b u k ' s ~ r e v i e w POSTED BY BUK (taken from various posts at bigwreck.com) Long time No Post. This is going to be a long one. Having been starved for at least two years, and now having been sated with the "Pleasure" of the new BW serving I feel compelled to pontificate. A little background, the last few years has been filled with some great CD's by The BlackCrowes (By Your Side), BC&JimmyPage, XTC (Wasp Star),Jeff Beck (Who Else), but sparse pickings (whatever I could find on Napster) from The BW boys. So little, of what interests me, is played on the radio and is covered by the pop media, that I often feel these artists are my private hires. The "Stained/Bizkit/Tool/Korn angst mongers" fail to ignite me. Too depressed(over what?), too angry(at whom?) and too loud and fast with no space(Yes, I said it, I'm old). Along comes the new BC(Lions), a really mature, loose, powerful and fun CD. I figured, what can top this! The critics pan the music as retro, or derivative, but hey, at the core it's got the spirit of joy that accompanied most of the music that drew me in, in the first place. Yea sure you can hear the traces of this or that song, but its re-wrapped and re-structured with a BC flavor, that personalizes it. All music is filtered through what you "Know" and what "Inspires" you. Besides, the music from that era, dissed because it overreached, was awash in varied influences from all that preceded it. Bottom line, you had to know something about 20's Ragtime, Classical, Reggae/Ska or whatever to employ the vocabulary of that style in a fresh personal way. The Black Crowes had done this fourfold. Could my fave band do the same? Was this to be the beginning of a new trend on the scene? Having to get by with only the preview snippets from the BW website which I compiled into one 3 and a half minute composite and burned to a CD, was tough. Were these the best parts? How different a sound! Did a new producer commercialize our gifted heroes? Some of the cuts take breakneck turns in style and beat, can this work? Well let me sum up this rant by saying that the boys have exceeded my wildest expectations. Whether you all like it or not, I have to rave about each and every cut. I alternately, well up with emotion or get chills throughout listening to the CD start to finish every time. Sometimes I have to re-do certain tracks. My wife thinks I'm nuts. A blow by blow analysis to follow . . . Rant Disclaimer: I am not a musician (probably obvious) and my use of musical terminology is suspect to say the least. I am a long time fan of this band and just feel inspired by their music to express my opinions about their music. Guys, if I make reference to older music I hear in your songs, in no way does it diminish your own creativity. Everything is derivative from something else. Just because I heard a particular reference, back in the 50's thru the 90s doesn't mean it was originated then either. That's just when I can reference it. Most of the best stuff from the 70's seemed to draw unashamedly from various styles and eras. It was very interesting and educational. That's the beauty of the creative process. It's how an artist filters it's influences and the level of inspiration that is embodied in their work that make a band, IMHO. And Big Wreck does that powerfully! Thanx. Inhale: From the opening meanderings of the distorted chimey guitar, I knew this was gonna be a ride. It's all about contrast with BW. Tender jabs followed by crushing counter punch. The opening salvo, a really old Who riff (I think) combined with a bassline from "White Lines" an early 80's cocaine disco track, is a driving force to be reconned with. Forrest is very Kieth Moon on this track, that is to say, that he frenetically propels each section, setting up the next with a roll to stop and start the flow. The low bent note at the end of the riff which adds the proper modern twist puts the BW stamp on it. I love the "crash into" aspect of the turnaround. Jarring, unexpected and then we're off to the jangling, bouncey, tumbling chorus. OK, now I'm on line, I know what to expect, chugachuga, jinglejangle……..Break-down!… they rip into a very "Pagey, 40's swing era influenced" repeat of the main riff. Heeyyy!!!! It just propels the track…kick ass. Lyrically, BW always seems to paint with multi layered meaning, leaving the door open to personal interpretation. I've mangled enough lyrics and assigned my own meanings enough times to know not to pontificate without the actual words (get those lyrics up guys). Yet, often I find that the meaning I derive from a song, whether it was BW's original message or not, makes it personal to me. To me, the message is for us to un-F ourselves from the machine, the continuum, our worldly pursuits. Inhale, breathe in what's God given and be thankful. Very non-whiney and refreshing. I still haven't heard it on the radio in the NYC market, AT ALL, NOT ONCE. I'll be back. Undersold: Nice acoustic intro, builds to a very early