Album Review: The Winery Dogs- The Winery Dogs

Hi,
    My name is Surjo, and I'm a professional musician. The songs you're hearing (hopefully) are from my debut album 'The Key Has Turned' which you can buy here.

   The album up for review is the self-titled album of 'The Winery Dogs'. The Dogs are a supergroup with Mike Portnoy (ex- DreamTheater), Billy Sheehan (Mr. Big, David Lee Roth Band, Steve Vai) and Richie Kotzen (ex Poison, ex Mr. Big) filling out the slots for drums, bass and guitars respectively. Richie sings lead vocals and everyone else backs him up.

   The first thing that comes to mind is that Billy and Richie have already played together in Mr. Big, and I wanted to see how much of that quick riff style comes into play here.

'Elevate' starts off the album with a really uptempo riff, and it's really loud, and by the end of the line my Mr. Big question is answered. There's going to be a whole lot of unnecessary pyro in the riffs, but it's going to be a treat for guys who love pyro riffs. Oh, and a most commercial chorus kicks in, which makes me believe this might be the blueprint for what's to come. Nothing spectacular in the words, the mix of the song definitely helps. Big drum fill to end. 

'Desire' starts off with a cool riff. The vocal melody has a lot of influences, with different sections sounding like different styles of RnB and pop. The way the music dominates makes it very tough to focus on the words, and that definitely takes away from the message if it is a good one. Never quite understood why a band would do that, in case they happened to write a good lyric, Also, a lot of pyro in the instrumental break. 

'We Are One' starts off with a pretty cool riff and a vocal melody that could have been from Alice In Chains. Being a 3-piece, they make use of a whole lot of guitar and bass effects to cover the soundscape, which is an effective tool. Singable chorus, but again, the words are so cookie-cutter, it's just flat. And of course, the mix will always favour the instruments, never is the vocal treated as the lead instrument. Blitzkrieg solo, and that's how the vocal should be treated to cut through the mix too. 

'I'm No Angel' has a super cool guitar riff to start off, which morphs into quite a slinky verse. The need for a commercial chorus hurts this song, since the verse outshines the chorus with a lot of X-factor. 

'The Other Side' starts with MP on hyperdrive, and Billy joins him there. The riff follows the vocal melody, and the last line of the chorus has any element of cool in it. Have to wait till the bridge and the guitar solo for a cool melody in the song. Why isn't the same effort put into the vocal melody as is clearly put into the instrumental breaks? Long jam at the end, that had more value than all the lines of lyrics written for the song, really says something. 

'You Saved Me' starts off with Billy Sheehan tapping away on his bass. Almost could have been a Baba O'Reilly there, but not quite that involved. The vocal melody is just a rehash of so many ballads from so many bands. The message of the song is clouded in the conflicting lyrics of the verse and chorus. 

'

'Not Hopeless' starts off with such a rush, that I thought it was going to be 'Addicted To That Rush' or 'Colorado Bulldog' from Mr. Big. The chorus delves into a half-time groove, I guess there was no other move to make to keep up the tempo of the song. Why have they written this album? I'm sure they're not going to list this as their best creation. Maybe because it's 'Not Hopeless', but man it sure runs it close. Supergroup with a super dud of an album. 

'One More Time' is the next song in the album. The chorus melody movement is a lift from somewhere, but I can't remember where. I'm really not enjoying listening to any of this closely. 

'Damaged' is a slower track, and like with almost the previous songs, has Richie singing in a higher register which is just slightly out of his comfort zone and it results in a pitchy effort. The lyrics are the best they've been in the album so far, with a cohesive storyline and strong words used to communicate strong emotions. 

'Six Feet Deeper' has a lot of Mr. Big in it, which is a sad statement in and off it itself. The lyrics go back to being disjointed and without any cohesiveness. 

'Time Machine' starts off with a pretty cool riff. I think the people who're already fans of the three guys will be positive to these songs, and of course, those who like chop fests in their songs. 

'The Dying' starts off with an almost Hendrix-type clean riff. The words make a few attempts at metaphors and intricacies, but just don't finish off properly, but it's still a better attempt at the words than most of the album. There is one story being told, and it doesn't confuse too much. 

'Regret' finishes off the album with a piano riff, ala Elton John. Nothing special jumps out here, except that, I can't honestly believe that 40 plus folks are going to write the love songs that 20 plus folks write. There is a lack of honesty that comes across rather blatantly. 

I wouldn't hear the album again. I don't know why people would make this album, other than just that, let's get together and bang out an album. There is a lack of thought with regards to almost everything in the album, other than the cheesy chorus lines and the instrumental breaks. Just a sad state of affairs when you consider the personnel involved in the process. 

Album Review: The Derek Trucks Band- Already Free

Hi all,
     My name is Surjo and I'm a professional musician. The music you're hearing (hopefully) is from my debut album 'The Key Has Turned' which you can buy here.

    The album up for review is 'Already Free' by The Derek Trucks Band. Ever since I've discovered Derek Trucks through the Crossroads Guitar Festival he has always featured really high on my list of favourite guitar players. I haven't yet really heard The Derek Trucks band yet, having heard more of The Tedeschi Trucks Band, so, this has all the potential to be a good time.

   

'Maybe This Time' starts off the album with a easy-going feel-good vibe. The vocal melody feels a little flat to me, and a lot of the words are generic. There seems to be a distinct old school RnB flavour in the track, without the X-factor and flash that's the USP of that style of music. A trademark Trucks solo to finish it out. 

