album Robot Hive / Exodus was the rock record you needed in 2005, and is still the rock record you need right now.

“The Incomparable Mr. Flannery” is pretty much a salute to their metalhead fans, as Fallon gives shout-outs to Dokken, Boston, Kansas, REO Speedwagon, and George Thorogood and the Delaware Destroyers.

“Burning Beard” was the big single for the album. It’s about a man losing his mind as CNN, “the power of the Holy Ghost,” and the “same three dogs looking back” at him conspire to drive him nuts (although he was probably already there). Sult shreds particularly hard on this track, giving us some of his wildest guitar work on any Clutch record.

“Gullah” seems to be about a man coming to terms with his impending doom. “Ain’t no doubt Jesus sees us acting foolishly on American Bandstand,” Fallon sings. “Ain’t no doubt Vishnu missed you, then Kali kissed you. Better get busy. Days get shorter, air get colder…” Heavy stuff with slightly reverbed space-rock guitar and a wicked beat.

The robot hive mentioned in the album’s title is entered in “Mice and Gods.” It mentions “silver women on the OMNI magazine” and calls to “engineer the future now. Damn tomorrow, future now!” The guitar work on runs between the border of stoner rock and prog rock, which is to say it’s quite good.

“Pulaski Skyway” seems particularly relevant in 2016 as it mentions “real estate moguls, Chump Towers.” Maines and Gaster team up for a killer groove on it, as Fallon pleads that we must find salvation in trying times or lose our minds to the robot hive building up around us. “Never Be Moved” is, by its title alone, another exploration of religion. “Woe be the architect in his slumber, for the Watcher never sleeps,” Fallon sings, and almost raps the second verse. The use of organ (by guest Mick Schauer) in the song is also a nice touch, giving it a southern Baptist church call-and-response feel.

“10001110101” reminds us that we are in a robot hive, but we can have an exodus from it if we choose. “The shackles of automata will shatter like their bones,” Fallon sings, and who else but Clutch could pull off a song with a title and chorus in binary? “Circus Maximus” once again reveals the band’s love of monsters and oddities, mentioning manticores, Cthulu, dopplegangers, and even a “seven-legged sow.”

“10,000 Witnesses” is another call to escape the drudgery of the robotic world we’ve created by looking inward and outward for the spiritual. “Land of the Pleasant Living” has clever lyrics about Russian cosmonauts wondering what life is like below them in the U.S.

“Gravel Road” is floor-stomping, sweaty, honkytonk country blues…if that honkytonk was lit on fire by a dropped match and spilled bourbon. I love it when Clutch embraces their love of blues and rockabilly, and the whole band cooks on this track. “Who’s Been Talking?” is another salute to their blues influences, in particular Howlin’ Wolf, and they do him justice.

To make this album even better, they included a DVD of them performing most of the songs from Robot Hive / Exodus in Sayreville, New Jersey on July 13, 2005. You can’t miss.

Keep your mind open.

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My top 10 albums of 2016 so far.

It’s been a good year so far for music. I’m finding excellent stuff every month. We’re halfway through the year, so here’s a quick recap of my top 10 records of 2016 so far.

David Bowie – Blackstar: A powerful way to end one’s career, let along a legendary life.
The Besnard Lakes – A Coliseum Complex Museum: It’s still the most lush, beautiful record I’ve heard so far this year.
Night Beats – Who Sold My Generation: This band gets better with each record, and this one is a tour de force.
King Gizzard and the Lizard Wizard – Nonagon Infinity: Easily the craziest record of the year so far. You can play it on an infinite loop beginning with any track and it will repeat without any noticeable pauses, stutters, or breaks.
WALL – self-titled EP: WALL are currently my favorite discovery of 2016. They’ve brought back a fierce post-punk edginess that I didn’t know I was yearning for until I heard them.
Underworld – Barbara, Barbara, We Face a Shining Future: This record is so good that it might go higher on my Best of 2016 list by the end of the year. It’s a fabulous return for the band and wonderfully optimistic.
Radiohead – A Moon Shaped Pool: One word to describe this record – Heartbreaking. Most of the songs are about the end of Thom Yorke’s 20+ year relationship with his girlfriend.
All Them Witches – Dying Surfer Meets His Maker: This is simply a great rock record. No muss, no fuss.
The Duke Spirit – Kin: I’m so happy they’re back and even happier that they’ve put out the best shoegaze record of the year so far.
Golden Dawn Arkestra – Stargazer: Pure cosmic funk that can induce dancing in even the grumpiest of grumps.

Keep your mind open.

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