Fractured - Fractured Masses

 Ladies and Gents I have an unusual one here for you. I'm coming back from my Christmas break to review a collection of singles by the guitarist Reckless Velvet, who is collaborating on these tracks with another artist by the name of Shawn Sidetrack. Together they form Fractured Masses, and their first record Fractured is aimed for release in mid January of the new year. However, you can get an early listen to the album as every track slated to be on it is already live on streaming services as singles released within the past year. So while this is not yet an album, but rather a collection of singles, I am going to move forward as if it were a full album. Away we go.

The track listing was given to me in the following order, so I am unsure of the actual track order on the finished record, but I will comment as to what I believe should be the album opener and closer.

1. "Lost In You" is a ballad, and a piano ballad at that. It's somber, features a piano and no guitar, which is odd for a musician who describes himself as playing mostly guitar. I truly hope that this is not the real album opener, as opening a record on a slow note is not the way you would want to go. The melody is sweet, though repetitive, and I'm not sure how I feel about the vocal pairing here. I would consider using another featured artist on the record Jenny Stevens on this one. Maybe.

2. "Til The Well Runs Dry" picks up the tempo and energy a hair, though not enough to get my motor running. It's grungy and bluesy in it's sound, and features a nice guitar solo just over halfway through. While I don't love the vocals and disinteresting song pattern on this track, it certainly is a step in the right direction.

3. "Fractured," if my information is correct, will serve as the title track of the upcoming record. It's a higher energy, punk sounding rocker track that is most definitely a bigger step in the right direction. I dont love where we started, but I do like where we're headed.

4. "She Left Me In Nashville" is another ballad, bluesier than the first. I think I like it better than "Lost In You," but I'm still not completely sold on the ballads from this collaboration of artists.

5. "Still Ridin" is arguably the best match between the song's overall sound and the vocalists tone I heard on the whole record. The energy is high, the badassery is high, and it's my pick for what should be the opening track on the record. 

6. "Deep Drop" is a close second for my pick from this whole list. It continues on the high energy badass train, though maybe more metal than its predecessor. What caught me off guard with this one was the singer's lower pitch in his vocal delivery. Perhaps the song title should have given me a heads up... I also have to note the guitarists solo work here, it works it works it works until its suddenly over before I was ready. The abrupt ending could have used some more polishing I think.

7. "Nothing In Particular" is another good energy rock track, featuring another fantastic solo. I believe the guitarist's solos are the shining star of the whole record. Hands down my favorite component of each song. However, to the contrary of my previous song analysis, this solo also ends in an abrupt manner, however it fits rather seamlessly in the song this way, and I can actually forgive it. I still don't love the shortness of the solo's end, but it is less clunky and awkward here than in the previous track.

8. "Watching The Waves" is another ballad, which, to continue my previous thought, ends again rather abruptly. But the biggest caveat to me with this track is the long samples of crashing waves in the beginning, and the seagulls at the end. I get why artists use these samples, but it just never lands with me. I always get taken out of the experience with these things. Long samples are on my list of Synic Sins.

9. "Flower Woman" is probably my favorite ballad on this whole list. It features a different vocalist, this time Jenny Stevens replaces Shawn Sidetrack, and all due respect to Shawn, but having Jenny step in to deliver this ballad was most definitely the right decision. While the lyrics are a little too repetitive for my taste, her tone and the harmonies work so much better here than on the previous ballads. I would love to hear a full collaboration record between Jenny and Reckless Velvet.

Album Artwork Not Provided

Fractured - Fractured Masses

Due Mid January 2021

Favorite Track: Still Ridin

Least Favorite Track: Watching The Waves

Rating: 6.2

Look Both Ways - OrangeG

 Folks, I've been trying to be better about not letting so many days go by before doing another post, and you guys certainly have been helping me stay on top of things with all the requests you've been sending. The support is greatly and sincerely appreciated, and I do hope that they keep coming in the upcoming new year. Tonight I have the honor and pleasure of discussing the newest single "Look Both Ways" by Philadelphia's own one-person DIY musician OrangeG.