'Our Love' starts off with an acoustic riff that has come Led Zep hidden in the tall grass, well disguised by the straight bass drum pattern. Both songs so far have Doyle Bramhall Jr co-writing, and somehow I can feel some of his vocal choices making their way through to the songs, and that's never been my taste. Certain albums have a penchant for being incredibly creative, without necessarily being melodic in the sense of flow, and somehow this is falling in that category to me. The songs have a lot of musical parts flying around, but not enough cohesiveness to really pull me in. 

'Something To Make You Happy' starts off with a really involved riff, uptempo and staccato. The words are fairly generic, but the chorus definitely is catchy. Trademark Derek Trucks brilliance on all songs so far with the solos. 

'Get What You Deserve' has Doyle Bramhall's signature hurried feel and guitar style over it, and again, not to my taste. The mix is such that the vocals get hidden in the vast guitar jungle, and then the words are mostly generic, which results in a major disconnect for me with the song. 

'Sweet Inspiration' has a major gospel vibe to it, with a more precise riff than anything else so far, with the lack of overdub guitars serving to make the picture clearer. The fact that the drum pattern has head-bob written all over it definitely helps the cause. 

'Down In The Flood' starts off with an acoustic guitar riff, that has some Led Zep 3 qualities, with the 12 string and what not. When the drums kick in, the concoction has reached a really heady point and really kicks it on from there. The words in the song, do tell a story, and I'm a big fan of that. Actually the lyrics have a similar story with Led Zep's 'When The Levee Breaks' with an additional twist in the tale. Cool points. 

'I Know' has some of Derek's Hindustani Classical influences showing through, with the tanpura strains and the particular choice of slide work he does. That quickly morphs into a really involved 6/8 riff. The rest of the song carries through in the same flow. The words don't have much of an impact. 

'Down Don't Bother Me' has an intro that got me thinking about the overall harsh tonality that the album has. It's definitely not a polished sound, and it's almost throwback to the old RnB sound, and an old country sound, and they're mixed in equal measure, and therefore the sound definitely takes getting used to. Plus the lead instrument is a slide guitar, which definitely doesn't hold pride of place like it used to back in the day. Like I said, creative but not compelling. 

'Day Is Almost Gone' starts off with the most easy-going riff so far. But the vocal melody doesn't grab the attention, partly to do with the melody itself, and partly to do with the mixes being so instrument heavy. The words in themselves aren't compelling enough to make up for the lack of melody and mix. Although, all of this is subjective, and just because it doesn't suit my tastes, doesn't mean it will be bad for everyone. 

'Don't Miss Me' has the most sleazy riff so far, and shows early promise. A small key change and the doubling up of the tempo does offer a creative change, and the music is strong enough to carry the vocals. I'm not talking about the singer being ordinary, because the singer is great, just that the material he's singing isn't. This whole non-reverb sound is just taking the edge off of the songs, whereas it should be the other way around. 

'Back Where I Started' sounds like Susan Tedeschi on vocals, and she cuts through the mix just fine. The minimal nature of the song is really lending itself to some good definition. Just the improved vocal makes it easier to listen and analyze the words being said and being patient in trying to get it's meaning. 

'Already Free' closes out the album, and has the same minimal arrangement as the previous song. The vocal effect used on the song is bizarre, and the words don't really tell a story, so nothing there. 

I wouldn't listen to the album in it's entirety again, maybe choose one or two songs to listen to again. The poor writing wasn't salvaged by Derek Truck's slide brilliance, and again, it's a subjective thing, it isn't to my taste, I know they're a big enough band to be appealing to quite a few people. The whole situation where blues influenced music has to have really generic words just baffles me, it's almost lazy. Nevertheless, maybe some of their other albums might strike me better. 

Album Review- Thermal And A Quarter- The Scene

Hi,
    My name is Surjo and I'm a professional musician. The songs you're hearing (hopefully) are from my debut album 'The Key Has Turned' which you can buy here.

 The album up for review is brand spanking new,
which I never really do,
and you might be asking who,
but these guys aren't two plus two,
they're three malayalis and a quarter malayali, or at least they were till the lineup went askew.

Ladies and gentlemen, presenting 'The Scene', by Thermal And A Quarter. You can buy it here.

                                       

 For those who don't understand the album title, TAAQ have set up a whole website here just to answer your questions. My personal favourite was the FAQ from TAAQ.. Wow, if you just pronounce that without spelling it out it gets kinda dirty. I'm almost certain they'd seen that bit too.

I must say, as a struggling musician from a small city, (whose first album, despite being the top seller in the country for 2 weeks, failed to gain any major traction with the powers that be) this album just looks like something to drown all my sorrows in, just the song titles are enough to take me on a ride here. I hope Bruce Lee gets his guitar and vocal chops in along with his karate ones. If the previous sentence turns out to be unintelligible for first timers to TAAQ, their guitarist, singer, writer's name is Bruce Lee Mani. (Sorry Bruce, my first and last karate joke, you know I respect you a great deal)

'Like Me' starts off the album with the kind of busy prog-blues riff that have become TAAQ's signature over the years. The words are just hilarious, narrating the dilemma of the young artist to get more people to 'like' their creations. And no mercy either, Bruce clearly pulls out the punk card for those musicians who're more interested in getting likes on their pics than chords in their songs. Bravo Bruce, bravo. (Please imagine me going 'Whoo' from the sidelines in support, just like all girls do for just about everything now). Oh and btw, massive cool points for the bridge and the solo, and not for using the neck or bridge pickup, them boys just don't do regular do they. Also, the lyrical undercurrent of how artists perceive their fans is super interesting too.


'I'm Endorsed Are You', starts off with an almost UB40ish riff. I don't think I've ever said that sentence in my life before, so cool points to TAAQ. The lyrics are again super edgy, with the victim being those whose noses are up in the air as a result of landing an undeserved endorsement. I am completely regretting that TAAQ have never really played in and around my city, it's actually my resolution for 2015 to watch these guys live before the year is up. You know what, whichever song has a solo, just assume cool points on the solo from here on out, Bruce knows what he's doing with a guitar.


'MED' is a big knock to the EDM movement that has swept all the dirt out of musical closets and floors everywhere, has given them a laptop, and put them on stage, and called them musicians. Yo Bruce, if you read this, I don't know why, but EDM crowds suddenly reminded me of the 'Another Brick In The Wall' video, where everyone walks uniformly to their slaughter. A lot of vitriol in the words on this one. Sample the outro refrain, 'You Make Me Sick, I Make Music'. You know I had the same thoughts about a song when I was listening to electronic act after act at NH7 this year, but my approach and choice of words was quite different, but this warmed the cockles of my heart. That outro refrain, Ha ha ha, they programmed it. Ha ha ha. And extra long, extra musical outro for added effect.


'Godrocker', first of all, cool points for all song titles so far. This is a thinking man's band boss, and I'm loving doing my thinking with this in the background. The riff rakes in a whole lot of cool points, for reminding me of Elvis' Jailhouse Rock's staccato and the urban blues that I'm a big fan of. The words are another major hit to the bookers with the messiah complex who don't think twice to exploit bands for the sake of their profit. Super head-bob. The song contains one of the best bits of wordplay I've heard so far, "I'll take you to a broad", that ain't a girl reference, that's just how people say it in India sometimes, going to abroad. Trust TAAQ to broaden that reference up. Oh man, so many knocks Bruce, bugger prog-blues, this is becoming true rock really quickly. Anti-establishment at it's angry peak.

'Flok Rock', the first strains of the music hit me, and I had the words open in front of me, and I burst out laughing. Oh man, more knocks to come. These guys must have been angry writing this album, love it. The reality is enticing. The guitar riff scores real high on the cool points meter. The chorus is infinitely singable. Lyrics bashing the tendency of bands to follow fads or fuse Indian music with rock to get more people listening for their 15 minutes of fame. Btw, Floyd reference with 'Another Brick In The Wall', guys I'm running out of cool points to give you'll. Oh ho, self reference with Paper Puli. What joy.


'Dig The Chicks' talks about the changing audience in the Indian rock 'scene' (jeez Bruce, don't hate me for saying that word). No hits here, so a nice change of pace, and the words just draw you into the story, maybe because girls at shows is just such an interesting story. A palate cleanser.

'Going To Abroad'. Oh wow, they made a whole song on that one phrase. This promises to be good. The story speaks of how more than 20 years ago when someone we knew returned from abroad and how they became objects of morbid curiosity and attention. Bruce channels his inner Bee Gee for the chorus. These guys have a real expertise in straightforward narration, they don't deal in too many metaphors, and the ones they use aren't so complicated as to pause the flow of the music.


'My Funny Turpentine' obviously borrows from jazz classic 'My Funny Valentine' for the name, and has a real uptempo bluegrass style riff. This is a song about getting high off of turpentine? Is that possible? I'm a bad judge for this boss, I'm completely clean. The story goes real well in the song till the point where he'd rather watch the paint dry on his walls rather than go for wine or a needle. Real short and involved guitar solo.

'The Scene' is next, and the moment I read 'folk fusion gimmicks' a particular band sprung to mind, wonder if they had the same thought too, and this obviously means that it's hunting season again and TAAQ have equipped their pens with bullets. Two lines in and I'm already salivating. Did they deliberately simplify the music to draw more attention to the words with this one? Highly likely. Wow, that's 2 uses of the F-word in the album, TAAQ is angry. Oh damn, the song also speaks of performing at places where people are more involved with eating than with listening and what it does to the confidence of the musician. Bravo again.


'The Sponsors Backed Out' closes the album, and cool points for the song title again. I don't really need to explain what the song is about do I? I must say this, the riff is wicked, a lot more wicked than a lot of 'rock' bands manage. A lot more menace in the voice and guitars bring in a different colour. A different kind of head-bob.


I had heard Dhruv Ghanekar say that the Indian music industry is obsessed with creating hits, and not enough focus is put on creating. With that being said, this is one of the most honest, creative albums put out by anyone, and it holds the kind of intensity, finesse and character that will find recognition sooner rather than later.  Well done TAAQ, what a wonderful bit of creation this is.

    

Album Review- John Mayer- Paradise Valley

Hi,
    My name is Surjo and I'm a professional musician. The songs you're hearing (hopefully) are from my debut album 'The Key Has Turned' which you can buy here.

   The album I'm reviewing today is John Mayer's 'Paradise Valley'. It's his 6th studio album, and is named after a major river valley in Montana, where John is a resident. It's an effective follow-up to 'Born And Raised' and maintains the changing direction of John's musical compass.

 

'Wildfire' starts off the album with a country-style riff with simple clapping as the accompanying rhythm. The sound is so happy-go-lucky and the words are just the passage of everyday time, and the casual confidence of looking for love. The chorus has nothing much other than the claps behind it, which is of course interesting songwriting. There are voices in conversation in the background just to raise that casual feel even more. Cool points all through and cool solo to top it all of. 

'Dear Marie' strikes me close to the heart man, just the words and the feeling that I get from it. Solid, just rock solid, and his voice has changed after the operations, he's singing a lot lower. Thinking about his first love from when he was 15 is what the song is about. 

'Waiting On The Day' hammers a thought in my head which was just surfacing with the previous two songs. The content of his words, and the content of his music has changed drastically over the course of the 6 albums. No longer does he feel the need to show off his excessive melodic talent, or his ability to write love in a way that you can't express. He's content to play his guitar and sing his heart now, and he's good at that too, as in really good. 

'Paper Doll' is apparently written for Taylor Swift. That single bit of celeb gossip changes the whole way I view the song, since I'm constantly trying to formulate the story on the basis of the words, and also that nugget of wisdom regarding who it was written for, and I  must say, that the process has a certain magnetism to it, when you have a face associated with the words. Good song John, good song. 

'Call Me The Breeze' sound like a typical 12-bar blues number from the 50s. Super generic. By the numbers kinda deal. 

'Who You Love' is his duet with Katy Perry, and of course now they've been dating on and off for a few years. Damn John, you get around. Cool points for the drum intro with the delay. The lyrics revolve around accepting who you wind up falling in love with, irrespective of whether they meet your criterion of perfection. Cool. 

'I Will Be Found (Lost At Sea)' is his one piano song per album, and I got to say again, his piano songs sound like Elton John. The song is a metaphor, with John talking about his massive journey in music and comparing it to being lost at sea. But he's not frantic in his statement or comparison, just really calm and confident in his ability to turn it all back should the need arise. Cool. 

'Wildfire (Interlude)' has Frank Ocean doing the majority of the singing and quite a story is told in those few lines. A lot of background noise to bring up the Widlfire casual feel again. Better to hear than to write about, will pass by in a blink. 

'You're No One Till Someone Lets You Down' adds to the easy-going nature of the musical narrative, and the words aren't quite that easy-going. Surprisingly the song is short in duration although there are a lot of words said. That has to do with the quick tempo and the lack of instrumental breaks in the song. The song talks about how people hurt after being let down, and how those who've been let down a lot just have a different outlook towards it, and sympathise with those who're naive. 

'Badge And Gun' starts off with a similar melody to 'Waiting On The Day'. It's a cowboy song, or an adventurer's song. Tough to relate, so tough to write about. 

'On The Way Home' caps off the album, with more of the relaxed music that characterizes the album. The lyrics might be talking about him leaving Montana to head back to LA or NY, and he's written it in a sort of metaphor. I must say, very few artists use the minor chord like John does. He just sets you up and then hits you with it when you least expect it, but are super happy to hear that minor third creep in to the melody. 

Well, he's put out a damn good album, without his usual guys helping him out, so that marks a departure for him. The results are good, and the album is very very listenable and easy on the ears. 

Album Review: Fleetwood Mac: Rumours

Hi,
    My name is Surjo and I'm a professional musician. The songs you're hearing (hopefully) are from m debut album 'The Key Has Turned' which you can buy here.

   The album being heard today is Fleetwood Mac's 'Rumours' which holds pride of place in the top 10 highest selling albums of all time, which is quite a feat in every way. It's the follow-up to the band's self-titled album, with new members Lindsey Buckingham and Stevie Nicks playing major roles in steering the band away from what had been their traditional hunting ground of strict blues and then rock. Recorded at the legendary Sound City Studios, the album contains a wonderful array of incredible melodies and sounds and thoughts, and a sound which definitely must have been cutting edge for 1975.

The first song in the album is 'Second Hand News' which starts off with a 16th note pounding bassline on a very easy going melody, with Buckingham and Nicks giving us a taste to what their vocal combo sounds like. The snare is panned to the left which is just such a 70s thing. Though I think that's two mics with one of the mics on the right hand side and the louder on the left side, and there are some really distorted guitar sounds being used for some fills. The lyrics talk about being put in the backburner of love with the passage of time. Very easy-going and easy-listening too. 

'Dreams' starts off with way more pump in the kick drum, bass and control in the overall sound. The melody is far more harnessed and I thought that maybe Christine Mcvie might have written this but as soon as 'crystal visions' appeared in the lyrics I knew it was a Stevie Nicks masterpiece. Look, some songs just need to be heard to get to the real quality of it, and 'Dreams' is definitely one of those. It is very very listenable. 

'Never Going Back Again' has Lindsey Buckingham written all over it, what with the signature acoustic tone and all the accompanying guitar work. Almost a lullaby in it's delivery. Since there are 6 lines of words in the whole song, there is just a whole lot of ambiguity in the song but that doesn't take away from the fact that it is an amazing palette cleanser between the two songs it is kept. 

'Don't Stop' is a straightforward rock groove with a slow driving bass line and a shuffle to keep it running. The lyrics sound generic now, with the positivity that our jaded society looks at an aberration rather than the norm, but I'm sure it brought a lot of smiles to the folks listening to the song in the mid 70s, I know that the music is strong enough to bring about positivity now. Pretty killer solo and the way it ends into the chorus is such a smooth yet powerful transition. 

'Go On Your Way' has all the aspect of music which I enjoy, a cool bass line, and driving interesting rhythm, a brilliant vocal melody and a cool guitar solo to top it all off. The song is about a dysfunctional relationship, and given that the entire album was written when there was a lot of personal stresses on all the relationships in the band, it's any one's guess where the words are being directed. One of the gems of the album for me for sure. 

