The Gathering – Nighttime Birds (Special Edition)

Nighttime Birds sounds like an extension of Mandylion, although with a much darker tone throughout- the guitars are more jagged and raw, the vocals are more stretched and angst ridden, while the vocals for the most part are more introspective and bleak. The album doesn’t contain as many `hits’ as its predecessor, the songs that are here don’t have as much experimentation of sounds and musical shifts but the album retains the epic feel. While not as impressive as the last album, this shows signs of growth and Anneke’s vocals
have certainly improved even though they were near perfect before. The production levels are higher and Anneke now has a clearer, more powerful performance. While Mandylion was mostly similarly paced rock songs with a few instrumentals, Nighttime Birds adds in more gloomy moments, a beautiful ballad of innocence, a much faster track, and a soft, downbeat, piano driven song. The
band were exploring new sounds on an individual track basis rather than throwing as many ideas as they could into each song like before. Each fan has their favourite album, each album differs from the next, and Nighttime Birds is no exception- the only similarity being that they all share great talent in all musical areas.

`On Most Surfaces’ opens in bombastic and familiar fashion. The first thing to notice is that the production has a more dense,
expansive feeling to it. Everything is more focused complimenting the complex arrangements. Sound effects blend with the usual massive riffs, the guitars sound angrier, and when Anneke first unleashes her vocals you know that this will be an album of concentrated rage. Anneke’s vocal range here is exceptional and her control in moving from the quiet parts to the screeching parts shows mastery of her art. The song contains a softer middle part which rather than sounding mellow, sounds like restrained threat. This soon fades back into the central verse which is complimented by good piano work from Boeijen. The lyrics are still nothing special concentrating on moods and emotions using wintery imagery.

`Confusion’ opens in a more somber, softer style, marked by an eerily toned guitar and Anneke’s reverb filled vocals. The single chorus line here is among the catchiest in the band’s history, each time it is heard is more emotional than before. The lyrics speak of paranoia, confusion, pressure, but they are fairly minimalist. Most of the song is filled by musical parts, the guitars again blending with techno sounds to great effect. The bass and drums here also stand out, but the best moment is the final time Anneke sings the chorus. The colliding riffs also help to lift this above a fairly standard rock song.

`The May Song’ begins with an organ played over a dance like drum loop. The guitar’s 3 note progression grows steadily along side some acoustic chords but as always Anneke’s voice takes central stage. The verse and chorus melodies here are not as interesting or as memorable as others and as such this song is one I don’t listen to much. It is more mellow than the first two songs, with only a few loud guitars in the chorus before another classic Rene solo begins.

`The Earth Is My Witness’ has that dark, ominous tone about it, slow doom pace and techno beats over quite low and demonic vocals from Anneke. These build to a booming chorus as Anneke soars high above us, the lyrics actually attempting speaking of man’s disregard of nature which may come back to destroy us with an equal passive care. The message is that if we don’t care, why should anyone else? This one is easily forgotten in the band’s discography but shouldn’t be overlooked as it contains some great moments. The final 30 seconds provide a nice, understated ending.

`New Moon, Different Day’ has an effects laden intro melding with some fine guitar playing. Again the overall album theme of nature shines through, Anneke giving the vocals a dreamy quality. The opening part is fairly dreary, shoe gazing stuff and it isn’t until just
before half way through that the song truly shines. The pace picks up, Anneke shows us her angelic tendencies, but this is all too brief. The narrator seems to put him/herself in the place of a God/force of nature/spirit passing over the land. Thankfully the middle section returns near the end to stop the song from being forgettable, the fast drums and guitars encouraging the crowd to headbang with glee.

`Third Chance’ is one of the quickest songs the band has ever recorded, the version here is very good but my favourite is the one on
Accessories. There Anneke sings in such a high key that you can’t believe she’ll ever make it through the song; of course, she does. This version is sung at a lower register but has all the energy, desperation, and pleading cries. The chorus here has more of a dance feel to it, at times the drums are almost disco. The guitars reign supreme here although there is an absence of fancy solo work. The soft break in the middle serves as a breather before the pace picks up again, the lyrics speaking of a final chance to avert disaster.

`Kevin’sTelescope’ opens in quite a loud fashion before unexpectedly turning into one of the most beautiful and touching songs the band has ever written. After the frantic nature of the previous song this is at the opposite end of the scale. Anneke belts out the tender lyrics about a child dreaming (possibly hinting at where the next album would take us), the themes are completely sincere, there is
some trippy effects work and experimentation of sounds which would be prevalent in future releases. It is the melodies here though that stand out, instantly memorable, and the ending merging into the next song is also very nice.

`Nighttime Birds’ as the title track features both the mellow and heavy parts of the album, mixing the traditional metal guitars with the effects of subsequent records. There is a strange middle part with eastern sounding noises which featured more prominently on Mandylion. Anneke sings well enough here, the song just doesn’t engage me as much as the rest of the album, and apart from that middle section it is underwhelming. I do like the jagged guitar parts from 4.30- 5.10, but the melodies seem to drone too much.

`Shrink’ is a brilliant closing song, a haunting piece of piano and vocal beauty. These moments would continue in future songs, but rarely are they bettered. The lyrics also work extremely well here, not just a collection of words inserted for the sake of it. There isn’t a trace of guitars until the second half of the song, and even then they are simply a few sustained notes. This is one of the great
moments when all the best talents of the band come together in perfect harmony to create an understated, anguish filled classic.

This special edition also contains some extra tracks and a second cd of demos, covers, and alternate versions. These had already appeared on the Accessories album which I’ll be reviewing at some point. The band by this stage have moved from strength
to strength although the album suffers from perhaps being too downbeat and slow in places. The expectation after Mandylion was high and with all genre defining albums the follow up almost never lives up. Some albums collapse under the success of their predecessor but Nighttime Birds succeeds in being a great album if not exceptional. As with any Gathering album praising or dismissing it comes
with your own mood at the time of listening. Sometimes you can’t bear to hear the song you had loved the day before, while a song you had forgotten about may surprise you with its brilliance at another time. It was clear that the band were not going to make a sequel, striving to create something truly new and unique with each release. While this would alienate some fans those that stayed with the band would go on to form an even closer bond.

The Gathering – Mandylion (Special Edition)

Having achieved a small measure of success with their first two albums, gloomy mixes of doom and softer death metal The Gathering sought a change in direction of sound. The Rutten brothers who had formed the group sought out little known Dutch vocalist Anneke Van Giersbergen and created the most exciting band to come out of Europe in the latter days of the 20th Century. Choosing a lighter rock sound, ditching the growling vocals, but keeping the guitars and progressive elements, Mandylion became a hit; a sprawling, influential epic which remains many fans’ favourite. Van Giersbegen’s trippy lyrics flow smoothly with Rutten’s musical landscapes but it is the new vocalist’s voice which would come to define the group. Each song is lifted by the power in her voice, indeed the songs would never have been possible or conceived of with any other normal singer. Although the album wouldn’t show off some of her softer tones, she wails wonderfully, soaring high and low and conveying any number of moods in just a few syllables. From this point on the band would grow and evolve with each new album proving as interesting as the one before; not the first album, but where it all truly began.

`Strange Machines’ opens the album with a classic distorted riff. When the drums and chimes kick in you know it will be a huge song, but when Anneke starts to sing you know you are listening to something special. The lyrics cover a wish to fly through time, stopping at famous moments and periods – nothing particularly exciting but key to the album as a whole. It is the musical progression which is central here, verse turning to chorus as you would expect, but with instrumental middle parts reminding the listener of Metallica, Radiohead, Dream Theater- any number of other bands but also sounding like nothing else. The song never tries to be simple – there is always room for another riff. This is not done though as a pretense, the band is clever enough to know when a song is complete and subtle enough to know when something does not fit. This is a live staple and a great opener.

`Eleanor’ opens in eerie style with brooding synths before a mosh-inducing series chords are hammered out. A firm live favourite which never fails to get the crowd jumping it features superb vocals (as expected) from Anneke. The bass riff compliments the guitars perfectly, Anneke’s lyrics of anger meeting the necessary metal quota. It is during the middle part where the blast beats, guitars, and chimes blend together to form an irresistible blend of thumping and appreciation. Between these two parts is a quieter middle section where the musical builds in atmospheric fashion cleverly fusing their metal roots with their progressive future. The closing words and cyclical nature fit well with the overall themes of time and loss.