On this new single, OrangeG takes a departure in technique and sound from his previous recordings, as he is now working with a more full-band sound. And as a result, he found himself with an intriguing fusion of folk, grunge, and the blues. And being totally honest, maybe I've said this before and maybe I haven't, but I truly hate grunge. That said, the blues is one of my favorite genres, and the fusion here works actually quite tremendously. And it's capped off brilliantly with the featured use of a harmonica. In fact, the harmonica feature is my favorite element of the entire track.

There's something poetic about him using grunge and blues to deliver his message here. The message of the song, as OrangeG would describe it, is about assuming the worst, and reminding oneself to consider a more positive perspective. So he is putting a positive spin on an otherwise bleak topic, yet he does so while employing a bluesy grunge sound, which are arguably two of the most somber and melancholy genres out there. Looking at the lyrics, OrangeG's songwriting becomes even more poetic. His metaphors and verses are truly quite wonderful. This is something seldom seen in songwriting today, as many rock vocalists deliver lines that are totally straight and to the point, (see Sammy Hagar) and they are forgetting that lyrics are essentially an edgier poem, with rhythm (see David Lee Roth.) A line I am particularly fond of would be... Look both ways at your fellow human / The Gorgon's gaze, or nothing much to say / It cuts both ways and I see one edge of the blade These lines create a tragically familiar feeling, something I can relate to from my college days of being the new kid at a party, not knowing anyone and being afraid to really be yourself because you're unsure of how people would react. On one hand, you should never be afraid to be yourself. But on the other hand, people suck, don't they?

My biggest drawback with this song, is that while it does have all the components of a full song, it still feels incomplete in a way. It sits at just over 5 and a half minutes, and for those 5.5 minutes the vocals stick to one pattern, and there's not much variance to them. I like my meat and potatoes with a little kick, if you know what I mean. But again, for a grunge-blues track I can forgive this. OrangeG has found himself a fantastic musical path to follow, but maybe he could consider picking up a little more speed and edge along the way. I would love to hear a song of this tone with a higher tempo and a squealing guitar/harmonica solo thrown in there. There's my Christmas wish, OrangeG, can you make it happen?

To sum up, I did enjoy this song, and the direction that OrangeG is going in. There are a lot of things that were executed quite well here, and other things that I think could be added in later on to really perfect his new sound. Kudos on the new single, OrangeG, I look forward to hearing what comes next.

30 in 2050 - Time To Act

 I'm getting this one out there early this morning, because I've been distracted the last few days and didn't release it when I originally intended. Recently I had the honor of getting an early (now 3 days late) look at the second single from the fearsome foursome outta Belgium; Time To Act. Their mission is to target today's global issues in their lyrics and spread the word as far and wide as possible to get people to understand that a change is necessary. While their first single dealt with racism and violence, this new track, released December 18th, discusses global warming, pollution and extinction.

Sonically, "30 in 2050" reminds me very much of USA For Africa's "We Are The World" with a Thunbergian update to the lyrics. Rather than serving as a call to aid, this is more like a cry for help. The lyrics imply that by 2050, whales, bears, fish, and possibly more will be extinct. I hate to think about how accurate this assumption may or may not be. The specific lines that made me think the most was "Your leaders let you down / But there's no hiding here / Blame is on you 'cause you failed to act" These lines got me the most because individually, one person might be better at recycling and reducing their carbon footprint than another, but collectively we as people tend to take the lazy way and just do what the leaders tell us. So often when things go wrong, we blame our leaders for having the bad ideas, but who were the people that followed along?