'Songbird' has Christine Mcvie's singing and excellent piano work adorning what is a beautiful song and an incredibly lilting melody. The song is a love song, and a really good one at that. Just listen and absord man, no need for me to spew rhetoric. 

'The Chain' is the only song in the album which was written by all members of the band, and what a song it is, full of haunting melodies and powerful words, almost like a tribal chant in some of it's simplicity and choice of notes. The words are about the uncertainty that some love faces. The breakdown into the bassline and what follows is one of the most enjoyable moments in my career as a listener of music. 

'You Make Loving Fun' starts off with a Clav riff, for a whole lot of cool points, but this album has already overshot the cool point maximum. The lyrics are speaking of good love, which marks a welcome change in direction in the album. There's a lot of musical diversity in the song, and a pretty nasty guitar solo to boot. 

'I Don't Want To Know' has the most straightforward 1-5-4, 4/4 rock progression in the album so far. We come back the undecided love topic that is the undercurrent of the entire album. Probably the most underwhelming song in the album for me, but that's needed too. 

'Oh Daddy' has a pretty haunting melody and the words are definitely metaphorical, or atleast they could be. The slower movement leads to more time for some cool acoustic guitar work to support the main melody. 

'Gold Dust Woman' has Stevie written all over it. Interesting chord choices, and a lot of effects put into the song. It sounds like the song that I just want to soak the music in, and look at the words a whole lot later since I haven't bathed in the feeling of the music enough yet. The lyrics are, well in two words, the lyrics are Stevie Nicks, just embodies her persona. 

A damn good album, and it passes by quicker than a hiccup. Must listen. 

Album Review: Junkyard Groove - 11:11(bootleg)

Hi,
    My name is Surjo and I'm a pro-musician. The songs you're hearing (hopefully) are from my debut album 'The Key Has Turned' and you can buy the album here.

I shall be reviewing Junkyard Groove's album 11:11 today, and for those readers from outside India, JYG might be an unfamiliar name, but I do believe that this review shall help you in uncovering a really good album from a band which has yet to settle in and flex it's creative muscles. The album was released in 2009, although the band was formed in 2005. You can download this album for free by going to http://www.junkyardgroove.in/downloads

The album starts with 'Open', which just sets you up with big lush guitar chords and a lilting vocal in the background. It's only a 2 minute hook and it sets the tone for the rest of the album.

'Imagine' comes in next, with a simple acoustic guitar riff giving way to an electric guitar burst that might be more in place inside a stadium than inside my headphones. Singer Ameeth Thomas talks about a conversation between two people, maybe friends or lovers, with one being troubled by the thoughts inside their head, and the other being concerned about the first. The repeated line in the song is 'Just imagine if it was you, tell me exactly what would you do'. Hmmm..

'Thank you' starts with Ameeth screaming the count, and it finds it's way to a really slithering riff and madness on the drums. The words are quite concise and therefore fall out of favour with me, since they fail to do much more than say thank you with 4 more lines written in there. No real story or anything told in there.

'Been So Long' starts with a lot of different elements before gelling into the riff, which is definitely racks up high points for just being cool and creative. One thing which is permanent through the mixes is that they're clearly pushing the music more than the vocals, which is just a little sad, Ameeth is way too big a personality to not be front and centre in everything. The words are quite cool, delving into his mind, and his desire to find the correct space for his thoughts to dwell in. Not sure if he's talking to himself or questioning the listener. Cool bridge section.

'Folk You', well with a name like that, you know you're in for a fun ride. The riff literally bites, what with the squeals and all. There's quite a bit of Malayalam thrown in the words, so that part is off my radar, but the lyrics there suggest a girl who's got a good grip on Ameeth's mojo. This song is just pure unadulterated fun, just a song for the good times, to jump and bounce. I'm writing fewer lines so you can stop reading and go listen to the song.

'Let You Go' starts off with a riff that wouldn't be out of place in John Mayer's first two albums. The words deal with the common sentiment of being in a relationship and not feeling the relationship enough, and doubting the committment of the other person involved. The words have a real generic feel to them though, wish he'd have pushed it a bit more with the sentiment. The guitar solo is kinda cool, with the generic being kept to a minimum there. 

'Twinkle' has a lot of Dave Matthews stamped on the initial riff, and then as it turns out,  almost a whole verse lifted from them. Huh? Why Ameeth? Oh and they sampled the nursery rhyme 'Twinkle Twinkle Little Star' for their chorus. 'Grace Is Gone' is the Dave Matthews song that they've lifted part of the chorus from. I would never have known had I not reviewed 'Busted Stuff' previously.  

Next up is JYG's signature song, 'It's Ok', which has one of the cooler acoustic riffs you'll hear. The words speak of a doomed love story with the girl giving all she could and the boy taking all he needed. Cool points for a cool song. 

'Rock n' Roll' has a hilarious entry, probably one of the most creative ways to ever enter a song. The lyrics hype the virtues of rock n' roll almost like articles extolling the virtues of exercise or something. The chorus has the sort of frantic energy that does justice to the song title. There is a cool bridge section with the wanton abandon that rock n' roll personify, and followed by a generic rock n' roll guitar solo. Man, they really went all out to stick to the song title. And of course, the song has one of the most creative ends to it too. 

 

'Feels Like A Knife' starts off with cool points for a cool riff. The lyrics are about people's perception of Ameeth and how doesn't care because he feels alright. Teenage angst? That's what this is about? There is almost a feeling of how his lyrics could get to the next level of cool but it held back by lack of metaphor and personification. Neat little breakdown in the song though with the snare and guitar taking centrestage, before exploding into some wah-laden pentatonic histrionics. Well done Siddharth Srinivasan.

'Hold' starts off with almost classical vocal stylings to a very involved riff, and definitely suffers from the music overshadowing the words. He speaks of his determination to hold on to his life which is given to me. Also he speaks while he is lying down on the floor, is this a song written in a state of hallucination? Or maybe, just the burden of his memories has pushed him to the floor. More likely the latter. There is a sample of another vocal in the guitar solo, which sounds like a chant from a temple, and that's followed by some pyro on the guitar, shreds into sweeps into blues and descends into some more chaos in the end. Siddharth might have exhausted all his 14nps licks in this one. 

The music is definitely the highlight of this album, can definitely run in the car on a long drive on repeat, no doubts there. The lyrics get too generic at times, and that's sad because like I wrote before, it seems just on the edge of being great and then settles back into being generic. Nevertheless, the album is a very enjoyable listen, and contains a lot of fun music. I hope you enjoy the music. 

Album Review: Mark Knopfler - Sailing To Philadelphia!

Hi,
    My name is Surjo and I'm a pro-musician. The songs you are hearing (hopefully) are from my debut album 'The Key Has Turned' which you can buy here.

Today, I shall be reviewing Mark Knopfler's Sailing To Philadelphia. I have a vested interest in this album, since 'What It Is' was really the song that attracted me towards playing solo guitar when I was 15, for all I was doing with guitar at that time was playing chords and singing John Denver and MLTR, not that there's anything wrong with that. 'Sailing To Philadelphia' is Mark's 2nd solo studio album and of course brings back fond memories for Dire Straits fans.

The album starts off with 'What It Is', and of course I have previous association with the track for it's incredible music, but I'll try and listen to it from a fresh perspective. The intro comes in nice and smooth and the guitar intro just feels so right, signature Knopfler coming right in. The words seem to be jumping through time and space, sometimes it seems he's talking about a time period in the past, and sometimes it seems he's in the present. A lot of words used would describe either a scene from the past or a city living in it's past. The music has no ambiguity whatsoever, with the driving rhythm having a force and intensity that is altogether missing in most pop music today. The start of the guitar solo just before the bridge, I mean it's just a master at work, and the final guitar solo is what me made want to play lead guitar at age 15, because it was, and is, just so damn musical and cool. 

'Sailing To Philadelphia' is the title track and features another legend in James Taylor. James' acoustic guitar lights up the start of the track. The song speaks of explorers Mason and Dixon, who were from England and who wound up establishing the Mason-Dixon line in the 1700s, which is the border between the South and North of the United States of America. The music is far more relaxed in it's approach, brushes on the drums and so forth, and a lot of ambient keyboard and piano work, and punctuated by Mark's licks as any Dire Straits will be familiar with. Really evocative music. 

'Who's Your Baby Now' sounds very close to being a song about a hooker. I couldn't be sure, but my stab in the not-so-dark is that it's a love song about a hooker. Working girl, with big dreams, and the breakdown of said dreams, and Mark's failure to contain his emotion at the sight is basically what the song is about. The song has a really easy-going and relaxed tempo and feel and there is enough guitar in the layers, and enough sounds to make it seem like a wonderful cohesive unit. I don't know how it's done, but it sounds great. 

'Baloney Again' starts off with a morose harmonica riff before launching into a drum beat that Eminem could have laid a rap to, instead it was Mark with his signature licks. I'm writing this as I'm listening to the song for the first time, and the song seems set in the 1950s, and seems to be written about a travelling gospel band spreading the word of the Lord in that time and age, and it also references fear of getting into white hotels and restaurants, so I take a stab and say that the band isn't white. The drum beat is really in the pocket and it's a pleasure to listen to with the bass riding on it. Mark pulls out a wonderful solo at the end to remind us who's boss. 

'Last Laugh' is a duet with Van Morrison and it starts off with a neat little tremolo riff and the relaxed vocal style that Mark is synonymous with. Van Morrison sings the second verse, and adds to the vibe of the song. The song to me seems to be about surviving day by day and staying alive. The words might mean a lot to those who have physically taxing jobs. It's hard for me to relate to the words except maybe in the last verse, but the music is just wonderful. There are quite a few elements in there which are great in terms of the pacing and overall feel of the song.

'Do America' has the staccato riff styling made most popular with 'Money For Nothing', and a lap steel lick to start things off. The song is fairly straightforward, about the rock-n-roll lifestyle and touring and could almost be a homage to The Beatles if looked at from a certain vantage point. Cool, fun and easy on the ears, nothing spectacular though. 

'El Macho' starts with a Andalusian riff almost with a horn melody to boot. The music could have been hypnotic but is lacking a couple of x-factors that could take it to the hypnotic level. The words are talking about someone like Jerry, and I'm not well-versed with popular culture to decipher who the reference is to. That horn melody at the top and the interlude is pretty cool. 

'Prairie Wedding' starts off with a quiet intensity which lasts till the words come in to ease the tension a bit. The music has the looming intensity that did mark a lot of Dire Straits' music, and can definitely bring back the memories of a few songs from that catalogue. Also, Mark's vocals are so distinctive that it's hard to not think of the old material. The words speak of an arranged marriage and the thoughts of the groom through the process. The big keys at the back does bring that big almost ethereal feeling into the song. Very interesting combination of big music and relaxed vocals. 

'Wanderlust' has an interesting guitar bit throughout with the acoustic on one side and the tremolo electric on the other side. Sounds like an acoustic bass or a cello, and the drums are really relaxed and the big ethereal sounds in the back. The words are about a man's desire to travel everywhere. Some signature Knopfler licks make their way through to the bridge of the song. I often wonder how loud Mark would be singing in a room in front of you because it sounds so low and soft it's hard to imagine what that'd be like without a mic. 

'Speedway At Nazareth' threatens to start with a  dobro before an electronic bass part takes over, wow a sample in a Knopfler song? It's a race song? Again, not familiar with the heart n soul of American and British references but is this a nascar thing? The music is good, the lyrics flying over my head even if it's a racing song. I wouldn't be able to relate to the life of a nascar driver, so I'll leave that be. Really cool guitar bit at the end. 

'Junkie Doll' is possibly the best lyrical composition I have come across for the particular subject, which is being in love with a drug addict. I've never been in the situation myself, but it is so well written, especially the continuous up and down in the chorus which is something that any addict goes through. The guitar riff is a concoction of a mean electric part with a mild dobro part. Could these be songs to drive down the highway with? I think it's quite possible. Also, does Mark ever play mediocre guitar solos?

'Silvertown Blues' has some good music, and the excitement really builds up near the end with the added bass and drum work. I must confess to not understanding what the theme of the song is about, it might be about a specific town and the workings of that town, but it's hard to catch on because not too many specifics are available in the words. 

'Sands Of Nevada' starts off with the acoustic temolo duality that I spoke of before. It is a song about the gambling culture of Las Vegas with some clever metaphors in the words. I feel that it'll be really difficult for youngsters to listen to this music, although there are a lot of old Dire Straits songs at this tempo which can be listened to by a younger demographic. There seems to be a certain kinship with age that Mark has formed that's difficult to understand without the years in your kitty. 

'One More Matinee' has very minimalistic arrangements for the greater part of it's start, with the drums kicking in much later. It seems like a song of nostalgia, almost a narration of the past and present, like a reminiscence which leads to the present. I am very curious as to what older fans of Mark Knopfler who are closer to him in age and location would have to say for the album, I'm almost sure they'll be able to relate a lot better to the subject matter of the album. If you just wanted to listen to the album without a great focus on the album then it'd pass by fairly quick, but once you focus on the words then it's a fairly tough pill to swallow.

'The Long Highway' starts with the sort of understated rhythm guitar playing that we've come to love from Mark. The words almost seem like just a chapter from a story. As a matter of fact, a lot of the lyrics from the album don't seem to be complete stories but just bits and pieces of whole stories, and that might be a little unsettling for listeners like me who want the whole picture at one go. 

'Let's See You' starts off with Mark singing a verse before the music really kicks in good. Horns and telecaster for good measure. The drums sound really sweet and crisp in this track with the tambourine adding quite a bit. The words could be about the music industry, could be about a fan, could be so many things. I'd be very interested to know if that were a reaction to a fan or to another musican or someone else entirely. The words have quite a bit of sting to them. 

  

'Camerado' closes out the album, but starts off with a driving rhythm, reminiscent of songs accompanying cowboys in movies while they're on their way to the bad guy's lair. Turns out it is a form of cowboy song after all. Nothing spectacular, just what you'd expect from Mark Knopfler through and through. 

One thing which I must mention is that I don't think the album is meant for easy listening for too many casual fans. It took me 5 days to get through this entire review because it took me 5 days to listen to the album. The album is too intense when you focus and listen in, and I must say that I don't think I am part of Mark's demographic here, since a lot of the themes and subjects in the words are completely alien to me, and if  I were to go on the music alone, then I'd rather listen to his work with Dire Straits since there is a certain something there which appeals to the younger listener more. Maybe it's his own age which is reflected in the performance of this album, but at my age, I think a more frantic energy finds me easier than elderly wisdom. I hope you enjoy the album when you hear it. 'What It Is' stands out for me from the album. 

Album Review: John Mayer - Continuum!

Hi,
    My name is Surjo and I'm a pro-musician, and the songs you're hearing (hopefully), are from my debut album which you can buy here

   I'll be reviewing John Mayer's 'Continuum' in this article. It's his 3rd studio album and what he considers as his most successful album. The song was released on Sept 12, 2006 on Columbia Records. The album is considerably mellower and does not contain the hooked-to-a-chocolate-drip-enthusiasm-for-you that characterised 'Room For Squares' and 'Heavier Things'. The pace is less frantic and the delivery is less rushed. It's almost like he takes his time to talk now, and he's more sure of his thoughts this time around, more sure that we'll like him for the things he's saying. He might have made room for squares but he's well-rounded now. Possibly his most musically layered album with a vast array of studio musicians piling on layers of magic onto the canvas.

The album starts with a Steve Jordan signature groove, and well who can complain with that, and before you know it, John counts us in to a really cute little melody to start off 'Waiting On The World To Change'. The words are quite strong actually, and mirror the sentiment that almost everyone goes through of feeling powerless against all that happens in the world today. There's a unique almost rap like breakdown which transitions into a nice guitar solo. He really likes using his pedals on his guitar sounds. How many pop songs do you  hear with a real ride cymbal chiming on in the background? This was the first single from the album and had more than a million downloads, that's pretty cool. 