`In Motion Pt 1′ opens with bell-like sounds against a moody synthesizer, alongside the big riff which soon comes in. Anneke bears her heart and soul here, sounding at once like a hundred mourners rending their hair from the skull and an unstoppable avenging Goddess. Everything builds to the repeated climax of the chorus, lyrics jerking the listener from any passive passerby status, music lifting the body from the shoes. A traditional enough solo marks the middle section, you won’t find any twiddly trash antics here; everything is done to create and maintain the mood, noticeable as the guitar continues through the midnight sounds of crickets before that chorus blasts forth again.

`Leaves’ is one of the band’s most famous songs as well as one of their most well constructed. Opening with beautiful guitars crossing over each other it is surprising when the almost off-key main riff blasts in. Anneke stretches herself here more than any other song, a million other singers would struggle and break attempting this. The chords roll along slowly reminding us of their Doom Metal beginnings, the lyrics speaking of loss, confusion, and disbelief. It is the middle part which really makes the song a classic though with one of, in my opinion, the best guitar solos of all time. It isn’t anything difficult it soars at its own pace merging perfectly with the other instruments and is as good as anything from any Pink Floyd album. Once this section ends, like a mirror the rest of the song continues returning to the first section and ending on the opening chords.

`Fear The Sea’ is probably the least memorable song on the album, although on listening again it is still one to appreciate if not adore. Anneke’s singing here is among her best as she is trying tricks with her voice that she doesn’t get to try in other songs. The song moves along at a fair pace and is fairly heavy. Of course it is not on one level, with a more calm middle section swirling around our ears and some of the best use of keyboards on the album. The chords here are similar to those which open `Leaves’ although played in a completely different way. This is an underrated song in the band’s back catalogue probably because it isn’t played live as much as others and lacks some of the spark of the other songs here.

`Mandylion’ is an eastern influenced instrumental interlude, sounding like something you may have heard in the court of the Pharaohs. Opening with unique and snakelike horns it twists through a mellow middle, the only vocals being some background, distant shouts, progressing through a brief synthesizer part before returning to a brass and percussion finish. It compliments the songs which bookend it well, being the softest of the three but no less impressive.

`Sand And Mercury’ opens quietly, almost like a Metallica instrumental of old with pianos and acoustic guitars complimenting each other. The inevitable crushing guitars come in heavier than on any other song on the album before returning to the softer intro. This continues without feeling repetitive before moving through various phases; chanting along with muted power chords, making way for a church organ to give a further epic feel; Then comes a sudden shift to a new sound, almost like a new song with sounds of rain, soft cymbals raining over light guitars. Anneke then starts to sing softly, dream like showing her varied depth as a vocalist as well as the band’s range of influences and ideas. This middle part could easily be a worthy song in any other band’s catalogue, but here it is all the more powerful due to the intro and particularly the heavy finish as the guitars climb back into the mix. Although I’m not the biggest fan of bands doing these sorts of songs, The Gathering mange to pull if off and the song is interesting throughout. At almost 10 minutes it may seem daunting to the uninitiated, but they have done longer songs and this seems like have the length.

`In Motion Pt 2′ opens with drums and violins dueling sadly before Anneke’s mournful vocals tear the listeners emotions asunder. The lyrics this time are filled with emotional and anguish, the guitars crunching in heavily but never spoiling the melodies. Again there is a lengthy instrumental interlude with ??? keyboards backing the lead guitars before one of ??? trademark Gilmouresque solos begins. This middle part is atmospheric – audience and band swooning and swaying together in a dreamlike state before the main melody comes back in spine tingling fashion, wrapping up the partner song and the album as a whole. The band performs many different version of this (and other) song, check out the one on Sleepy Buildings for perfection.

As well as being a neatly designed package this special edition of the album comes with handy notes and art about the recording. These are interesting for the bigger fan and offer some insight into the band’s inspiration. More useful though is the second CD- a collection of demo versions of the album tracks. These again are interesting but not really worth listening to more than a few times. Also included is the wavey instrumental `Solar Glider’ and a version of the later hit `Third Chance’, a passionate and fast paced rock song. Solar Glider opens with some early Floyd style flange, then breaks into a fast paced synth and guitar beat similar to `Adrenaline’ while the early version of `Third Chance’ sounds quite tribal and is sung with lyrics from `In Motion’ which don’t fit very well but give an idea of the finished melodies.

Without trying (though failing) to sound like an over zealous fanboy this is an album which should be in every music fan’s collection. Not only has it influenced any number of female fronted bands like no other, it is massive in scope and contains some of the best rock songs of the decade. In short it is the sound of an extremely talented band at their peak, enjoying every moment in the knowledge that whatever they touch will turn to gold. When this happens hopefully a wide audience and success should follow. Sadly the band remains largely unknown outside of Central Europe and South America – a crime considering the wealth of music they have created. When this collision of talent and timing comes together, no matter the genre every fan of music should get involved. It doesn’t happen often so we should take every chance we can to hear something special. Following albums would give many more moments of brilliance and the band would refuse to do the same thing twice. Each member would grow as a performer and writer and things would steadily get better.

Feel free to share your thoughts on the album and the band in the comments!
Review Originally Written in 2006

Alice Cooper- Hey Stoopid

Hey Stoopid

After all the mostly poor efforts of the 80s and coming off the success of Trash, Alice Cooper released their 2nd best album (and probably my favourite) with Hey Stoopid. It brought the best of 80’s metal and hard rock (owing much to G’n’R) and mixed it with Alice’s trademark style, lyrics, and imagery. We had his heaviest album so far (this remained true until Brutal Planet), filled with thrash style guitars, bluesy but not over the top solos, some of his most memorable ballads, and some of his greatest anthems. Alice had a long history of blasting out classics teen and outsider anthems, from I’m Eighteen to School’s Out but here we have my favourite with Wind Up Toy. The most famous song is undoubtedly Feed My Frankenstein, made popular by its appearance in Wayne’s World but it is bookended by even better songs. With plenty of backing and guest musicians and Alice’s lyrical if not musical creativity in high gear, Hey Stoopid is one of the most underrated rock/metal albums of the early nineties.

`Hey Stoopid’ opens the album with a typically 80s fist pumping and chanting intro before dismembering the cheese and breaking out some heavy riffs and chords. It’s as if Alice was replying to all the rubbish hair rock and metal of the previous decade (which he had some part in) and blasting through it with his authentic punk and rebellious roots. Perhaps he wanted to regain some of the respect he may have lost during the decade at the same time as answering his critics, perhaps he just wanted to follow other bands of the time and make a no-nonsense heavy record. The lyrics speak of rehabilitation and making your own decisions without the backing of the crowd. Hardly the most original of sentiments, and indeed Alice said the same before. Slash and Satriani help out with guitar duties while Ozzy provides some backing vocals. Alice would repay the favour soon after by singing on Use Your Illusion.

`Love’s A Loaded Gun’ is a pseudo-ballad, a slightly softer song mixed with a dirty, bluesy sound. The themes of prostitution, love, betrayal, and murder/suicide are typical for Alice as he weaves another grime filled story. I prefer the lyrics to the music on this one. The acoustic verses give way to a louder chorus, each backed with some screaming guitars and Alice sings with trademark irony and venom.

`Snakebite’ opens with the sound of a rattlesnake before bursting into one of the albums most evil and vicious souding riffs. The heavy guitars continue throughout and the chorus is very catchy. Alice creates another character and weaves the story of a tattooed lover who may be murderously possessive. Snakebite is one of those songs for turning up loud when you’re driving at night with the hot air blasting in your face, and it wouldn’t be an Alice Cooper album without some snake references.

`Burning Our Bed’ is another song which features Joe Satriani and is probably the best ballad on offer. It begins a linked trilogy of songs (with the next two obviously) and speaks of the pain and recovery from lost love. It is highly atmospheric thanks to Alice’s whispery vocals and the guitar effects. The verses are nicely acoustic and build up to another catchy chorus. I particularly like the emotional bridge and guitar solo which help to prove that Alice is one of the most underrated writers of love songs (as well as every other type).