In the first verse of the song, there are a couple audio samples that demand attention. In the line where they mention the last whale dying, you hear the faint cry of a whale. Kinda chilling, kinda odd, I'll take it. The following line when they say she had too much plastic in her belly, you hear the pop of a soda can. So it looks something like this "The last whale died yesterday... *whale cry* So much plastic in her belly... *soda can*" Now I don't love having two audio samples like this coming line after line, but luckily that pattern stops here. My biggest issue with it is that the second sample isn't necessary, and it doesn't exactly land the way the group wanted it to. The line references plastic, yet the sample is that of an aluminum can. I see what they were trying to do, but it didn't work.

While I don't love each individual line of the song, I do sincerely appreciate the overall message that they are trying to convey here. The "We are 30 in 2050" theme is saying to the audience that we are creating a damaged and dying planet for our children, and they will be powerless to stop the decay and destruction that their parents are leaving behind. Therefore, it is up to us to make the changes necessary to leave a healthy world for our children and our children's children to grow up in.

Poor Mister Lee - Rufusking

 Here is a rare late-night post for you guys. Fresh on all streaming services come morning time is the new single by Dutch band Rufusking. I'm glad I could squeak out a review just in time for the big release.

Their newest single "Poor Mister Lee" opens using one of my favorite techniques in music. The intro comes together one instrument at a time; first the drum beat, which is then accompanied by the bass to set the rhythm. Then the dingy-twangy tone of the guitar resonates through your eardrums, taking me back to the days of The Kinks. Legitimately, as soon as the guitar joined the rest of the band, the tone immediately reminded me specifically of "All Day and All Of The Night," or, "You Really Got Me." Though unmentioned to me as one of their specific influences, I can't help but feel some Kinky flavors in their sound. 

There's something delightfully simple yet funky about the bass groove to this song, that has me bopping my head before the song even really begins. My biggest fear getting deeper into the song was that the singer's voice wouldn't match, and would lose me completely. I was, however, pleasantly surprised at how perfectly the sounds blend together. Sonically it's a beautiful marriage.

My biggest draw back, is perhaps the crescendos and treble build up during the chorus. It's mixed quite well, but something about it comes across as slightly abrasive. And just before it becomes too much, it drops back down to it being just the percussion and drums. It certainly keeps things interesting, though maybe a little jarring. I would have considered maybe turning the bass up and everything else down a little during these louder choruses, just to even it out a little more. Of course the draw back in doing so would be that you wouldn't appreciate the lone bass groove as much as you do when you get it, so it's likely safe to say this balance technique was done on purpose.

Truthfully I listened to this song a handful of times while writing this, not because I feel like I missed something, but simply because I liked the song that much. I'm hoping the band reads this and sends me the lyrics, so I can fully appreciate everything there is to this song. I'm aware of how quick of a read this review was, but I kept it short and sweet much like the song itself. It is certainly among my favorite singles I've listened to this year, and when Rufusking releases a full length album into the world, you bet I will be among the first eager listeners.

Synic Selects Vol. IX - Holiday Favorites

Well gang it's that time of year again, a time for trampling over innocent people so you can get the latest Apple product, or gaming console. You're so busy pushing, shoving, and yelling that you don't even notice Mariah Carey playing over the Target speakers for the 27th time that morning. But just in case you're one of the few sane people in the world, getting your holiday shopping done from the comfort and safety of your own living room sofa, I thought I'd take the liberty of crafting a nice seasonal playlist, containing some of my personal favorites that don't get completely used and abused every December. Some of them you definitely know, and if I really buckled down I could have made this playlist 3x as long, but I didn't want to litter it with all the usual suspects. (LA Guns has a few xmas songs out there, Rob Halford of Judas Priest has 2 whole christmas records out, bands like Skid Row, Twisted Sister, FireHouse, etc have all recorded Christmas songs, and believe it or not The Offspring came out with one just this month. Don't expect to see it on this list, however. It's hot trash.) Some of my favorite heavy hitters are still on there, because, well duh, I can't make a playlist and not have AC/DC, Lzzy Hale or "Weird Al' make a cameo appearance. Let's be real here.

