Label: Audio Fidelity

Now here is an album I have not heard in a long time and it happens to be one of my all-time favorites. I had the vinyl version when it first came out and distinctly remember playing it several times a week. I liked Joe Walsh’s voice and guitar playing. For this listener both of those factors remain very distinctive to this day.

The Smoker You Drink, The Player You Get (24 Karat Gold) is a stellar piece of diverse rock music, originally released in 1973. I would have to say that Joe Walsh has never topped this solo work since. His place in rock history is secure with his contributions to The James Gang and The Eagles and this particular release launched a very successful solo career.

Audio Fidelity has made an excellent choice to remaster this classic slice of rock music as part of their 24 karat gold releases. Besides the rock anthem “Rocky Mountain Way” this album offers diverse jazz rock fusion inflected instrumental pieces like “Midnight Moodies”. It gives the listener the opportunity to realize the full talent range of Joe’s band at the time that consisted of Joe Vitale (vocals, drums, flute, keyboards, and synthesizer); Rocke Grace (keyboards, vocals), Kenny Passarelli (bass, vocals) and Mr. Walsh provided guitars, vocals, keyboards and synthesizers. The multifaceted talent of this band was allowed to shine through on the nine tracks on this album and now it sounds superior remastered from the original source tapes and given the Audio Fidelity treatment in the gold disc version.

Some of the tracks are atmospheric with dreamy intros like “Wolf” with its beautiful acoustic guitar chased by a piercing electric lead with Walsh providing some of the best vocal tracks of his entire career. “Meadows” which opened side two on the LP has a funny intro with Joe screaming before launching into some fine six-string work. He was one of the clown princes of rock for many years and his antics were well documented prior to him giving up the sauce. This is yet another very strong track with great instrumentation and vocals.

The entire album is unblemished and stands as nine tracks of time tested rock. Really there are no weaknesses which made it an easy choice to make into a special edition 24 karat gold release. It makes it a bit less of a task to remaster and package when all you have to do is capitalize on the strengths of a recording rather than embellish any weaknesses. The original artwork is included with a windowed cardboard sleeve as usual with a nice reproduced tri-fold CD sleeve.

I think Walsh and this album was and still is highly underrated. It is one of the best albums recorded in the 70s and needs to be recognized as such. Hopefully this new version will shed some light on Walsh and the release with new found enthusiasm and gratitude for a superb rock classic now given its just due.

5 / 5 Stars

www.joewalsh.com

Label: Escape Music

Finland’s Human Temple returns with their sophomore release ‘Murder of Crows’. Some may say that the long break was too long to wait for the band as their debut ‘Insomnia’ which to me was a damn good album. The new albums finds Human Temple serving up melodic rock course with some interesting twists that are sure to make the hairs on your arms stand up. "Not My Fault" and "Just One Night" are solid AOR melodic rock standards powered by the use of catchy riffs, harmonies and hooks. But following this, "Promised Land" proving the band has more to offer on a musical level and is not scared to do so. The track itself is a hearty blues number, it merges blues with a bit of metal heaviness and some real old school organ work to create a terrific song. Later, "Yours Cold Blooded" goes in a completely opposite direction sounding more straight ahead rock. The surprise of the lot and my personal fav is "Emily" a metal-edged, fast-paced hard rocker that was written to be sung in giant arenas. Some may dismiss this versatility as inconsistency or unfocused direction, but they would be wrong. Rather, Human Temple shows welcome creativity and strong craftsmanship. In the end, Human Temple’s ‘Murder of Crows’ is a strong second effort from an amazing melodic rock band that is not afraid to try new things up their melodic rock sleeves. Great job!

HIGHLY RECOMMENDED

With the anticipation of a soon to be released full length by punk go getters Death Valley High straight out of sunny but chilly California. Death Valley High is more than ready to show their fans some new songs. In the midst of touring, the band have written more than a bountiful amount of songs and are on the edge of their seats to see what comes next. Surely, the fans are doing the same. Vocalist Reyka Osburn gave me the 411 on what can be expected.

All Access Magazine AAM (Natalie Perez) What type of band are you?

Rey: One of the best responses I’ve heard is “Doom Pop”. Most of the time, any combination of the words: “doom”, “punk”, “dance” and “core” fit the marquee. I think we’re best described as any of those “post” this-or-that movements. Post-Punk or Post-Hardcore, maybe we’re Post-Indie… Post-Indie-White-Belts!

AAM: Tell us the brief history of your band.

Rey: I started writing music for my former band, TINFED, that was a little unexpected. Instead of re-inventing the band, it was really the best idea to shed the name, unload the baggage and deliver the new sound as Death Valley High.

AAM: Who are your musical and non-musical influences?

Rey: Killing Joke to Godflesh to Adam Ant, Noisy bands, and Dancey bands. We want to create an atmosphere musically and visually. If you were to compare us to film; something like Battle Royale set during 28 Days Later while Fight Club was happening wouldn’t be too far off.

AAM: What are your dreams and goals?

Rey: We want to carve our own path. It’s the whole “the path less taken” thing. There’s no respect or longevity being followers. We want to be pioneers.

AAM: Who writes the songs, what are they about?

Rey: I write the songs… they tend to reflect several degrees of horror. It strikes me as having this very *human* appeal. You can draw similarities of survival, in horror contexts, to daily survival. Every day, every job, every relationship bare some HORRIFIC challenges.

AAM: How do you promote your band and shows?

Rey: Normal tactics but using the guerilla style: posters, flyers, online networking… ground level stuff. We just hit it like our very lives depended on it.

AAM: Describe your show, visual and musically.

Rey: Our shows are like a wall of cacophony, sonics, and battery. The stage (if there is one) becomes this sort of cathartic playground. We know what WE wanna see, so we try and bring it our show. It’s one of those shows that’s got to have it all, the lights, violence, and action, it being full throttle all the way!

AAM: What’s your outlook on the record industry today?

Rey: We’re witnessing a tsunami size change, turning things upside down and shaking it out. I’m interested to watch this dramatic shift in things. I’m happy to see that fans will dictate what goes in our ears and not some industry fucktards who have been manipulating what we listen to for the past several years.

AAM: Tell us a story about a day in your life.

Rey: Coffee, water, skateboards, horror, comedy, alcohol. Normally spread apart by band stuff.

AAM: What inspires you to do what you do?

Rey: Nothing in the universe completes me like music, music and film, and the arts definitely do it for me. If I can’t do something important with music/art in this lifetime, I truly don’t think it’d be worth living.

AAM: What advice would you give to fellow bands?

Rey: Everyone has their own opinions about how to MAKE it in a band. There’s no formula. Time and place is EVERYTHING in this business. Never listen to just anyone’s advice. Practice your brains out. Make music you FEEL and deliver it like it was the very last time you would… Never give in. Then quit what you’re trying to do and get on to some DOOM PUNK DANCE CORE!

AAM: How does music affect you and the world around you?

Rey: It’s my therapist, best friend and drug pusher. See question 11.

AAM: What’s the best and worst thing about playing clubs/venues?

Rey: Performing is like medicine to our disease. The opportunity to kill it, or break rules trying to, is the best part. The worst part is the dirty bathrooms!

AAM: Tell us about your next shows and why we should be there.

Rey: We’re playing West Coast shows to promote our newest record, “Doom, In Full Bloom”. AND honestly, even if you don’t like our music – we go the extra mile to bring the smiles. If we don’t make you smile somewhere in the set… you’re one hard cookie to break.

AAM: Any last words?

Rey: I’ll quote Battle Royale… “So today’s lesson is… you kill each other off ’til there’s only one left. Nothing’s against the rules.” See ya soon!

While not a screaming rock tour de force or low key offering- Ferguson falls somewhere in the middle delivering crafty, hook laden pop that has polished lyrics and solid, engaging vocals. Ferguson also knows how to keep it tight and not overt – 10 tracks eek out 35 minute cd that leaves you exactly where it should – wanting more.

Good Things follows Duff’s 2005 EP 400 Miles, which was named one of the top 25 releases in 2005 by an unsigned band in Music Connection Magazine. Duff’s solo touring has taken him up and down the West Coast and to Arizona several times, performing at colleges, clubs, festivals, coffeehouses, and house concerts as well as on network television and radio along the way. MTV licensed his song "Sigh" in 2007 which is more than likely just the beginning.

Melodic, mindful and memorable… ”Good Things” is cd player worthy.

4 Stars

Label: Zangi Records

It’s hard to believe that this is Patrick Yandall’s 11th release and with it came a nice surprise; it’s a collection of instrumental rock tracks! I have been hinting around this for years in my reviews and it seems friends and family have been doing the same, so Yandall put away the smooth jazz guitar and broke out the Strats and Telecasters and wailed away. So now we have Going for One to usher in 2010 and does it ever have a loud voice!

The jazz folks will be disappointed because now they are going to have to wait for another new set of tasteful tunes from the masterful Yandall. I love Yandall’s work but it is worth the wait to finally hear him cut loose.

The opener is the killer title track and it sets the stage for nine more slices of instrumental rock treasures. Yandall does not peel off scorching licks like a Vai; he rocks and does it with more of a flair for the tasteful side of this type of music. For instance on “12 Steps” you may find yourself reminiscing about a favorite Wishbone Ash album or one of Satriani’s slow cookers with interludes of acoustic Latin flavored licks that could be found on any accomplished guitar player’s instrumental album. That is what this is essentially, a technically proficient and well known smooth jazz guitar player having some fun and proving that he can rock with the best of them. He does so convincingly throughout this recording.

“Fast and Furious” is a dynamite example of how good this man can play and the title says it all. This is difficult to do, step out of your comfort zone, take a chance and hope everyone responds kindly. I do not think anyone is going to dislike this album; it’s a solid set of tunes with a fine display of six-string virtuoso that you will want to hear more than once. Perhaps the best thing about this besides the risk the artist is taking jeopardizing his well-built reputation in another genre, is his ability to go up and down the scale from rockin’ to tastefully done to a mixture of all of the above. At times it seemed a bit understated and the guitar needed some volume for crispness but overall this rocks and I felt it was worthy of several good listens before passing any judgment on the production aspects.

Just listen to the playing and you will agree that this guitar player knows exactly what he is doing. “A Minor Offense” is reminder of where Yandall’s roots are, in the blues, and it starts to lean more towards the guitar player we know sometimes but he still cranks out some stinging licks that you would not find on any previous releases.

Well he has done it all now, jazz, blues and now rock, what’s next reggae? You never know with Patrick Yandall. When you’re this good you can afford to live dangerously and have some fun. Going for One is highly recommended for all rock guitar enthusiasts and those that want to study someone who has their chops down.

4.5 / 5 Stars

www.patrickyandall.com

Michel Emms and Jake Graham talk to AAM

HAPPY NEW YEAR EVERYONE! The new year is upon us and what an exciting time for up and coming rock bands. In the last two years there has been an amazing pool of rock bands to come out. Bands like The Answer from Ireland, Blackstone Cherry and Endeverafter from our own backyard. The UK has given us rock and rollers around the world a reason to stand up and shout as well. One in particular caught our attention. The band is called, Toxic Federation.

Now don’t be fooled by the band’s name, while it may sound like your typical speed death metal band, we assure you this band is a pure bred rock and roll band. Hailing from Nottingham, Toxic Federation have their sights on making their mark in 2010. Influenced by the likes of Deep Purple, Iron Maiden and Thin Lizzy, make no mistake, Toxic Federation is ready to write their own chapter in the book of rock.

The band is fueld and powered by vocalist Michel Emms, guitarists Jake Graham and George Coleman, bassist Alex Stroud and JR Windsor. They won the Best Unsigned Band 2006 (Under 18s) in the Nottingham area, and have opened for both Saxon and Hot Leg. They’ve a self-released album, Behind The Mask, available now. The Rocker and I had the pleasure to chat with Mitchell Emms and Jake Graham of Toxic Federation. They gave us the lowdown about their band and what they have on tap for 2010. Here is what they shared with us.

AAM: First of all, thank you for taking the time to share your thoughts with us. So, how long have you guys been together as a band?

MITCHEL EMMS: The band has been through various shapes and forms, but in our current lineup, we’ve been together for nearly 12 months, since february 2009.

JAKE GRHAM: After several members, Toxic Federation was a 4 peace band with Alex Stroud (current bass player) as lead singer for 2 years. The current line up with front man Mitchell Emms has been since early February this year.

AAM: Talk to us about your CD, ‘Behind The Mask’. How long did you spend in the studio recording it? How many songs did you actually write for the album?

JG: We always released our songs as singles for the first few years. Once we had gathered 11 tracks we decided to start to record and produce our own album in October 2008 ,releasing our album in December 2008 (With Alex Stroud singing on the album). Because we had a new addition to the band in early 2009, we decided to go back to the album for a few months and re-record it with Mitch on it, re-releasing the album in March.

ME: 11 songs went onto the album, 2 of them bonus tracks by George and Jake. The majority of the tracks were already finished from playing them live and tweaking them in performances, so it was just a case of recording them and fine tuning the songs and lyrics.

AAM: What is the song writing process like for you? Is it a group effort or do certain members of band write the songs?

ME: It’s a group effort, but it generally starts with one of the guitarists coming up with a riff or melody, and we all start working on structure, and me and Alex will work on lyrics.

JG: I usually start the tracks with a catchy guitar riff and make a rough recording. The first person I show, is the other guitarist, George Coleman, who then helps me structure the song and adds his ideas. We will then present the song to the rest of the band in band practice and continue working on it sorting out all of the kinks. We will usually gig the song a few times before we decided to record it.

AAM: Do you remember the first show you did as a band. How was that experience? Now, you guys have opened for UFO and other big named acts, right? What was that like, playing in front of huge crowds? Were you guys nervous at all?

ME: Well it’s a big adrenaline rush, where we just get up there and giving it our all. We’ve all had previous experience playing live and its great. We all come together and enjoy going crazy up there enjoying each other’s company. For me, I turn into a completely different character onstage and just go mental. I remember the first time I sang with TF in Derby, and I just felt a great feeling from being up there with brilliant musicians and brilliant guys.

AAM: Can you talk to us about your next record? Did you approach it any differently than, ‘Behind The Mask’? Who is producing the new record?

JG: I remember writing the intro to our new song "As One" in my bedroom on a little recording device… I didn’t really think much of it and backed it up on a computer. A few months later I showed George the riff and he loved it and said we had to do something about it, so we did. Most of the producing for the later tracks is mainly done by George, me and Alex.

ME: We’re generally self-produced and this year has further widened our musical influences and ideas, including the addition of sampler pads and synths, which we’re looking forward to using even more to enhance our sound. We’ve already started recording new material with our latest tracks "As One" and "On Air", of which are more vocally based than our previous songs. I think we aim to reach out to more people with our next record.

AAM: With 2010 upon us, what goals have you set for yourselves as band?

ME: We’ve began planning tour dates across the UK for next year, of which we’ve had a taste of this year with "The Answer", and we’re also visiting Turkey again in 2010 for festival dates in Fethiye and Istanbul, Turkey. We also aim to get our next album done and improve our live show to the max. This first year has been awesome and a great learning curve, but this next year we’re moving onto the next step with bigger gigs and tour dates.

AAM: What does Toxic Federation bring to the table that seperates you guys from the other rock bands that are on the scene right now?

JG: I believe our music is very exciting. Also with bands these days, there sometimes overly produced meaning all of their tracks sound very similar. I think all of our tracks sound very different to one and other. I think you can still tell when you hear it that it is a Toxic track but all of the tracks vary. I believe this is due to us being able to produce our own music rather than someone telling us what to do, we do it our way….

AAM: Musical influences and other hobbies?

ME: I’ve always been influenced by bands who’ve had the brass kahoneys to bring something different to the scene. I’ve been doing music and playing since i was 9. When I first heard Nirvana, and few months after, I began playing live every weekend and I decided at an early age that this was what I wanted to do, so music is generally my main thing.

JG: Iron Maiden, Steel Panther, Kiko Loureiro, Breaking Benjamin, Queen… Also listen to a lot of chart music these days.Hobbies: Socializing, Web management, Music, Recording, Exercise, Sporty, Guitar’s, Gigs, Driving

AAM: If you were not in Toxic Federation right now, what would you be doing?

ME: I’d still be out performing one way or another, doing what I can to make it in the music industry.

JG: I would be doing the same thing, playing guitar.

AAM: Any parting comments you would like to add?

ME: Just to say a big thanks to Tony Sison and Bill Rowan as well as All Access Magazine! We hope to play in LA in the future!

JG: "We are coming after you"!!!!

The Rocker and I could not have said it any better. Well folks the warning has been given! Toxic Federation are a band set for greatness! The band is so good that The Answer had them open up for them just recently. Now that is saying something. The Rocker and I along with All Access would like to thank Mitchell and Jake for their time! Cheers guys! We look forward to you guys coming to L.A.!

When we were first introduced to the kids of Death Valley High, we were greeted with distorted guitar riffs mix-matched with pop-punk groove tones, which were later defined as “Doom Pop”. But that was then during the mists of Death Valley High’s critically acclaimed, “The Similarities of the Loveless and the Undead”. Now is the time for, the follow-up’s turn, hence DHV presents to you “Doom, In Full Blood”.

A self-produced effort that has boasted the mixing talents of Alex Newport (Mars Volta, At The Drive-In, and The Locust) and longtime collaborator Eric Stenman (Thrice, MSTRKRFT, and Senses Fail). Death Valley High features Reyka Osburn (Tinfed, Ghostride) on vocals, guitar and synths; Adam Bannister on drums; Chris Sanders on guitar along with Huffy Hafera on bass for what Reyka calls “DHV’s strongest and most dedicated lineup to date; Inglorious Basterds-style”.

Now to the fun part, this highly anticipated follow up album precisely brings out that “doom pop” sensation that is truly over written when it gets thrown about in every possible direction. Opener “Black Friday,” immediately overrides the listener’s hearing rights, by screaming directly into the ear cannel that gets bang right against the ear cannel’s eardrum. This echoing vibration of drum ethics that instantly bounces against the guitars segmental is unbelievable. Having the vocal effects lash out at you like a tiger ready to lash out upon its prey.

“She Wants To Kill”, “Days and Days”, and “Thru Hell”, are truly the attention graspers that overrun the music altogether by which the music constantly rushes right at you, all of the instruments working together as the lyrics being out spoken is considerably in deep discussion about the pain, suffering and ethics of fear that keeps the listener in anticipation of more. Death Valley High is back in session and accepting enrollment into their pop-punk courses with promising doom pop ethics that won’t leave utter disappoint in its signature.

Besides dance… I love all kinds of music! If I had to narrow it down I’d pick Journey and Fleetwood Mac as my top two. My favorite movie is Dirty Dancing which I’m sure is on every dancer’s top list. And my favorite thing to do is travel. I’ve been to 11 different countries and have plans to visit a lot more in the near future.

For more information, pictures, or any other inquires please email me at LoreeDancer@yahoo.com

Toeing the genre line, Theory of Addicts by Ribkat and Josy B. can best be described as a Molotov cocktail of hip-hop and electronica. It’s definitely “Saturday Night Music”, something you play loud, as you get ready to hit the club, but it’s not only booty shaking nonsense. There’s a sense of pride both lyrically and in production, which makes this more than a mindless album that the cast from Jersey Shore would battle dance to.

Ribkat, formerly of Fort Minor, is a seasoned vet on the mic and Josy B. complements him nicely with her sassy Puerto Rican vibe. They share equal time on the 10-track album and considering this is their debut, they have a cohesiveness that suggests they’ve been making music together for years. Ribkat’s pointed but smooth delivery is highlighted on the track “I Won’t Forget You” a song dedicated to finding that special someone for that night, week, or maybe longer.

The distinctive quality of Theory of Addicts lies in its production. Every track sounds unique and nothing is recycled, which lazy electronica can tend to do. The first track, “Taknology” sets the mood with a funky synth line that stays consistent until a piano ditty takes over, then another synth line before it comes full circle. This pattern stays consistent from track to track and each song presents multiple layers in its construction. “19th Floor” brings rock elements to the album and is a definite party anthem that “bangs like King Kong”. The track “Iceage” flips the script again with Japanese sounding strings that mesh nicely with drums, synths and keys.

The most sophisticated track, “Patience”, showcases all three elements of the group; Ribkat spits about lessons learned in life and love, Josy B.’s vocals are strong and on point, and the production goes down nice and smooth with a mélange of sounds. The final, and title track, “Theory of an Addict” takes us back to the beginning with a vibrant, in-your-face sound which features an electric guitar and has that party anthem vibe, a definite theme here.

Theory of Addicts is a solid debut with definite replay value. It would have been nice to see a little more range from Josy B. as she was mostly reserved for the hooks, solid as they may be, but it feels she has the potential to be a more focal point of the duo. I expect this to be the beginning of something special and can’t wait to see what’s in store for Ribkat and Josy B. in the future.

Three men. Three musicians. Three icons. Two really good guitarists. And so you have the meat of “It Might Get Loud”, the much anticipated “movie” starring Jimmy Page, The Edge and Jack White.

“It Might Get Loud” tells the personal stories, in their own words, of three generations of electric guitar “virtuosos” The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). However, the subtitle could easily be “which one of these is not like the other” as despite the film’s attempt to give the viewer an inside look into the minds and hearts of unequivocal rock legends, the pace and feel of the film is overshadowed by what can only be described as a hiccup in casting.

Where it does succeed is in revealing how each musician developed his own unique sound and style of playing favorite instruments. The premise revolves around a day when Jimmy Page, Jack White, and The Edge first meet and sit down together to share their stories, teach each other famous riffs and play. From there the viewer sees breakaway scenes of each telling their personal story, air guitaring and remembering how they developed their craft.

Fans of Page and the Edge will not be disappointed as the film shows both in their elements – one surrounded by shelves of guitars, the other in a former school room and giving the viewer a very intimate and surprising, “hey these guys are just doing what they love” kind of feel to two of rock music’s most recognizable and copied forces. Thankfully Page comes across as human and The Edge is depicted as having a soft side rarely seen on stage or video.

The aforementioned hiccup is Jack White. Admittedly, he is stretching musical boundaries but in terms of being a major contribution if he is to be this generation’s greatest guitarist, someone needs to go back and recount the votes. White peaked with The Raconteurs, and while admittedly his work is experimental and w.o.p. (weird on purpose), it feels remarkably out of synch within the context of “It Might Get Loud”. Out of the three guitarists White is the least original following in the footsteps of The Flat Duo Jets, The Ramones and nearly every underground Bluesman you’ve never heard of. Chances are within the next year he’ll do a bad cover of Stairway and wear a knit cap.

Thankfully, “It Might Get Loud” rises above White’s mediocrity and gives some real insight into some of rock’s greatest legends; even if there are only two in this story.

4 stars