`Dangerous Tonight’ has an extended, ominous intro merging with Burning Our Bed and features some of the album’s best guitar work. Really if you’re a fan of flashy guitars without the self indulgence then this is an album for you. The organ/keyboard intro overlapped with the menacing guitars is one of the best introductions of any Alice song. The lyrics are quite darkly erotic with an undercurrent of S and M. The imagery is not overly imaginative but all serves to create a tense atmosphere and the solo and chorus is full of head-banging opportunity. In fact the solo here is one of my all time favourites, not because it is particularly skilful or lightning fast but because, like Leaves by The Gathering, it fits the song so well.

`Might As Well Be On Mars’ also has a brooding, atmospheric intro leading in from the previous song and ending the trilogy. I love the way the piano and thunder start together before leading us into a dark and lonely tale of stalking, self-delusion, and invisibility. I like the verse riff although this is another song where the lyrics are better than the music, even though the music is pretty great too. Alice acts out the story with his vocals as always, straining with desperation and irony. The middle section with its string section and synth somehow becomes anthemic even though it is a song about being alone showcasing his skills as a songwriter, before descending with the obligatory solo and an extended ending where the character fades away back into the dark alley and despair from whence he came.

`Feed My Frankenstein’ is a song dually by Alice and British band Zodiac Mindwarp and is noticeable not only for appearing in Wayne’s World but for it’s sexual lyrics and messed up guitar solo by Steve Vai. Nikki Sixx provides bass here adding to the overall sleazy feeling, and Alice sings in his most ugly, dirty style. Yet again the chorus is a sing-along affair, something which was lacking for most of Alice’s 80s albums. It tool Poison from Trash to remind the group where their greatest strengths lay, in writing crowd pleasers which were smarter than those the average band would churn out.

`Hurricane Years’ is one of the lesser songs on the album but is still pretty good. There are no poor songs on display, it’s just that this and another couple pale in comparison with the rest and sound a little too 80s. I rate the chorus here highly and the overall tempo is fast with some good shredding from Vinnie Moore.

`Little By Little’ has a great introduction continuing the ominous tone, but is let down by a cheesy chorus filled with background cheers and a slow and fairly uninspiring verse. The whole song sounds grimy enough and the sexual lyrics work well speaking of the games lovers play, but it just isn’t as strong as other songs.

`Die For You’ is another excellent little ballad marked by a wonderful guitar riff and some sweet and touching lyrics. The piano over the verses keeps the song light but as is the way with this album, when the chorus starts you want to jump around the room like a mad man. The song again speaks of recovering from a break up and the sheer amount of physical and emotion destruction it can wreak upon you. Alice manages to turn these emotions into a powerful and almost celebratory anthem proving again that he has always been a songwriting force to be reckoned with.

`Dirty Dreams’ is the third less memorable song for me, the melodies aren’t as exciting as others and again the chorus seems a bit cheap. Again the sleaze meter is high showing that this incarnation of Alice was a rather dirty old man. Despite the Sex Pistols introduction it becomes just an average rocker.

`Wind Up Toy’ may well be my favourite Alice Cooper song ever, it is definitely my favourite (what I would class as) anthem ever, and it is one of the best endings to any album I can think of. With it’s scary sounding child’s toy introduction giving away to one of the great riffs, from Alice’s vocals from the point of view of a possibly sociopathic child (yet getting us to side with him), from the themes of madness, anger, loneliness, and a desire to be both free and included, to the excellent chorus and terrifying ending it is genius. The character of Steven re-appears (who all Alice fans will be familiar with), the lyrics are touching, child-like, and imaginative, the drums make you want to pucnh the air no matter how terrible a notion that is, and the guitars scream all over the place, but in all the right places. The ending to the song is one of my favourites, haunting, funny, brilliant- everything Alice should be remembered for.

So, if you enjoy hard rock and metal, or if you’re sick of all the current trend of indie nobodies and bland, unimaginative screamo bands then you should like this. Even if you are the sort who smirks at the slightest mention of Alice Cooper with an (un) knowing irony you should listen to this with an open mind- if you are a genuine music lover and not a fashionista you will find something you like here. It may not have the invention of early Alice, it may lack some of the smarts of his biggest albums, but it is full of energy, great ideas, and sublime tunes. Get it now.

As always, feel free to comment- agree, disagree, share any memories of the album which you may have.

Favourite 36 Guns n’ Roses Songs


For anyone who reads this list I’m sure there will be a mixture of disgust, appreciation, and annoyance. Good, make your own list. I’ve tried to include a few tracks from every album and while Chinese Democracy is still fresh in my mind and hasn’t exactly stood the test of time yet, this is a fairly accurate current list. If I was doing it by importance, or how much I’ve adored the individual songs over my life then there wouldn’t be any CD or TSI tracks here, and additional ones from AFD and UYI. As always, feel free to comment, ridicule, and provide your own favourites.

Just a note on GNR – they were the first band I ever got into, and everything I’ve listened to since then has been because of the impact they had on my early life. They looked so fucking cool, they swore, they fought, they were smart, pissed off, and they could play the most raw, amazing music at break-neck, effortless speed – everything an 8 year old boy could want. Before then my music was limited to Michael Jackson devotion and whatever crap was in the charts, but suddenly I was on my way to a life of hard rock, grunge, metal, and eventually everything else good. Soon I was learning guitar, writing music, djing in metal bars, and having groupies praise me for simply breathing. So thanks GNR, especially for the songs below.

Mr Dizzy Reed

36. You Can’t Put Your Arms Around A Memory (The Spaghetti Incident): A fine dedication to Johnny Thunders and one of few songs worth mentioning on the ill-fated The Spaghetti Incident. Like most of their covers, this is given the G’n’R crunch, and is notable for being one of the few tracks that Duff has lead vocals on. It’s a fairly tame song in comparison with the rest of the punk overhauls elsewhere but one of only a handful you’re likely to return to.

35. Cornshucker (Lies):  Ok, this didn’t see an official release, but if you’re a fan you owe it to yourself to hear it at least once, if only to hear the original line-up sounding like they used to, and enjoying it. An incredibly juvenile song, about anal sex, the whole band get in on the act -singing, shouting, so it sounds more like an orgy than a song.

34. Ain’t It Fun (TSI): A seering cover of a little known punk classic, Axl and Hanoi Rocks guest Michael Monroe compete in whispers and growls and conspire to make a self-fulfilling prophecy concerning the near-future of the band.

33. So Fine (Use Your Illusion II): Another Duff tribute to Johnny Thunders, this is as gentle as GNR would ever get, even if they still manage to rock in the chorus. A largely piano-led track, it sounds like an early crossover of Civil War and Knockin On Heaven’s Door taking ideas and cues from both tracks to create a strong standalone.

32. Shadow Of Your Love (Lies): Another unreleased one, Shadow is another breathless early track, filled with fury and that exciting exhuberence which marked the band apart from others on the scene at the time. Axl’s yelp is on full form, the chugging power chords and thunderous drums compete for prime place, and there is a nice bluesy, tipsy solo.

Steven Adler

31. Since I Don’t Have You (TSI): Just to top off the weirdness of TSI the first song off the album is a cover of a gentle 50s soother and the video stars Gary Oldman chasing the band around a swimming pool. Imagine Dirty Dancing starring Guns n Roses and you won’t be too far away from understanding the song. It has a charm, but I remember when I first heard it I thought the band were buggered. Turns out they were. Still good though.

30.  Dead Horse (Use Your Illusion I): I’ll probably say this a lot on this list, but a number of songs get easily lost under the sheer mass of the UYI albums. Dead Horse is one of those, but it warrants a re-visit thanks to a sneering attitude similar to 80s GNR and it doesn’t suffer from the overblown nature of many other tracks spread over the double disc. Great intro, rockin’ verse and chorus, good stuff.

29. Locomotive (UYI): Probably the forgotten epic of the two UYI albums, this is a hard-rockin, bluesy rambler with a few thousand too many lyrics, and one which does fittingly feel like being both on, and pummelled by a Locomotive. The song builds and repeats itself over the course of over 6 minutes before stumbling brilliantly into one of the most perfect breakdowns you’ll ever hear; the bass and drums fall away to the sound of Axl’s dying wail, and all are replaced by a wonderfully dark piano and lead guitar led piece. Axl comes back in with a single mournful line while the rest of the band eventually re-group and jam for the remaining couple of minutes.


28. Prostitute (Chinese Democracy):  Chinese Democracy is definitely a strong one; a misunderstood work of myriad genres and ideas, and unquestionably weaker than the band’s high points. Nevertheless, it’s still Guns N Roses (of a sort) and is a powerful album at times. A love song entitled Prostitute ends the album, and while Axl’s new vocals sound bizarre if listening as a standalone, if listening to the album as a whole you should be well used by now. With dancey drums, a groovy string section, and the albums soaring guitars, this is a great track. A self-mocking lyric (which Axl is so good yet) and a merging of crushing volume and tenderness, as well as a beautiful final 90 seconds mean this is a stong end to the album.

27. This I Love (CD): While many of the heavier songs on CD don’t hit the mark, most of the quieter songs do. This tear-jerker would be cheesy if Axl didn’t sound so earnest and broken. It’s another hair-ripping song of love slipping away, set to Axl’s lonely piano piece, more subtle strings and woodwind than you would expect from the band, and broke up by a bruising guitar section. This I love indeed.

26. Mr Brownstone (Appetite For Destruction): Probably the first song on the list that the more casual fan will recognise, this effortlessly cool depiction of addiction and excess is both brutal and engaging. The problem with music this good is that it’s so easy (sorry (sorry)) to ignore the words/message (if there is one).  Like much of AFD this is iconic stuff – the opening moments and the main riff are the stuff of rock legend, Axl struts through the verses and shrieks the choruses like a man possessed, while the rhythm guys keep everything in check.


25. My Michelle (AFD): One of the lesser known tracks from AFD this is another sordid tale of the wrong side of the tracks, with down-and-out characters sctratching and biting their way to the top, or if not the top, their next easy ride or hit. More lyrical brilliance from Rose is mirrored by huge 80s guitars and drums. It’s a groovy cousin to Mr Brownstone.

24. Nice Boys (Lies): A belter, this one is played at a billion miles an hour, with all the hunger and frenzy of a murderer on the run. The lyrics are the usual early Guns stuff, not that you’ll make them out anyway, it highlights the band’s punk roots whilst showcasing their ability to make a dying genre insteresting again.

23. Reckless Life (Lies): Like its partner above, this is a live stormer with an Iron Maiden intro, Aerosmith swagger, and carefree, reckless attitude, all thrusted into our stomachs like a spear from a Rhino. It’s fast, the melodies are saved for the chorus, and Axl is at his blistering best.

22. Knockin On Heaven’s Door (UYI): A wonderful cover of a dreary Dylan classic, this is more touching than any other version, though we could do without the reggae live version please. For a while, GNR were masters of overturning songs and making their covers the definitive version – here the blending of somber verses, triumphant choruses, and big guitars stand proud.

21. Back Off Bitch (UYI): This is one of those songs which is rarely played live, or remembered, but it really could have been a single. Sure, there is the usual misogynist edge, but show me a GNR song which doesn’t have something distasteful, even in their singles. It’s short enough to have been a hit, it’s punchy, has a singalong chorus, although I’m sure there would need to be an unfortunate radio edit. It sounds like a missing track from AFD, and the song was around for a few years before it was released. A quick search on youtube will turn up some early versions from around ’87-88.


20. Madagascar (CD): Long before Chinese Democracy was ever released (and it still feels strange saying it has been) this was the song everyone was talking about. For fans of their more epic stylings, this was supposed to be the follow-up to their biggest and best songs, a new Kashmir, a new November Rain. While it doesn’t hit those heights, it is still a strong song. I only wish it had been recorded when Axl’s voice was at it’s peak, as I’m not sure it suits his new vocals. It starts off with great promise, with those somber trumpets sounding potent and sorrowful. Indeed, I think that introduction is the best moment in the song. Axl adds a great tormented strain to his vocals here, but it sounds a little too rough rather than natural. We weave through the verses and choruses before hitting a breakdown filled with samples and soundbites at 3 minutes, including a reminder of Civil War. This section has some good moments too, and it’s an interesting addition to their catalogue, and here it sounds most like Kashmir with an oriental style string backing and wirey guitars. I think after this section there should have been something new, something to take the song into a different direction for a couple of minutes, but instead we just get the chorus and end. It’s a good song, but after it was built up so much I feel it is missing something to make it truly great.

19. Get In The Ring (UYI): A critic’s favourite this. Axl’s ego goes into overdrive as he imagines, Uwe Boll style, kicking the crap out of all of the enemies of the band inside a wrestling ring – critics, reviewers, haters in general, all those opposed. I have a nostalgic fondness for this one, as it was always good fun to snicker along to it whenit was played in the car with my parents. Sometimes they would turn it off and spark and arguement. It was the first song I heard which contained so much swearing, and even now it takes some beating. Sure it’s puerile and juvenile, but the band did have a point – being a target for all manner of criticism, much of it unwarranted. Luckily, the song is filled with strong melodies and kick-ass music, so you can lookpast all the mother-fuckers and bitchy little asses. There is a strong, bluesy introduction before the song quickens and gets into it’s stride, and similarly the outro is memorable. A solid all round rock monster.

18. Double Talkin Jive (USI)

17. Civil War (UYI)

16. Live And Let Die (UYI)

15. Street Of Dreams (CD)

14. Welcome To The Jungle (AFD)

13. You Could Be Mine (UYI)

12. Catcher In The Rye (CD)

11. Sweet Child O Mine (AFD)


10. Better (CD):

9. Estranged (UYI):

8. Nightrain (AFD):

7. Don’t Cry (UYI):

6. Paradise City (AFD):

Axl Rose

5. Coma (UYI):

4. Rocket Queen (AFD):

3. Patience (Lies):

2. November Rain (UYI):

1. Think About You (AFD):


Feel free to ridicule or praise my list, offer some comments, and share your top ten.

Bands I’ve Seen Live- D

Dragonforce: Definitely a love ’em or hate ’em band, Dragonforce nevertheless know how to put on a great live show. Low on set paraphenalia, it’s all about how they translate their studio work onto the stage, and if it’s even possible. Having seen them twice I can answer that with a resounding yes- all that fancy, twiddly guitar wanking that makes teens explode in delight, fury, and jealousy in their bedrooms, they recreate flawlessly on stage. As musicians they can’t be faulted technically, and while the nonsense lyrics about fighting dragons with your brothers while the fire burns are suitably singalong enough to make you forget the silliness of what you’re actually saying. Between songs (first time round) there was a high level of banter between the band, joking, swearing, all the expected entertaining metal stuff. Second time round they were only a support band and it was their new singer’s first show- less joking, a few vocal issues, and a shorter, less impressive show. Still good, but clearly most people have tired of the fact that they aren’t trying anything new.

The Doves: This English band never quite hit the heights that some of their peers reached, at home or State-side. I was a fan of their first two records and quite happy to watch them in early evening Glastonbury. A good set heightened by the atmosphere and some over enthusiastic fans made this a memorable moment, even better as we danced in the light rain to Catch The Sun as the day’s last light faded.

The Darkness: I saw these guys just before they hit the big time. They were already a bit of a joke and a cliche, but there was something oddly refreshing about them. Plus they good play and put a strong melody against some interesting lyrics. The best moment was their high speed version of Street Spirit, completely changing the song into something which no-one thought it could be against the scorching backdrop of a South England morning.

Def Leppard: I grew up in the 80s, I watched MTV, I was a rock/grunge/metal kid. Def Leppard were on my radar and I liked the singles from Hysteria and Pyromania but even at that young age I knew that there was something different between them and Guns and Roses, between them and Nirvana- in other words between the bands that I really loved. Something smelly. Something cheesy. So yeah, as time went on I realised that they weren’t really very good. I saw them because Alice Cooper was semi-supporting them. A lot of the tracks I didn’t know and felt very samey and had that cheesy feeling I remembered. Plus there were a lot of drunk women who seemed to absolutely adore them but chatted amongst themselves during Alice Cooper. And that, my invisible friends, is a crime punishable only by having a litre of iced coke thrown at them from 2 rows behind and kicked down the stairs. Their husbands on the other hand played with their phones throughout both. That punishment is death.

Pure Air- Agua De Annique

Pure Air

Pure Air is an album of covers and re-workings and I like to call it a gift to the fans. Not many other artists would release an album like this, and hardly any of those would put much effort or love into it. This however is full of both, and indeed exceeds her first album. If her upcoming new album is as good as this we’ll be in for something special. My gripes here are small- there are some re-workings of songs I didn’t like too much- I would have preferred versions of Ice Water and Sunken Soldiers Ball instead of say Witnesses and Day After Yesterday. Some have complained about the male vocals on a few songs and I admit that I felt the same way at first. I have since come round and now quite enjoy each new guest singer. Again, and this is totally personal, I would have preferred an Alanis song like Unforgiven or Wake Up which I think Anneke would be excellent at, and although I like her version of Power Of Love here I can’t help but wonder what her version of Jennifer’s Rush’s Power Of Love would be like. Majestic, I presume. All that aside this is a beautiful album, packed with emotion, brilliant songs, wonderful cameos, and more greatness from Anneke.

`Blower’s Daughter’ opens the album- a cover of the already perfect Damien Rice song. Anneke sings the song well, but it isn’t as good as the original. She sings with emotion, I just don’t think anyone could equal Rice’s. Perhaps it would have been better if she had done it in a more fragile voice, still good, just not as good as I thought it would be when I first saw the track list.

`Beautiful One’ is an acoustic version of the first song from Anneke’s first album. The music is softer, less complex, and less intrusive allowing more space for Anneke’s voice to shine. Her vocals are strong here, but I have the same feelings here as I have about the original in that it becomes repetitive. I believe this version is better though.

`Wild Flowers’ is a cover of a Dutch song by FRANK BOEiJEN This is what the album is all about- simplicity, subtlety, Anneke and a guitar, and when it works it is breathtaking. Wild Flowers follows this, a beautiful song using lonely, fragile flowers as a metaphor for whatever you like. It is highly melodic and suits Anneke’s voice perfectly, sung with a fleeting sadness, a gentle melancholy.

`Day After Yesterday’ slows things down, another acoustic version of a previous album track. The main problem here is that both versions are quite similar so an acoustic version doesn’t really add anything. A toned down Sunken Soldiers Ball would have been more different and exciting.

`Come Wander With Me’ is also similar to the first album version, but it was already a much better song than Day After Yesterday. Anneke again sings it beautifully and it is a joy to hear a slightly different take on it.

`Valley Of The Queens’ is a cover of Aeryon and is another strong song. It’s arrangement does manage to evoke feelings of a time long past. The flutes here serve the song brilliantly and along with the background strings it strives for a mystical tone which it doesn’t quite manage. That doesn’t matter though as it remains a great song, and quite different from the original.

`To Catch A Thief’ is my favourite song here, a duet with John Wetton from Wishbone Ash/ Uriah Heap. There are so many varying melodies in the song, excellent lyrics, and Wetton’s gruff vocals act as a good counterpoint to Anneke’s. I would like to hear her sing this with someone else, but I don’t have a problem with Wetton as some do. The lyrics speak of a broken relationship, of the swaying back and forth. I’ve always felt that this song has some sort of post modern Western feel, like Cowboys in the future or something.

`Ironic’ may be my least favourite song on the album, not that there is anything wrong with it, I just prefer the original and think Anneke could have sung it with more power. Like I said earlier Ironic is not one of my favourite Alanis songs and I would have liked Head Over Feet. The song is quite sparse with Anneke’s voice (accompanied by a male singer) drowning out a very soft guitar- even without her singing anywhere near her best.

`What’s The Reason’ is another cover, a gentle, melodic love song dealing with confused thoughts. Anneke only comes into the song in the second verse, the first part sung well by Niels Geusebroek. The following harmonies are made to sound like the couple have been doing duets for years, and the backing guitar follows the voices beautifully.

`Yalin’ is almost identical here to the original, another strange choice when she could have picked another song and drastically changed it. I suppose that was never the point of the album, but this almost sounds like a copy and paste rather than a re-recording. Still a good song though.

`Somewhere’ is a song by Within Temptation, starting with the fragile, heartbreaking vocals by Sharon Den Adel. Already an excellent, Anneke joins in giving a more powerful, emotional blast. The song sounds like it should be on the credits of a film, possibly one about lost love. In fact, I can’t help thinking that this song should be used for a missing kids campaign. As silly as that sounds it is sure to stay with the viewer/listener. With its tender nature and ghost like vocals it is a song that you are unlikely to forget. Sharon is probably the best suited singer I’ve heard with Anneke so far, recorded and live.

`Witnesses’ is a much softer, cut down, and haunting version of the original but it may be the weakest song on the album. It doesn’t particularly offer anything exciting, but it does leave a strange feeling with you after it ends- perhaps it would have had more power if it had been a hidden track at the end.

`The Power Of Love’ shows one of Anneke’s greatest strengths- her ability to turn songs that I never liked before into ones I love. I still don’t like the original version, but I now have a greater appreciation of the lyrics and emotion behind them which Anneke brings to the forefront. This is quite a soft and quiet take on the song, mostly led by the vocals with the guitar barely noticeable in the background giving a atmosphere similar to Tori’s Me And A Gun but without the horrific themes.

Overall this is the classic `solo’ or non-Gathering album her fans hoped she would make. It showcases all of her best qualities and features some inspired collaborations. There are many classic moments here, and when they come they are exquisite. For me the album could have been even greater if it had a few different song choices, but as I’ve said before the songs I don’t like here may be someone else’s favourites and are probably Anneke’s. And who am I to argue with genius?

Favourite 31 Led Zeppelin Songs


Much has been said about the greatest rock band of all time, and every magazine and music blog worth 50p have given their list of favourite/best/most influential Led Zep songs. My list highlights my personal favourite 30 songs- the songs that carry the most weight for me and while some of them may not be considered the best or most influential, they all kick ass.

31. Hey Hey What Can I Do (Unreleased): Unfortunately for Zep fans there aren’t too many ‘rare’ songs, or at least ones which weren’t a result of jamming, merging, or covering. The band never released any British singles and those songs released in the US had B-sides of other album tracks so a trove of rarities was sadly never built up. When you look at the number of unreleased Beatles tracks and the high quality of some of those, it makes you wish that Zep had a few more hidden gems up their sleeves. Hey Hey is the only track worth mentioning. It could have made an appearance on any of the first 6 albums as it has that slow folk burning with the twist of a rock stomp. Classic bluesy lyrics are soothed by Plant, the song structure is as basic as the band would ever get with chorus following verse as surely as a bad 80s solo album would follow the break up of a great 70s band. Strong melodies, easy playing and some interesting backing vocals make this a highlight.

30. In My Time Of Dying (Physical Graffiti): The biggest of the big Zep songs at over 11 minutes. It isn’t as immediately catchy or memorable as Stairway, Kashmir, or Achilles, but once the main riff kicks in you know that you’re onto a winner. As Zeppelin were known to do, they took a blues standard which was in itself an old religious song, and turned it inside out. Featuring eerie, distant Plant vocals and Page’s supreme slide guitar, the song has a fairly dark tone turning the themes of religion and mortality into something much more grim. The song chops and changes throughout the entire length with some excellent jamming moments, Bonham blasts as powerfully as possible, while Page changes his sounds and guitars as often as possible without become jarring. The structure, while complex, is much more free than the other epics given the feeling that much of this was just improvised on the spot. Of course, the comic ending adds to the improvised nature with the band chatting and coughing rather than ending with a fading chord.

29. Dyer Maker (Houses Of The Holy): An oft-maligned song from an oft-unfairly maligned album, D’yer Maker features exquisite performances from Bonham and Page, while Plant leans between comically emotional to full-blown classic shrieks. A reggae/calypso style song which may have seemed unusual to some of the more die-hard fans, it was yet another sign that the band could take any style and give it the Zep taste. As usual the melodies are wonderful and there are countless moments that you will be whistling hours after hearing. And no, it’s not pronounced Dire Maker.

28. Fool In The Rain (In Through The Out Door): A similar song in many respects to the one above in that it isn’t a typical Zeppelin sounding song and is an attempt to turn a certain style into their own. It has a samba feel and even goes as far as having a carnival like breakdown halfway through with manic drumming and whistles. The band doesn’t get much credit more when they moved out of their many comfort zones, yet this is both a fun and interesting song which nevertheless highlights the extreme talents of all involved as well as their genuine love for listening to and making music.

27. Tea For One (Presence): This is one of the band’s last epics, reaching over 9 minutes and passing through a few differing stages. Opening rather jubilantly it quickly descends into a sombre blues piece at a funeral march pace. Similar in structure, style, and sound to Since I’ve Been Loving You it shows how the band had matured emotionally and explores many of the feelings they had early in their career to see what had changed. Primarily a song about loneliness and homesickness the lyrics cover the pain of an empty room, of time standing still, and of having no-one you love near. It’s a feeling even those of us who haven’t been on long tours or trips away from family or friends are aware of, and it’s one of the great Zep tracks to listen to on the road, though for a different reason to all the other ones.

26. Down By The Seaside (PG): Another unusual song by the band, and probably another unusual one for me to include on my best of list. I love those moments when a band does something that no-one expects and it totally pays off; This is one of those moments. The tremolo effect on the guitar does give that Blackpool/Scarborough/Summer holiday seaside feel, sounding at once like it is being played underwater and like a wurlitzer. This being Zeppelin, it’s not enough being different- they have to add additional twists and so we get a lively, ice cream eating main course split by a heavier, sudden middle section which seems to come from nowhere.

25. Dazed And Confused (I): The original epic saw a young, ambitious band deciding that they were going to break a few boundaries and take things up or down a notch depending on how you look at it. This is as raw and raucous as they come with vicious lyrics about love and cheating, sex and violence, all set to the sound of an apocalypse. Just listen to the way Jones and Page’s collapsing, wailing riffs merges with Bonham’s falling down drum pieces- a perfect blend. Then we get the call and repeat between vocals and guitar and the infamous bowing, demonic sounds followed by a massive breakdown jam where the band unleash some of the most manic playing ever recorded. I wish I’d been around to witness certain reactions of this when it was first released- this band of long-haired youngsters creating an unspeakable noise with abandon whilst looking and sounding posessed- brilliance.


24. Dancing Days (HOTH): Yet another unusual song from the group, this time seemingly featuring their less than enthusiastic but wholly successful take on Disco. It’s more accurate though that this was a take on Indian style songs given what the group have said and through the guitar effects employed. A kick ass riff leads the way although it isn’t one of their most famous. There is a simple structure which helps the melodies be all the more memorable and instant. It’s played at a fairly fast tempo too which is always good.

23. Black Dog (IV): The opener for their seminal 4th album is full of innuendo and powerful playing- Page gives one of best riffs, Bonzo bashes the skins to pieces, and Plant screams to the heavens. Featuring arguably the most famous breakdown in rock history it is understandably a classic of the genre and highlights the band at their most sexual, at their heaviest.

22. Whole Lotta Love (II): The opener then for their second album was a breakthrough of monumental size. Page had found the riff he’d been searching for while Plant had perfected his steaming vocals to give true prowess to the sexually provocative lyrics. Naturally Jones and Bonham let rip on the bones and bass, never highlighted more accurately than when the song was played live. The instrumental/orgasm section on record sounds fine but becomes like a frenzy, a mantra, a tribal chant when played live as each performer blasts away and everyone comes together in harmony for the final moments- ooh-er.

21. Night Flight (PG): A standout from Physical Graffiti but not one that you’ll find on many favorites lists. The lyrics concern a man trying to evade those seeking to enlist him into the military, but it’s the music which keeps this ticking over in your mind. The band sound like they are enjoying themselves and contrasting with the lyrics it sounds like a rare completely happy Zeppelin song. From it’s swirly opening with Bonham’s growing drum pieces the song gets more rawk as it moves along, and once again the band nail down the sound of the song title as the backing effects do sound like a plane taking off.

20. Over The Hills And Far Away (HOTH): From one rare happy song to another, this gentle folk number is sublime in its simplicity yet complex in it’s endearing hidden charms. A soft intro thanks to wonderful stuff from Page and Plant soon gives way to a surprisingly bombastic period. Any time Bonzo comes in with a crash, no matter how soft the song, it becomes a stomping rock piece. This is excellent guitar parts and playing throughout and some of the best melodies from the album.

19. Babe I’m Gonna Leave You (I): Of the many songs which Zeppelin turned around and made their own, this is one of best. It is a shining example of a perfectly serviceable song being ripped to shreds and becoming a unique Zeppelin hit. Thanks to the skills of each member of the group and the way each person brings their own talents to the studio it seems like this is the original and that everything that went before was a lie. It is dark, angry, and heavily blues ridden like much of the first album and it has the light and shade, soft and heavy phasing which the band used to such great effect. Like many tracks on the list this is a good one to blast out of your car stereo when passing anyone playing techno or Beyonce- just be sure to give them a good old-fashioned Plant squeal as you go.

18. The Lemon Song (II): A song about sex which sounds like sex. A seductive, sleazy riff clambers all over lyrics about trying to break up with someone whose lovin is too damn good. Zeppelin were known for their sexual antics, a lot of which may have overblown, a lot more which probably remains unspoken, but songs like this only further the legend. It’s a hard rocking blues standard with a lot of tempo changes and blazing solos thrown in to heighten the pleasure. The musicians teeter on the brink of ecstatic collapse while Plant is furious in the throes of orgasmic shrieking. Lovely.


17. What Is And What Should Never Be (II): This is another example of the light and shade dynamic which the band perfected, with quiet verses contrasted with explosive choruses. Both stages are wonderfully realised, but this being Zeppelin, a few extra are inserted- manic blues breakdowns, otherworldly vocal effects, and Bonzo going off on one.

16. The Rain Song (HOTH): Zeppelin rarely created evocative sounds which conjured up specific imagery to match the tone of the song, but Rain Song is prime example of just that. It don’t know if it’s the drip dripping guitar sounds or the overall dreary nature of the vocals which has the biggest influence, but we do get the sense of sitting and staring at the rain when we listen. Throw in some JPJ string noises, a lack of Bonzo, and some excellent smaller guitar parts and the song is one of their best, yet unusual epics. The drums do eventually come in and the song does eventually pick up pace and volume as the dark clouds pass directly overhead, and it is at this point that the song transcends it’s seemingly laid back nature in a bombastic fashion.

15. Communication Breakdown (I): Zeppelin, the original punk band. This ferocious JYD bark proved that the band could throw out a 3 minute hit if they so desired. It’s amongst the most simple song they band ever wrote, one of their fastest too, but every second has a potency that many punk bands sick of the excess of the Seventies failed to match. It is a primal showcase for each member, promoting Bonzo’s power, Plant’s insane range, Jones’s technical perfection, and Page’s wild flair. It’s a good one to play to naysayers not convinced of Zep’s metal or punk cred.

14. Ten Years Gone (PG): A contemplative epic for this huge double album is one of my standout moments. Page is King, weaving together many solemn guitar parts in the introduction which get expanded upon throughout the duration of the song and which Plant strangles every ounce of pain from with his anguished vocals. Naturally Bonzo and Jones are there to keep things thumping and grounded respectively when they threaten to get too sombre or chaotic. Few people outside of the Zep main fan base know this one- a great pity.

13. No Quarter (HOTH): Jones is permanently the unsung hero of Zeppelin, but No Quarter is largely his song, and Houses Of The Holy is in many respects his album. When played live, Jones would often turn the song into a plus 20 minute piece by splicing in classical piano pieces and improvising on the spot. It’s one of the most downbeat, moody Zeppelin songs and showcases their restraint as they refrain from unleashing the usual noise levels they would on most other longer tracks. There are a few parts where (led by Bonzo) the song threatens to explode, but everything is constantly being reigned in. With strange scales and timing employed throughout it is another breakthrough for popular music and opened a lot of doors for a lot of bands.

12. How Many More Times (I): The original jam session-cum-album track, this shows the bands prowess as musicians, but more importantly, just how in tune they were with each other- knowing what each person was going to do next and taking your next step in anticipation. It’s something which usually takes a group years to accomplish, but Zeppelin simply got it straight away, or at least it comes across as such on record. As the final song from the first album you’d hope that it would leave a lasting impression- it does thanks to its free form carelessness, super playing, and surprise surprise, epic riff.

Opening with that smooth riff on bass while Page makes seemingly demonic guitar disasters in the background, Plant yelps from a distance, and Bonzo taps away to get warmed up it all seems very jazz bar. The song quickly explodes as Page unleashes his guitar all over the riff while Plant explores his blues history by tapping into any number of past hits for the lyrics. After a frantic solo, the song slows, Page bows, and Plant becomes the hunter. This all grows with more and more overlapping of guitar sounds and tumbling drums and bass. The Rosie section grooves along and everything begins to build up once again as we head back towards the main part of the song with a few extra riffs thrown in for good measure. The song races along once more to the conclusion, which ends in a flurry of confidence and bragging and noise.


11. Livin Lovin Woman (II): This oft overlooked rocker from II is just a good time all round. It tells the infamous story of a notorious groupie the band encountered on their travels and has some hilarious lyrics befitting the tale. This one was never played live as for some reason Page never liked it, but it always seemed to me that it would have been a live favourite. Starting immediately after Heartbreaker ends on the album, this keeps up the pace of the record with its speedy verses and strong riffs. The song is just full of fun and energy, and has one of Page’s most interesting solos- wavey, almost seeming to go nowhere, it is a wacky piece. It’s a fast, basic piece, but one which I have a special fondness for.

10. Heartbreaker (II): This is one of the most well-known tracks from the second album and remains a staple of rock radio. Huge riff? Check. Bombastic bass and drums? Check. Epic solo? Double check. Heartbreaker is one of the most pure, fantastic, unadulterated, guitar songs in history. It’s another song which all players aspire to playing, although those solos will take devil’s fingers to mimic. The solo begins as an unaccompanied piece at a billion miles an hour before the drums crash in and the solo takes on a less crazy form. The lyrics are typically gritty, lifted from many blues standards and the swagger of the bulk of the song lend an eternal cool.

9. That’s The Way (III). An utterly gorgeous song brightened by hippy sentiment, darkened by the twist on innocence within and the tragic acceptance of things being unchangeable. Plant barely sings throughout the verses, gently reciting the words instead lending a placid ambivalence to proceedings, while Bonzo is completely absent. Page’s lead riffs is airy and folksy enough to catch the ear but also leave space for the flourishes to be all the more powerful. The coda is interesting, complete with tambourine and Jones’s mandolin, floating off over the horizon in a sweet dew of loveliness. The BBC Sessions recording adds a slightly more Country twist as Page slides about the fretboard, while Plant adds comedic pronunciations to certain words.

8. Going To California (IV). Another wistful, largely gentle folk love song from a band mostly famous for destroying eardrums rather than settling nerves. This apparent dedication to Joni Mitchell is another flawless example of how a heavy rock band can make a softer song. Again, the acoustic guitar and mandolin duelling over Page and Jones serves the song well. Not only acting as a hippy statement it also stands as Plant’s description of his feelings moving from a quiet life in England to the craziness of excess, groupies, stardom, war etc in the US. Free from choruses, the song has a loose feel with the words and music rambling along in an endless journey.

7. Tangerine (III). The third mostly soft, mostly acoustic track in my top 10 is Tangerine. I did one of those awful ‘Which blah blah blah are you?’ surveys years ago – Which Led Zep song are you? Apparently I am Tangerine. With more misheard lyrics than you can shake a choirboy at, Tangerine is 3 minutes of genius. A false start, a count in, and then a basic verse/chorus structure followed by a swirling, double-tracked ending is pretty much the whole song, but that would be discounting the wonderful steel pedal guitar, the touching lyrics, the prominent bass, and the weird guitar solo. It’s simple, but with a wealth of feeling and depth of emotion, it is a song which will win over romantics for the rest of time.

6. Kashmir (PG): Possibly the most covered/sampled song the band ever wrote, it is an epic which never fails to stir a crowd into a frenzy of dnacing, moshing, and appreciation when played live. That stomping, scaling riff, balanced to perfection by Bonzo and Jones is eternal -creepy, stormy, evocative, and gives Plant all the freedom he needs to stretch his cords. Plant is at turns, crisp, growling, whining, the strings lend a richness and Eastern otherness, while the lyrics are typically mystical.


5. Thank You (II): Plant’s loving, gorgeous dedication to his wife is one of the all time great underated love songs. The lyrics are at once heartfelt and unashamedly embarassing – everything a dedication of love should be. It was Plant’s first solo writing credit, Page fills in with backing vocals, an endearing progression, and sublime solo, Bonzo slaps away, while Jones gets to show off his great organ work. I love the false ending and swirling return.

4. Since I’ve Been Loving You (III): An absolutely brutal blues metal track with some of the greatest guitar ever recorded, including an extraordinary intro (accompanied by thunderously lazy drums, vacant organ, and an occassional Plant scqwuak) and one of the all time great solos. The entire song is basically 7 minutes of Page wankery, but it’s so powerfully and atmospheric, and it suits the steamy lyrics and Plant’s anguished delivery so well. The high point of an originally ill received third album, this is perfection at its most perfect.

3. Stairway To Heaven (IV): The greatest song ever written isn’t my favourite by the band, but that leading sentiment is one which I struggle to deny. Inspired and inspirational, epic and creative in every sense, beautiful, loud, gentle, with writing and playing so stunning that you wonder how four blokes from England ever created it. I don’t want to gush about it too much, as much better people than me have been doing it since the first time it was played, but it is simply put, one of the greatest achievements in music.

2. Achilles Last Stand (P): The most epic song by a band known for their epic songs, this is one that is largely forgotten and rarely spoken of, unsurprising when you have Kashmir, Since I’ve Been Loving You, and Stairway in your team. Achilles Last Stand is completely overblown in every way, absurdly mystical, and filled with ridiculous musical and lyrical moments – and it’s all the better for it. With massive over-dubbing, multi-layered tracks it is the essence of excess, but taken to such extreme precision that it becomes a frighteningly well-crafted beast with incredible depth – how many plus 10 minute songs can you listen to on repeat and never get tired of? Everyone is on top form, but it’s largely Plant’s stage, breathtaking at every turn. Oh, and that dual drumming and riffage pretty much single handedly created metal as we know it today.

1. All My Love (ITTOD): Most would consider this as one of the worst Led Zep songs, the band jumping the shark, the band at their most cheesy, the band signalling that they were about to depart, but you must remember that those people are idiots. This tearful dedication to Plant’s dead son is haunting, horrible, tragic, and I suspect that most dislike it because of that synth. I’m not sure the song would have worked without the synth, but I’d love to hear a clean piano version, or a plain acoustic version – come on, Tori, get on it. It’s easy to recognize its faults, but with some wonderful lyrics, a painfully touching chorus, and that bizarre synth solo all add up to make this my favourite Led Zep song.

As always, feel free to comment on my list and offer your own favourites.

Gettin The Led Out

Agua De Annique- Air

After explaining that she left The Gathering so that she could both concentrate more on her family life and explore more of her own musical ideas, Anneke Van Giersbergen’s first album had a lot to live up to. Since leaving it seems she has been busier than ever, with 3 albums released to The Gathering’s one, and various guests spots and joint albums. I never thought that The Gathering would be a constraint on any member’s ideas but then I’m speaking as an outsider, and at some time or another an artist needs freedom to do exactly what they want to do. Which brings us to Air, Anneke’s first album with new band Agua De Annique. If you’re a Gathering fan you find anything particularly new or shocking here- it could almost be a Gathering album, only lacking the spacey guitar work and more complex songs of that band. Anneke is on fine form (she always is) and the album has the same quiet, at times gloomy, and understated feel that recent Gathering songs have had. The rest of the band all do their jobs without anyone standing out so it is clear this is Anneke’s show. She wrote most of the music and lyrics, she plays guitars on a few songs, and her voice soars and softens in all the right places as we know it does. There are a few classic songs, a couple which I feel could have been left off the album, but mostly it is a good first album. Given the pressure and expectation she was probably feeling from fans and from within it is a triumph and a sign of hopefully greater things to come.

`Beautiful One’ starts the album with trippy bleeps and a swirling guitar riff before Anneke begins to sing. Essentially a love song, but can also be read as a song to her new born, the lyrics are full of sadness and regret the emotion from which powerfully comes through in the chorus vocals. The verses I have found slightly repetitive due mostly to the guitar riff and the fact that the song appears both here and on the follow up in acoustic form. The bridge spices things up a bit with different guitar work and typical Anneke vocal acrobatics before the chorus crashes in again. A good opener, but personally I don’t listen to it that often anymore.
`Witnesses’ is a song dealing with the intrusion of religion into our lives, especially if we don’t want it, supposedly based on a real life experience. There is a swirling, building quality to the song with instruments, sounds, and vocals all growing towards the `chorus’. It is quite fast and rock driven compared to other songs on the album. I like the little guitar part before `you save the world from me’. The song doesn’t particularly show off her skills as a singer, but definitely showcases her growing talents as a lyricist and diversity as a song writer.

`Yalin’ is a slower, softer song where we hear Anneke’s control over her voice, from delicate and soothing yet full of varying emotion. Lyrically she seems to be singing about the loss of a friend and only realizing their importance when it was too late.

`Day After Yesterday’ is for me the partner to Beautiful One in that I enjoyed it for the first few listens but gradually became less enamoured with it. The song is piano led and has a clear sense of solitude, evoking feelings of wandering around an empty airport or being trapped alone in a house while it rains outside. Cliched feelings from me yes, but that’s the most simple way I can put it. It is another good song and I can’t find anything wrong with it, I must prefer Anneke when she’s more up-tempo. The melodies aren’t as memorable as some and it has a rather somber ending.

`My Girl’ starts with a more upbeat sounding intro reminding me for reasons I have yet to understand of JJ72. The verses are interesting with staggered vocals and music. It is a song I usually forget about but when I hear it again I love every second of it. I like the harmonies towards the end, the guitar work is interesting, Anneke seems to sing with a reverb effect adding to the overall tone of coldness and detachment.

`Take Care Of Me’ begins with soft, somber strummed chords before Anneke’s voice joins in to echo the downbeat nature of this love song. For a song about love and helplessness with quite joyful and bright lyrics it has a dark tone of despair throughout with all those minor chords. It is a very short song, reminiscent perhaps of something by Nick Cave or The Smiths.

`Ice Water’ is where the album really kicks into gear with a soft introspective intro, before bursting into chorus and growing from there. The violins add greatly to the tone of the song, the best moment of the song and perhaps the album being Anneke’s final two `Burning Away’ lines. Her vocals are never stronger than here on the album, the growing instrumentation makes it a highly emotion song, and I particularly like the two guitar parts before those final lines. It is these powerful moments which confirm that she is without any doubt the greatest singer of her generation.

`You Are Nice’ is the heaviest, fastest, most rocky, most fun, and probably most silly song on the album. Basically an outburst of lust that a thousand fans will wish was directed at them. The riff is slinky, Anneke sings alongside it in her most seductive tones before breaking into pure erotic screams.

`Trail Of Grief’ calms things down with another piano/percussion led song, beginning softly before the crushing centre part with Radiohead style guitars, heavy beats, and typical Anneke notes. It is another strong song only let down by lacking a truly memorable melody.

`Come Wander With Me’ certainly makes up for any missing melody, a cover of a beautiful song Anneke makes this the definitive version. Her voice is wonderful, the guitar is haunting and simple. It is one of the best songs on the album, and one to play to any friends to prove Anneke’s greatness.

`Sunken Soldier’s Ball’ is my favourite song on the album combining Anneke’s powerful vocals with her softer side, wonderful melodies, nice guitars, personal lyrics full of imagery. It is the one song that will stay with you after the album is over. Anneke’s vocals over the chorus are heart-breaking reminding us again of those moments where she has us in the palm of her hand (see middle part of Waking Hour on The Gathering’s Home for possibly the best example). I wish she had included this song on Pure Air as I’m sure an acoustic version of this would be heavenly goodness.

`Lost And Found’ again showcases above all the vocals, but I love the piano interlude between first and second verse. Still the tone of loneliness pervades all, except here it is a group feeling, a feeling of security shared amongst the lonely ones. It is a surprise when the guest vocals kick in, they offer a different, sweeter, almost childlike quality. This song reminds me of the song Home from the last album, and ends with a bluesy, Lenny Kravitz riff which should be played loud.

`Asleep’ closes the album, a lullaby to her son, a goodnight song to her fans which reminds me again of a couple of Radiohead songs. With it’s flutes and gentle guitars and vocals it is rather lovely. It is a warm song to fill us with security and a sense of belonging, that after all the despair and confusion of previous songs things can actually be pretty good sometimes.

As I said at the start this is a good album which misses out on being great (for me) by having a few songs which can get repetitive or (too strong a word) boring after a while. Of course this is subjective and the songs I don’t like as much may be someone else’s favourites. It is a consistent album in tone and feeling, something which few artists are able to accomplish and overall proves that Anneke may have left The Gathering but that she hasn’t left us.

Agua De Annique
If you enjoyed this review don’t forget to check out my review of the follow up album- Pure Air in the Music Reviews section!

Don’t Tell Mom The Babysitter’s Dead

Don't Tell Mom The Babysitter's Dead

A brilliant look at early nineties family, and more importantly teen life. Firstly, teen movies of today all seem to be set in school, and involve getting a date or a shag. Usually every character is hollow except the main one who we are supposed to cheer for, but more often than not they are hollow too. The actors are chosen for their looks and although they mostly give competent performances, they give nothing special, the film offers no insight, and nothing much happens. This is why Buffy (series) shone so brightly-brilliant stories, brilliant acting, extremely well developed characters. But it probably isn’t fair to compare a long running TV show to a crappy film. However, DTMTBD proves that teen comedies do not have to be hollow and lack humour, but can have a good story, good performances, many funny moments, and offer a message about life other than the rubbish spouted nowadays.

DTMTBD is set in the summer holidays, far from school, just the way we like it. The Crandalls are a large, fatherless family, and their mom needs a break, going to Europe for the whole summer. The 5 children believe they are going to be left alone to party etc for 3 months, but of course that does not happen, and they each learn a lesson about life. It may sound cheesy, but the dark humour ensures that there is a balance. Sue Ellen is the oldest, but is only 17, and therefore mum hires a babysitter. At first it seems that the kids will still be able to do as they please, but it turns out that the babysitter has been sent from the deepest darkest depths of Hell. (met. speak) She sets down rules, chores and is going to prevent them from having any fun.

However, when she sees Kenny’s (oldest son) room she has a heart-attack and dies. They decide to get rid of the body in a good, respectful way, and continue with their lives-taking her car too of course. All goes well until the car, along with their money is stolen. Their summer allowance is gone 1 week in, but rather than give in to their mum they decide to struggle on. Sue Ellen gets a job, the rest mess about, and soon tensions arise. Melissa (danielle Harris) is annoyed because no-one came to her baseball match, while the others struggle with girls and personal injuries. Sue Ellen has no clue about her job, lying on her CVto get it, but the money is rolling in, and she has her own boy troubles. Sue-Ellen comes to the rescue of her boss, deciding to hold a fashion show at her house, where the rest of the family finally help out. Of course, nothing goes smoothly.

It is a light-hearted look at teen life, fear of the future, wanting responsibility but not knowing how to cope with it, trying to balance a job, friends, family, work, boyfriend etc, but the often dark humour is very funny. Kenny provides many funny moments, getting the dog stoned and shooting the dishes rather than cleaning them, while Danielle Harris gives another brilliant performance in a small role. Applegate is perfect, delivering her lines with smooth wit and sarcasm, and showing the pressure she is under with skill. Other funny moments involve Sue-Ellen’ antics with her boss’s lover, and there are plenty of one-liners. The one about the cucumber and the one about Santa Barbara are memorable. Kenny learns that he can still be cool if he goes to school, and that life is not for sitting around, while Sue-Ellen learns that trying to grow up too quick can be dangerous. The movie says that None of us really grow up, we just get older and while this happens we should never forget who we are. As silly and contrived as it sounds it is true none the less, and few films convey this better.

Unfortunately there is nothing extra on the DVD. A retrospective documentary would have been nice.

As always, feel free to share your comments/memories of the movie. Were you a fan of this growing up? Has it stood the test of time?