Anyway, if you're in the mood for some festive fun, christmas carols, holiday hits... yuletide yodels? Sorry, I'm a sucker for alliteration... Then check out the list below. I think you might be a bit surprised by some of the things I've thrown on there.

Synic Selects Vol. IX - Holiday Favorites

1. Santa Claus Is Comin' To Town - The Pointer Sisters

2. Little Drummer Boy - Bob Seger & The Silver Bullet Band

3. I Saw Mommy Kissin' Santa Claus - John Cougar Mellencamp

4. Run Rudolph Run - Bryan Adams

5. Santa Claus Is Back In Town - Brian Setzer Orchestra

6. Here Comes Santa Claus - Elvis Presley

7. Lonesome Christmas - B.B. King

8. Go Power At Christmas Time - James Brown

9. Back Door Santa - Clarence Carter

10. Peace On Earth/Little Drummer Boy - Jason Segel & Jack Black

11. I Saw Three Ships - Sting

12. Merry Christmas Baby - Bruce Springsteen & The E Street Band

13. The Night Santa Went Crazy - "Weird Al" Yankovic

14. Mistress For Christmas - AC/DC

15. We Three Kings - Blondie

16. Santa Baby - Eartha Kitt

17. We Need A Little Christmas - Angela Lansbury

18. All I Want For Christmas Is You - Dolly Parton & Jimmy Fallon

19. A Holly Jolly Christmas - Burl Ives

20. Magic Of Christmas Day - Dee Snider & Lzzy Hale

21. Father Christmas - The Kinks

22. I Don't Want To Fight Tonight (Merry Christmas) - The Ramones

23. Feliz Navidad - Jose Feliciano

24. Christmas In Hollis - Run DMC

25. Let It Snow - Vaughn Monroe

Well everyone, there it is. The last Synic Selects of 2020. Thank you all for tuning in, and I'm excited for you all to see what I have in the works for Vol. X out in January 2021.

The holiday season truly is my favorite time of the year, so wherever you are, and whatever you celebrate, may you have a happy holiday, and a healthy, prosperous, and more importantly musical and Synical new year.

High Vibrations - The John Michie Collective

 Believe it or not ladies and gents, but I have never touched a drug in my life. Okay, besides booze. Nobody's a saint. But tonight for the first time, my ears took acid. At least that's how it felt. For today I had the humbling honor of taking an early look at the debut record of The John Michie Collective. High Vibrations is set to release on February 12th of the new year, but this lucky son of a bitch got to dig into it a couple months early.

The album is quite the auditory tome - 14 tracks all recorded by the one man band John Michie himself. Not an easy feat to write and record so many unique tracks all by yourself. So kudos to you sir for the accomplishment. But then again in the year 2020 I suppose we're all a one man band are we not? John couldn't have met with his band even if he had one, else they'd have to seat 6' apart and quarantine for 2 weeks after recording a track.

The album opens with "The Mothership," a nearly 3 minute instrumental which leaves listeners feeling as though they had been mind-fucked by an alien. And I mean this in the best way. Admittedly it takes me a minute before I really get into it, but once I'm hooked, I'm hooked. I was surprised at how perfect of an album appetizer it was.

The tracks that follow make it clear to me that John Michie's primary instrument of choice is the guitar, for that is where you will hear the most variance and unique riffs. The percussion and other instruments are nice additions by all means, but their rhythms are kept very simple and rudimentary so as not to overshadow the guitar. He accurately calls himself a psychedelic songwriter, and the psychedelia comes almost entirely from his guitar. It's the slow break in the guitar where the backing instruments can really shine and mellow out your aural trip. The second half of the record is very instrumental, which I've never been into really, but it somehow works here.

Truthfully, I liked this album a whole hell of a lot more than I thought I would. That is not meant to sound like a dig at the John Michie Collective, but I have to make my distaste for psychedelic rock known. That said, Michie nails it. He has a truly enjoyable listening experience here, even for the sober audience. His vocals are a little drowned out by the instruments for my taste, but this was by design as he wanted to feature the guitar more than his voice. The effect his vocals are recorded with a very typical for the indie psych rock artist, but they work rather well in this case. If I could say one thing that I would change, it would be to ditch the staticky samples that begin each track. They take me out of the trip and I don't want to lose touch every 4 minutes. Once I'm in, I want to stay in. I'm sure these samples are used on purpose, perhaps to add to the overall message or experience, but it's lost on me. Full disclosure I found myself ignoring them each time.

All in all I have to congratulate The John Michie Collective for the impressive feat accomplished here. He wrote and recorded an entire full-length one man band solo album and got it ready for release, all in one of the worst years in human history. And what did I do? I sat on my ass and wrote about it.

High Vibrations - The John Michie Collective

2 - 13 - 2021

1. The Mothership

2. Beautiful Day

3. Wish You Were Dead

4. Nothing To Die For

5. Some Time On Monday

6. The Ballad Of John Wayne

7. Hung On You

8. Take You Home

9. Escape From San Francisco

10. Under The Stars

11. Written In The Sky

12. Penny Was Her Name

13. I'll Write Your Constellation

14. The Astral Projection

Favorite Track: I'll Write Your Constellation

Least Favorite Track: Penny Was Her Name

Rating: 8.0

Synic Selects Vol. VIII - Won Hit Oneders

 Hooolyy sheit it's been a while, huh? I've really dropped the ball lately. I mean, this post was due WEEKS ago, wasn't it? I guess I've just had a number of distractions piled up that kept me from doing this. But you guys didn't wait for almost a month just to get a fat stack of excuses, right? You guys came here tonight to get a hot new Synic Selects compilation from your favorite blogger that no one else has ever heard of. Well, wish granted. And because it's the season of giving, and also due to the fact that I missed last month, you guys can expect TWO Synic Selects editions this month! That's right, TWO! That's double the music, double the fun! So get excited! Or don't! I don't really care either way, I'm excited to be back, I hope you are too.

Anyway, in light of you guys almost forgetting about me, I thought I'd do a compilation of songs by artists who the world would've also forgotten about, if not for the song that makes this list. Full disclosure, I can't take full creative credit for the theme of this month's (November) edition. I gotta give some credit to the lovely Lady Synic, for this was technically her idea. Now away we go.

1. Autograph - Turn Up The Radio

The often overlooked group from the hair metal days. Those of you that were around in the 80s, these guys opened for your favorite band. And this was their hit. Described by Eddie Van Halen in 1984 as "the ultimate T-shirt band," as in, the perfect band to play on stage while the fans in the arena are our buying beer and merch for the headliner, Van Halen.

2. The Proclaimers - I'm Gonna Be (500 Miles)

Is there any possible way to craft a one-hit-wonder playlist without adding this classic track? I mean, technically The Scottish cousins did have another modest hit with "I'm On My Way," but it was heavily overshadowed by 500 Miles.

3. Rockwell - Somebody's Watching Me

This is just a stupid fun synth-heavy track that you listen to when you wanna dance without thinking too hard. It is a fantastic reminder as to why the 80s were really the best decade for music. Admittedly, I almost put "Blinded Me With Science" By Thomas Dolby here instead. Or even "Weird Science" by Oingo Boingo. There's really a massive collection of synth heavy hits that could've taken this spot. Swap out any one, comment your favorite if you're so inclined.

4. Henry Lee Summer - I Wish I Had A Girl

I know what you're thinking... 'Who?!' Yes. Henry Lee Summer. He had one album, maybe two? Who knows. But honestly check out his self titled record. It's actually pretty good for someone with one hit. This song is among the lesser known tracks on there, and it's the only one that got him any attention.

5. Lou Bega - Mambo No. 5

There's only one appropriate introduction for this classic jam. Ladies and gentlemen, this is Mambo Number Five...

6. The Knack - My Sharona

Dude, seriously though, how great is this song? Their record Get The Knack is actually fantastic, in my opinion. Highly recommend. There's a handful of tracks on there that are worth listening to besides this one. "Frustrated" and "Good Girls Don't" come to mind. Also, without this song, we wouldn't have "My Bologna" by "Weird Al" Yankovic, so that's something to consider as well.

7. The Vapors - Turning Japanese

This song is probably in my top 3 favorite songs on this whole compilation. It's so great. I have no idea what the guy is trying to say, and I have no interest in ever finding out. I know all the words, and can belt it out any time. Just don't ask me to. I can't sing for shit. That's why I write about people that can.

8. The Fixx - One Thing Leads To Another

I don't know what there is to say about this one. Truth be told, I don't love it. But hell, it's fun. This is another slot where you could essentially take any synth heavy 80s track and drop it off here. Consider "Future's So Bright, I Gotta Wear Shades" by Timbuk 3 as an alternative.

9. Chris De Burgh - Don't Pay The Ferryman

I believe that this guy might have another mini hit, but it's nowhere near as good as this one. It's a badass tune. The Greek Mythology tie-in really does it for me as well.

10. Rick Springfield - Jessie's Girl

This is another obvious one. This is one of the best of the best when it comes to one-hit wonders. Everyone knows the words to this one. Every girl wanted Rick Springfield, and every guy wanted to be Rick Springfield. and they all wanted Jessie's girl. Plus, how many songs can you think of, can use the word "moot" in a verse and not sound silly?

11. Captain Sensible - Wot

This is probably, no, definitely the dumbest track on this list. But I can't help but laugh and bop along with it. My dad loves it, I love it, it belongs on the list.

12. Macy Gray - I Try

Here's the unexpected one for you all to gasp at. But I can't put a dad track on here without also dropping a mom track. I grew up in the backseat of my mom's Buick singing this with her, so it more than surely is entitled to a spot on the list.

13. Eddy Grant - Electric Avenue

I love this song. As far as I'm concerned, it belongs on every playlist, on every radio station, in every movie soundtrack, whatever. It's catchy, it's fun, it's poignant, it's relevant, and for whatever reason, don't ask me why, it reminds me of my late grandfather. Love you, Pop. and I love you too, Eddy Grant.

So ladies and gentlemen, here it is. Pretend you're reading this a month ago, would you? Thanks. I hope you enjoyed it and find it was worth the wait. Or not. I know I enjoyed it.

Synic Selects Vol. VIII - Won Hit Oneders

1. Autograph - Turn Up The Radio

2. The Proclaimers - I'm Gonna Be (500 Miles)

3. Rockwell - Somebody's Watching Me

4. Henry Lee Summer - I Wish I Had A Girl

5. Lou Bega - Mambo No. 5

6. The Knack - My Sharona

7. The Vapors - Turning Japanese

8. The Fixx - One Thing Leads To Another

9. Chris De Burgh - Don't Pay The Ferryman

10. Rick Springfield - Jessie's Girl

11. Captain Sensible - Wot

12. Macy Gray - I Try

13. Eddy Grant - Electric Avenue

Power Up - AC/DC

When I started this blog back in March, it never once entered my mind that I might have a new AC/DC record to review. To think I would still be in my first year of blogging when I got the opportunity to do a new AC/DC record... honestly it is like a dream come true.

Power Up came at a time when the world needed it most. The US is still being royally buttfucked by COVID-19, kids are being locked in cages, the list goes on. But the tides are changing, folks. The recent election offers a glimmer of hope, a hint of a better future. After the proverbial dumpster fire of 2020, it really is nice to be able to come home, take the mask off, and put the headphones on and unwind with a brand new offering from the thunder from down under: AC/DC.

It is no secret to my friends, family, and loyal readers that AC/DC is my all-time favorite band. And Power Up is a prime example as to why that is. Recorded entirely using recycled and previously unused riffs from throughout their career, the 12 tracks on Power Up feature the musical genius of late rhythm guitarist and founding member Malcolm Young. It was said by Angus himself that as Back In Black was a tribute to the late frontman Bon Scott, Power Up is likewise a tribute to his fallen brother Malcolm.

Using previously written riffs provided Power Up with a refreshing return-to-form sound for the band. If I were to blindly listen to all of AC/DC's studio material, without already knowing everything there is to know about their records, you could have told me that Power Up was released anytime between 1985 and 2020 and I would have believed you. Each track is like a sonic spotlight, with reminiscent riffs and that signature AC/DC sound that takes you right back and shines on a different year throughout their history. Also featured on the record, something that you don't often hear about when talking about AC/DC, is the backing vocals. Throughout all the line-up changes in their almost 50 year long career, one of the most consistent elements of their sound was their backing harmonies, and those harmonies are as strong on this album as they ever were. There is something so unique, so AC/DC about those backing vocals, like you could grab any random singer in the world and slap them into the studio with the band, but the harmony wouldn't change. There's something masterful in this, as the harsh mob-like chants of the band match and compliment the abrasive bluesy falsetto of Brian Johnson perfectly.

The leading single from the record, "Shot In The Dark," is arguably the best song the band has released in 20+ years. It has everything you would expect from a classic AC/DC headbanger. Driving rhythm section, simple-yet-memorable riff, catchy tongue-in-cheek lyrics, and a bluesy swing. This is a song whose riff could certainly have come from the 80s. The following track, "Through The Mists Of Time," slows things down a bit, in a style that reminds me of 2008's Black Ice, with songs like "Rocking All The Way," and "Rock And Roll Dream."

The next tracks, "Kick You When You're Down," "Witch's Spell," and "Demon Fire" are a triple threat of the classic blues-rock sound that I know and love from AC/DC. These songs remind me of the best of the 2000's Stiff Upper Lip era. Stiff Upper Lip is often regarded as the band's "worst" album, but that is a title I strongly disagree with. It is heavily misunderstood and criminally under appreciated. It is their bluesiest and jazziest record to date, and it will always hold a special place in my heart for that exact reason.

Many critics and music listeners have said over the years that AC/DC is overrated, as "all their songs sound exactly the same." But I tell these people to shove it, because isn't consistency what you would want from a band? If it ain't broke, don't fix it, right? If you love one album, you'll love the next album, and the next, and the next. Well AC/DC just put out their 17th studio album, and this blogger loves each and every one of those 17 albums.

Truth be told, when I first heard that AC/DC were recording a new album, of course I was ecstatic, but I wasn't prepared to have my mind blown by it. I was expecting Rock Or Bust 2. But the more I read about the album, the more excited I got. Longtime bassist Cliff Williams was back. Longtime drummer Phil Rudd was back. They were using Malcolm Young's previously recorded rhythms and riffs from throughout the band's career. This was the dream album. After the nightmarish Rock Or Bust Tour, my expectations were low. But holy hell is this album better than anything I would have imagined. That said, I don't want you to go into this album expecting another Back In Black. But they didn't need to write another BIB. Their legacy was already written, their reputation as one of the all-time great rock bands (my opinion is irrelevant here, as this is a known fact) was already proven time and time again. What we needed from Power Up is a good time when the world needed it most, some new-old-stock AC/DC, some reminiscent rock and roll for all AC/DC fans new and old to enjoy, and that is exactly what we got. While many would argue that rock and roll music is dead, I would argue that for as long as Angus Young is still wearing shorts and a tie, rock and roll is alive and well.

Power Up - AC/DC

11 - 13 - 2020

1. Realize

2. Rejection

3. Shot In The Dark

4. Through The Mists Of Time

5. Kick You When You're Down

6. Witch's Spell

7. Demon Fire

8. Wild Reputation

9. No Man's Land

10. Systems Down

11. