Tuesday, 8 April 2014

Guest Post: Rock and Roll Legends: 
Izzy and Ozzy—A Prevalence of Potty Problems

Check out this rockin guest post from Alice Morell!

Rock and Roll Legends: 
Izzy and Ozzy—A Prevalence of Potty Problems

    Sometimes the human creature finds itself obsessed with the basest of behaviors, somehow returning back to the animal brain demanding to mark its territory.  Sometimes it's alcohol that does it, sometimes it's perversity.  In the case of our favorite Rock Gods, maybe it's just a touch of the same insanity that makes them the pinnacles of riotous and anti-social behavior they are. Whatever the case, when thing get a little tense, or a Rocker wants to have a fun, how often a little urination comes into is, perhaps, reason for pause.  These next two stories have to do with instances of that exact thing, and how sometimes such a thing can come back to haunt you, yes, even as a Rock God, a long time later.


Hey Ozzy, Remember the Alamo?

    Back in the height of his career, while travelling with Black Sabbath, Ozzy found his way down to Texas to perform in a concert on his ‘Diary of a Madman’ tour.  The concert was a smashing success, and unsurprisingly, after the concert the band got smashed to an equivalent degree.  At some point during the night, Ozzy found himself down by the Alamo, and urinated on the Cenotaph across the street.  Ozzy himself admitted to having something of a predilection with defacing such things.  Now, fast forward years later, and Ozzy is now travelling as Osbourne, and sure enough he found his way down to that little corner of Texas again.  Well, this time the locals had gotten word that the Prince of Darkness had taken to defacing and peeing on such a thing, and a near riot broke out at his concert.  Ozzy saw it fit to apologize and pay $10,000 to the Daughters of the Alamo, those who were charged with taking care of the monument.   Next time, maybe he'd best find his way to an outhouse.
Stradlin the Thin Yellow Line

    We promised you two urine based stories, you twisted metal head you.  Sure enough, we're going to deliver.  Izzy Stradlin of Guns N' Roses found himself on a plane crossing the United States, and was rather eager to use the restroom on the plane.  It just so happened that, at the moment he desired to use it, it was occupied.  Most people faced with this situation would stand and dance awkwardly outside until the person inside finished their business.  Not Stradlin, no—instead, in true Rock God style, Stradlin saw it fit to drop his trousers and urinate right there in the galley area of the plane to the gasps and annoyance of both passengers and plane staff.  He was, of course, arrested on landing, and was forced to write an apology letter to the staff of the plane.

    Just like rock music can inspire the animal inside of us and cause us to riot against this pale thin veneer of civility we've painted over the human animal, so do the Rock Gods themselves live close to that line.  Powered by the adoration of millions and the money to pay away almost any violation of the status quo, these boys and girls of Rock have less fear of crossing the human/animal line then most, and out of this is born some of the more riotous and extreme behaviors of our favorite Rock Gods.
    
But perhaps that is the purpose they serve, to remind us that underneath all these trappings of civilization we're just animals playing house with propriety.  They serve as icons railing against the wall of humanity, demanding for us to remember our roots, run wild, and maybe, just maybe, to piss wherever we want sometimes.   A beast has to mark their territory once in a while, right?
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Saturday, 8 February 2014

New Artist Alert: Fans of Faye


Alternative-rockers Fans of Faye are the latest band to feature as my New Artist Alert, putting Birmingham on the musical map after 10 years performing under the name around the Midlands, UK. The 4-piece's debut album, Designed to Be, was released in November 2012 which saw the release of lead-single Paint the Sun taking the band into their next chapter.

The album opens timidly and delicately, not as I was expecting from an alternative rock band however it's not long before a Foo Fighter's sounding guitar sound opens up alongside lead vocals and, almost two minutes into the album, is backed by the whole band. The second verse returns to the much more relaxed affair, showcasing the range of lead-singer and founding-member Zachary Hart's vocals.

Lead-single Paint the Sun builds steadily; a lyrical showcase that explodes with passion at the first sniff of a first chorus. The sound is great and very strong and definitely one I'm sure is even better suited to a live venue.

The band's sound is well-established by Are You Finished sitting almost mid-way, with the lead vocals and guitar leading the line in powerful choruses. Interlude Breathe allows us to, well do just that, providing a momentary respite before Ghost re-establishes the band's full-flow and sound with a great sounding groove in the verses and typically-powerful choruses.

The relentless charge to the finish is halted by Hunting Season Begins with it's Incubus-sounding lead-guitar line but it's not long before it's clear this is yet another momentary lapse in energy. The band's sound is consistent yet not predictable and the songwriting is excellent.

You can download Designed to Be for free from the band's Bandcamp page but be sure to keep up to date with them on Facebook to support them at a live venue near you.

Friday, 7 February 2014

New Artist Alert: White Clouds & Gunfire - Since You Were Gone


It's been a while since part of the I Am Mighty Records family has been featured but have no fear, newbies White Clouds and Gunfire are here with their debut single and video for Since You Were Gone to right that.

