Feb. 11th, 2011

csberry: (completely different cross-dressing)


Ian Hunter's vocal style lies somewhere between Bob Dylan's muddled slur and Johnny Lydon's sneer. His voice works exceptionally well with the sound of the band on this record. David Bowie's fingerprints are all over this album and the band definitely benefits from it. The guitars have a crisp clarity that allows them to rock but they don't overpower the vocals at any point. The selection of "Sweet Jane" was perfect for Hunter's voice. But as distinctive as Hunter's vocal delivery, there are plenty of times where a listener can be easily forgiven for thinking he stepped out of the studio and Bowie stepped in - the chorus of "Momma's Little Jewel" and "All the Young Dudes," especially.

While Bowie maintains a clean sound on all of the tracks, Mott's irreverence is still allowed to flow. "Momma's Little Jewel," "Sucker," and "One of the Boys" all exhibit Hunter's talent on lyrics and there are some interesting guitar acrobatics throughout the album. Layered in the mix and making a couple of spotlight appearances are Hunter's keyboards. Bowie isn't the only influence easily found on this album. Just as in their previous releases, Mott shows their love for the Rolling Stones. The middle of the album couldn't have sounded the same had they not been influenced by them. "Jerkin' Crocus/..." and "One of the Boys" could have easily been long lost tracks from Sticky Fingers.

Things do wander a little at the end of the album. First, there's the only song that really abandons the clean production - "Soft Ground" with its sludgy guitars and organ. The later Bad Company song "Ready for Love/Afterlights" rocks but sounds noticeably different than the other tracks on the album. It's much more straight-ahead hard rock compared to the rest. Finally, there is the mystic ballad of "Sea Diver" to close off the experience; maybe had it not been after the other two songs, it would have been just another variation on Mott's sound on the record.

This is a very accessible album that should definitely be listened to anyone who is a fan of Bowie or the Rolling Stones. You can't consider yourself familiar with glam without knowing some of Mott's repertoire and this is a good album that compacts Mott's influences into an easy listen.

Songs I knew I liked: "All the Young Dudes"

Songs I didn't know but now like: "Sweet Jane" (I knew the original, but not this cover) and "Momma's Little Jewel"

Songs I can go the rest of my life without hearing again: "Jerkin' Crocus/...," "One of the Boys," and "Soft Ground"
csberry: (bigmclargehuge)


Entertainment! has one goal in mind: to agitate the listener into some sort of action. They hope you will be influenced by their political messages, but if you don't like the jittery sound of the album, you will certainly be moved to act...by turning the record off. The songs on the album combine staccato guitars (I only heard a handful of places where the guitar sustained a note for more than 3 seconds), spoken/shouted vocals, and a driving march by the rhythm section. The production is simple but the songs are not simplistic. This isn't a quiet album, but silence is an element in the songwriting.

There isn't a lot of variety here. If you love one song, you are likely to love them all. What speaks volumes about this band is how many varieties of bands that have this sound as their foundation. Many songs sound like Franz Ferdinand. Turn up the volume, throw in some metal, allow the guitars to wail...and you have Rage Against the Machine.

If you have a teenager that is trying to be an anarchist, give them this album as a present.

Songs I knew I liked: None

Songs I didn't know but now like: "Not Great Men," "Damaged Goods," and "At Home He's a Tourist"

Songs I can go the rest of my life without hearing again: There weren't any songs that I didn't like as much as I found myself worn down as the album progressed.
csberry: (bigmclargehuge)


Does country give you the shivers? While this album is whole-heartedly country, you might want to give it a shot. The album occupies territory somewhere between Garth Brooks' earlier songs and mid-80's John Mellencamp.

It is a fairly consistent album that mixes uptempo honky tonk music and slide-guitar heavy Nashville ballads. While legendary producer Tony Brown's hands were probably the best chance of molding Earle's songs into something that mainstream country radio would embrace, there are some songs that the production overly tames Earle. This is most obviously seen in the title track. Steve's lyrics in that song seem to demand a rougher approach. This is one of those times where an artist or band can rock the joint live, but their recordings get washed down with the same session musicians and guidance that every other artist has.

Most songs have enough personality to make them stand out from the George Strait, Randy Travis, and Reba style of country prevalent at the time of the album's release.

Songs I knew I liked: None

Songs I didn't know but now like: "Guitar Town," "Goodbye's All We've Got Left," and "Down the Road"

Songs I can go the rest of my life without hearing again: "Hillbilly Highway," "Good Ol' Boy (Gettin' Tough)," "My Friend the Blues," and "Think It Over."

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Cory Berry

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