'I Don't Trust Myself' starts off with a really bizarre guitar riff, with John searching through his pedal stash to come up with a keyboard sound out of a guitar. The lyrics are really interesting, in that they talk about John's doubts about himself in love and also his doubts about those who profess to love him. Is it a circular thing, as in does on lead to the other? Very interesting perspective obviously, from a good-looking talented well-known millionaire who isn't sure whether a girl could love him or the thought of him. PS. Is there a better drummer than Steve Jordan in the world?

'Belief' comes in next with one of the coolest guitar and drum lines that you're going to hear in a long, long time. I'm not entirely sure what the words are about, because they seem to be moving in quite a few directions. The overall theme seems to be about the belief system that everyone has, and there are some really cool lyrical chops like in the second verse where John lays out a beautiful metaphor. 'Belief is a beautiful armour, but makes for the heaviest sword'. The bridge is astounding and brings Pino Palladino to the forefront with a bass line for the ages. Another cool guitar solo, another cool guitar effect, John keeps that quest ongoing. Very melodic song. He couldn't have written this in the first 2 albums. 

'Gravity', according to John, is the single most important song he's written. It's been nearly 9 years since Continuum released, so we don't know if that's changed but it's really important to feel so strongly about something. The song starts off with no frills, no guitar effects, just a pure melodic line, and sets the tone from thereon. The words sound extremely personal, and I think it'd be hard to step into John's shoes to fathom just how much the words mean to him. But I think all of us can feel burdened by the circumstances and directions of our life. The song finishes just with the choir and the drums and some guitar chords, pretty cool. 

'The Heart Of Life' starts with a guitar melody that might have found it's way to his first two albums, but it's not polished and shimmering like it would have been there. Starts off  with a request from John to listen to him while you're going through a rough time, and the rest of the song is basically a message of 'keep your chin up, everything happens for the best' sort of message. The song is minimalistic in it's arrangement with some keys and the bass coming in only at the end and drums sitting out entirely. Almost a palate cleanser in a way, but a good song. 

'Vultures' features another great riff and that's ear-candy from the get-go. The lyrics might be a dig at the press which had found it's groove in constantly intruding on his life by that time. John talks about his determination to not be a footnote in a matter of time and that he's going to take on whatever comes in his way, including the 'vultures' to keep his position intact. More than anything else though, it is a lovely bit of music which is supremely easy on the ear. As in even more than his usual fare which is very easy on the ear as it is. Steve and Pino shine once again, and of course this is one of the songs that is brought forward from the 'Try' live album. A very dynamic vocal too, he really expands his style in this one. 

'Stop This Train' has a beautiful acoustic guitar riff and some really restrained music to set up the words. The lyrics are dealing with mortality and the temporary nature of life, and how it's really scary to think about it when you realize that soon there'll be no one left who was a part of the happiest days of your life and you'll have to be the one guiding others to happiness. Good stuff, better to hear than to analyze. 

'Slow Dancing In A Burning Room' has another startlingly beautiful guitar melody to start things off. What about that spring reverb on the first two measures? A guitarist's ears would just prick up at the sound. The lyrics speak of the realization of the end of one's love in the midst of a dance. When the chorus kicks in, it's almost a different atmosphere with the guitars and choir like vocals. The words get a little edgier in the later verses and in the bridge with John retorting to her behaviour with impatience. The vocals are very dynamic and the production is spot on. 

'Bold As Love' is of course a Jimi Hendrix song and is part of his 1967 'Axis Bold As Love' abum. He maintains quite a bit of faithfulness to the original track, with the only differences being that his rhythm is way more controlled and studied than Hendrix's wild playing. His voice is also a lot clearer than Hendrix. The lyrics are just wild, the person who wrote it must have been tripping. I mean he's talking about seeing colours, cmon, if that isn't LSD then what is? Trust Jimi to recollect LSD onto music. A good cover, though lacking the LSD of the original. 

 

'Dreaming With A Broken Heart' is a wonderful bit of writing. The only piano heavy song in the album, and evokes some Elton John the way the arpeggios are structured, what with the bit of distortion in the piano and what not sounds like 'I Want Love' in a way. It is also brilliant, since there are precious few words in the album, but that never tends to seem boring at all, in fact it makes it that much easier to understand and sing along, a true bit of songwriting wizardry. The lyrics have John suffering from the heartbreak of separation from his love. 

'In Repair' has John going back to his pedal rack for the POG to make his guitar sound like a keyboard. Charlie Hunter comes in on this track to play some 8 string guitar, and if you take a look at that thing, it's just cool. The lyrical theme of the song is about pulling oneself back together after being broken, while as life is, tends to happen often with certain people. There is a certain poignancy in the way he presents his thoughts and words, and I've always felt that he has the ability to say what you wanted to say, only he can say it better. The final sections of the song have so much resolve it's difficult to not feel that uplifting feeling as the guitar solo kicks in. 

'I'm Gonna Find Another You' closes out the album. The lyrics are fantastic, and the music sounds like an old 60s gospel band, what with the horns and relaxed drum and guitar approach. The words have John writing with both love and malice all in one. Not only does he not like his girl leaving, but he's already making plans for how to get past the situation and is resolving the problem in his mind. I think a lot of guys tend to do this as a defensive mechanism, so John, stop giving our secrets out man. 

The album is very easy to listen to and the dozen songs pass by in no time and it's definitely an album meant to loop so that we can live our lives in the background. Very good, to be used as background score for all important heartbreak occasions. That's said only half in jest. Enjoy.