Hailing from Peterborough, UK, WC&G are a female-fronted 'pocket-rocket' pop-punk explosion waiting to happen. The quartet, who have been together since 2009, released their debut album For All the Non Believers through I Am Mighty Records back in September last year. The single is a real pop-punk powerhouse full of energy that builds steadily as the track progresses, climbing ever-closer to the heavily backing vocal-laden chorus that packs an ever harder punch.

In a song-writing sense it's nothing out of the ordinary but this shouldn't take anything away from the energy and the production of the track and the video looks great; a narrative featuring the band's lead singer running in parallel with live footage. The genre is still very much alive and current which the band suit perfectly and, complete with crowd-pleasing wooh-oohs-oohs, WC&G are sure to have a great time on the road with Taking Hayley. The tour includes two headline shows at the Crauford Arms in Milton Keynes on Feb 14th and a hometown show at the Met Lounge on Feb 21st.

You can check out the video for yourselves below, and be sure to keep up to date with the band on Facebook. For All the Non Believers is available on iTunes, Amazon, Spotify and many other online digital retailers.


Saturday, 18 January 2014

Jake Meeking ft. The Cat in the Hat - Walking On My Own LIVE

Check out this great video for Jake Meeking's Walking On My Own live as part of the Lost and Found sessions recorded at the Nest in Bath, UK. The video takes a slightly different route to the original with a dab of piano added for good measure and sounds great.



If you haven't seen it all ready, check out the excellent official video for Walking On My Own too:



You can keep up to date with Jake Meeking on Facebook. Enjoy :)

New Artist Alert: Bad Wolf - Stay With Me

 Photo by Raiya Corsiglia

Happy New Year! I'm opening my account this year with some female-fronted rock in the form of Bad Wolf, an LA-based quartet who are making serious inroads in the music industry and taking advantage of YouTube with a video that's had over 11,000 views and counting since it was published just days ago.

The band bring "sci-fi, fantasy and steampunk to life within the backdrop of rock music" and their fairytale-inspired video for Stay With Me is certainly no exception to this rule. Of the video, the band say it "pays homage to several different fairytales" which certainly take on a sinister edge with their 'backdrop' of rock music; think the aesthetics and storyline of a Rammstein video meets the looks and sound of an Evanescence song.

Musically, it's a steady rock track which will sit well on the Scuzz music-video playlist whilst visually it features both beautiful people and beautiful wolves; what's not to love?! There's a big feel behind the scenes to the music, a wall of noise that is quite the constant but broken, in contrast, by the haunting lead-female vocals. It's nice the band features of a good mix vocally, and the harmonies especially work well in supporting the lead vocals though, and this is purely a post-production point rather than a song-writing one, the male vocals stand out a little too sharply for my liking. The bridge section really lifts the song and makes all the difference in taking it too the next level; a really strong touch.

The band look great, they sound great, and Bad Wolf will be sure to fit in comfortably with the rest of the pack.

You can watch the video for Stay With Me for yourself below, and be sure to check out the band on Facebook to keep up to date. Enjoy :)


Friday, 8 November 2013

Guest Post - Jim Mackney: The Marshall Mathers LP

They tried to make him a social pariah, they tried to banish him from the airwaves but every missile lobbed at him he caught, rewired it and threw it back so hard it decimated every argument. 


It was the year 2000 and Eminem had just released The Marshall Mathers LP. A scathing, brutal, brilliant rap album that became the fastest-selling solo album in US history. It contained some of the greatest hip-hop songs ever seen on record and Eminem, at this point, was untouchable and his critics hated him for it. 


It is thirteen years later and Eminem is in somewhat of a rut. He is no longer the social barometer for offensive lyrics, his raps have been said to be lacking and he has released three underwhelming albums in a row. ‘Encore’ was patchy to say the least, ‘Relapse’ was a tired attempt to reconnect to his alter-ego Slim Shady and ‘Recovery’ which despite showing a much more consistent flow was shallow lyrically. 


The album opens with ‘Bad Guy’, a seven minute follow-up to ‘Stan’ and it is easily the most astonishing song has released in over a decade. Eminem introduces Matthew (“that’s my little brother man, he’s only six years old") and chronicles Matthew’s long awaited revenge. The song is, weirdly, a way for Eminem to take a shot at himself, as Matthew mimics (“I’m the bad guy who makes fun of people that die/And hey, here’s a sequel to my Mathers LP just to try and get people to buy”) - mimicking and attacking his critics in the opening two verses. A classic Eminem quick punch to the jugular. The song contains deeper self analysis, and knowingly references the double standards he has of being a horrible misogynist in his lyrics and then in the same breath defends his daughters. He understands his own hypocrisies and it makes for wonderful listening. 


The Marshall Mathers LP2 is Eminem’s best album in over a decade. Its links to MMLP1 are explicit, with its rock-rap production and furiously fast flow. Many lines on the album are carefully chosen echoes of the past that both subvert his old lyrics and delightfully play with our expectations. On ‘Asshole’, it’s the altered line “Soul’s escaping through this asshole that is gaping", whilst ‘So Far’ has him again “spittin’ on your onion rings” and the ‘Rap God’s dizzying flow hides references to ‘Kill You’ and ‘My Dad’s Gone Crazy’. 


But the greatest example of messing with our expectations is on Bad Guy where Eminem raps (“It’s just you and the music now, Slim, I hope you hear it; we’re in the car right now – wait, hear comes my favourite lyric!”). Eminem knows exactly what he is doing when he busts out this reference, he is manipulating words he knows are chiseled into the brains of millions of listeners around the world and the effect is as jaw dropping as it is great. 


Apart from the occasional freestyle in the last few years listening to Eminem has felt like chore. Bogged down in average beats, underwhelming lyrics and no genuine surprises. MMLP2 takes this and throws it out the window. He is genuinely funny (‘So Far…’ in particular) and throws everything into making this album a success, even including an unexpected apology to his most hated sparring partner, his mother, on ‘Headlights’, (“I love you Debbie Mathers, oh what a tangled web we have”). Elsewhere ‘Stronger Than I Was’, a five minute ballad that is the first moment on the album where you question Eminem’s judgment. This quickly passes however as he settles into the song and you realise it is an inspired move and those initial reservations are forgotten. The Beastie Boys-inspired ‘Berzerk’ is a particular highlight and the huge Rihanna chorus of ‘The Monster’ proves once again that fusing rap and pop is something Eminem can do better than any other rapper in the game
.

MMLP2 contains so many raps that another rapper could probably fill three albums. His machine gun-like delivery is exemplary throughout, consistently making the listener wonder where he will take them next and only at one point, during Survival, did I question his judgment. It is not that Survival is a bad song it is just obviously the weakest, feeling like an unused Recovery track. The only guest spot Eminem offers up on the album is to Kendrick Lamar. After hearing Kendrick’s verse on ‘Control’ it would be interesting to see who comes out on top but MMLP2 itself proves this irrelevant. Kendrick has a long way to go to touch Eminem. 


When I first heard Eminem thirteen years ago, it felt like a whole new world had opened up to me. This world was scary but words themselves had a new meaning and my perception of what you could do with them had changed. Eminem was the biggest rapper in the world at that point and he cemented his success with the brilliant ‘The Eminem Show’ two years later. It may have taken him just over a decade to scale those heights again but with MMLP2 Eminem has once again proved himself as a brilliant, demented genius. MMLP2 is one of the most impressive, enjoyable, and addictive hip-hop albums of the year. 


9/10.

Thursday, 17 October 2013

New Artist Alert: Oliver Daldry

It's really refreshing when an artist comes along with a real passion for not just music, but songwriting; not making music for music's sake, but as an outlet for themselves and to inspire others. When Oliver Daldry's email landed in my inbox, he painted the picture of a very humble indie artist, yet a few clicks later his personal website paints a very different picture of professionalism and somebody geared up for the long haul in this industry.

Daldry is a 19 year old singer/songwriter from East Anglia, UK and his debut album, The Boy Who Fell, has just been released on iTunes. Already picking up connotations of 'the new Paul Simon' and with references to Ed Sheeran, Daldry is a skilled classical guitar player who has honed his craft in his tender years and plays wherever and whenever he can. The package is almost complete, save for the music itself...

The Boy Who Fell, the title track from the album is, according to Daldry, about a close friend who saw life deal them an unfortunate set of circumstances as it often does and tells the tale of somebody unfortunately in this instance not able to face their demons. The upbeat, picky folk-style guitar intro leads us quickly to a fantastic lead vocal; immediately it's current yet similarly could have been plucked from a familiar television advert. Daldry's gentle, breathy tones, with a hint of reverb to add a little more colour, compliment the underlying arpeggio before opening up as the track builds, revealing a great vocal range that glides effortlessly into its falsetto. Production-wise it's spot-on, as it takes a left turn both feel and tempo-wise, pulsating with a little more passion atop choral backing vocals; it sounds like two separate songs but they fit perfectly together as we return at the end to the feel and fragility of the opening section. This is a really strong folk-pop song that is sure to fill back-rooms in pubs as easily as it could arenas.

Faded tells a sad tale of dementia as strings pick out the mood of the piece, sliding through the chord progression as the classic-Daldry sound of picky acoustic guitar and minimalistic rhythms compliment the simple yet effective vocal melody. Concrete throws the spotlight on Daldry's talent for guitar playing which amalgamates a Newton Faulkner style with a Paulo Nutini-sounding feel to the vocals as distant hints of slide guitar support this upbeat-feeling track, of which the arrangement is excellent.

I get the feeling that Daldry is on the cusp of something quite exciting and, if he plays his cards right, could see himself in a very different place in a very short time. A real talent combined with passion and humble roots will go a long way and I hope to be able to say I heard him when...

'The Boy Who Fell' is available for download from iTunes now for a mere £3.99 whilst you can keep up to date with Oliver Daldry on his website. Check out the album-taster video below, and be sure to grab yourself a copy. Enjoy :)