Bon Jovi-esque mood. Not my favorite band, but as always with BW, it's just a set-up. Ian kicks in and we're off to familiar Big territory. Nice bouncey beat builds to the hairpin turn just before the chorus. I love how Ian sings the riff. Mimics the growl of the bottom end. And then we are back out into the jangly daylight of the acoustic riff. I want to picture (I know it seems stupid, but) the band on horseback, at a walking gate all washed out in sunlight as Ian spins his tale of sacrifice. I can hear the clip, clop of the hooves in the background. It seems to be about the conflict of selling out your control to the record company (success) or perhaps a girlfriend (submission). "Loneliness & emptiness & happiness, we're powerless until we notice, we're useless!" They tease us with a short burst/crescendo which foretells the next turnaround. Another taste of the sweet past where "we both began … simply" and we're back to the present grind. Soaring, ringing tone and we're on the road! Sacrificing friends, family and loved ones to the "dream". Making them pay for the fact that you're under appreciated, underachieved or underpaid. Ian sings with full awareness and no sorrow for himself. The song churns on and takes a very epic "Metallica" turn, punctuated with the trademark BW stop-time. Back to the chorus, with a change-up in the lyric, to include bouncers, and roadies in the emotional carnage. Top it off with a glistening acoustic tender reading of the "roll right over" riff. It suggests a sense of regret for having plowed through these relationships, personal or public. Then the machine starts up again. Another album is released and the road calls. The metal against metal riff builds, and Forrest steps up the beat. This is such a cool part and for another band it might have been whole song, but for BW it's just another tasty twist. Great build, motivated by the underestimation of the public or just plain "I'll show you" attitude Ian wails "undersold" as the drumming turns "Bonzo's Montreaux" with all the echo. Very epic, very powerful. I love this band. Kneedeep: From the first smooth, long backwards chord, through the opening lyric, this song is all about the mood. The guitar is very movie-soundtrack-like. As they take us to the chorus, Ian sings over what sounds like to me, a silent-movie-era piano. The fog is clearing, and the realization of what is happening, again, sets in. It's like a morning after, a crazy binge, and you're trying to pick up the pieces and there's no way out. That powerful regret is characterized by Ians most Cornellian vocals on this CD and a very thick "Ziggy Stardust" guitar riff. What a combo! That hopeless feeling when you are "kneedeep in shit" as the saying goes, and from all your past experience failure is inevitable. That helplessness when you are in a situation that just has to play itself out, even though subconsciously you know the outcome. Grimmace and bear it. I love the slight change-ups in the words to the chorus that he does. …sleep it off …kiss it off. To me, he is singing to that little angel on his shoulder. You know, that little angel/devil situation. That little angel that tells you "don't do it". In Ian's case, common sense, choosing the right option …that little guardian angel always takes off! The music churns on like the consequences of his actions, Ian sounding balls to the wall Cornell. I think that the connection has as much to do with the subject material, it being about madness and despair, and that being a Soundgarden staple. BW can do it too! Thankfully, not in every song. All in all, a very dramatic track. Everything is Fine - no, really. This one starts out like an Edge echo-play. The synthy stuff is very early 70's psychodelic trippy. It's what the future was gonna sound like. Nice effect, and another setup for the stop/start backbeat riff that we love so much. Like body punches. It breaks down to what reminds me of an early Genesis progression, bouncy but funkier than they were. All thick and grindy. Ian sings some explanation to his ex-mate of how it used to be. Guy opens up to girl to show his sensitive side, she hates it, would rather he close up again. Long distance (on the phone) he's got courage. She's fronting all sentimental, but can't control the hey-nahni-nahni. All the while the band pounds out this infectious slab of riffage which changes up to some Scorpions-like run. Then to the kicker, a dreamy reading (complete with vaporous echo) of the most vapid pile of shit a guy can tell himself. The subtle sweet atmosphere belies the danger of "the look the other way" mentality that is death to a relationship. Ian, you enabler! "If once was enough for you, That's alright. If you can keep it closed(the heynahni) Then everything is fine." Bash, Bash, Bash, Bash, and riff reality is back. As he screams most passionately "Everything is fine!" "You used to want to hold me up above the din (noise) and I would say "Baby, so watch the hell begin?" I also love the little scrapes/ticks/pings that are thrown in to counter or stagger the rhythm and leave space for the nice fade/echo on the word begin. Back to massive riffage. And now you want to keep me down in all the pain. (I first heard …down in old DEPENDS) I have no clue on this line, I believe that it's masked or backwards until .."you're the only one I paint" (help me here people!) I think that the thick growling chords are very symbolic of the turmoil in this relationship. Ya, think! It's back to the dream and I love how they change the verse, ever so slightly. "If once was enough for you, then that's alright. If you can keep them closed Everything is fine." (keep tellin' yourself that one!) (A nice accompanying vocal is on this one, very sweet) and we get a return to our opening sequence. A beautiful tie in. Off to a blistering solo sounding very "Neal Schon – Wheel in the sky"-ish. They never linger too long, just a taste and we're back to the crunch. Cranked in the car you just can't help but bounce in your seat. Ian's vocals really soar (yes I'm sure they've heard of Boston) as the band kicks out. I'm drained, I gotta sleep. Thank you all who've encouraged this crap. My wife wants to kill me. Later! All by design I love the feel of this song. It reminds me of "That Song" in that it depicts a slice of Ian's life's memories, feelings and emotions. Just like, to me, the "Fool in the Rain" was all about vulnerable anticipation. ABD seems to be about vulnerable realization. It has a beginning, middle, and end to the story, yet it all takes place within a flash in our writer's mind. The music supports the emotion in very subtle ways to tremendous effect. Musically the song just seems to coalesce out of the air around the story. The long backward note to begin. I can just see the fade up from white. Our bus-riding hero is swaying back and forth ever so slightly, hands draped over the seat in front, and he sings with a little slur. It's been a long night and he sounds a bit loose. His characterization of the bus driver as his personal driver cements our suspicion. His preview of the chorus singing solo and only the Yes-like (Steve Howe) volume controlled note, sweeps us into the transition. The music builds beautifully as the story unfolds. Just a simple base line, but it's so catchy. Really a hit-worthy melody. This song should be on every summer car radio. Back to our story..his re-telling of a confrontation with "the owner" (remember Ian is fascinated with relationships in terms of possession) who could be the boyfriend of his beloved reveals quite a bit about him. The "funny stare" line points up his insecurity, his willingness to "fight for his girl", and his reassurance that he "knows what is real" finalized with the delusion that he loved her until "she" was replaced, reveals his quixotic side. "All by design" as if it's all been laid out, part of the plan, he's just an actor in this scene compelled to action. Musically the melody is built upon and intensified with the familiar crunch and sweeping power that makes us just sing along. I particularly like the "were replaced" part. It draws attention to the line with the drumming crescendo. It at first seemed like he was trying to cram too many words, and too many notes in to too little space. Yet, this is the most telling line, for what seems awkward, IS. The character doesn't want to know jack about being replaced. It's genius. All by design. What a great melody, the music backs off to only drums and baseline. Ah, sweet space! The story continues with our "too cool" hero observing/stalking the girl. The solo that follows is wonderfully sweet, with no attack on the notes. They just seem to run one into the other. A classic solo. It just makes you feel this guy's yearning. It reminds me, sonically, of some of Bill Nelson's stuff with Be-bop Deluxe in the late 70's. He was very much ahead of his time, and stylistically all over the map. Chunk, Chunk, Chunk, Chunk and we are swept up into the waltz-like, multi layered vocal harmonies, counter melodies and waves of guitar. Massive, just massive! Ian again changes up the chorus the second time around, and reveals the truth. It was "she" that was doing the replacing. You can feel the pain as he sings "AhhhII was replaced". What a setup. With a wink and a nod, we revisit the chorus, and he brings "us" in to the picture. Aren't we all just a little like this. We make up our own little fantasy world, however innocuous, to help us cope. Behind the "All by design" are really classic descending note fills that "make" the ending. It gives me chills. We are drained, a little tipsy, our cartoon thought bubble has faded and we realize our fate. We let the driver off the hook. He doesn't have to take us there….AS IF! The song disintegrates so nicely, I can almost hear the airbrakes. We were treated to a intimate sequence of something very personal yet universal. Identify, people! I like this music WAAAY too much! Later.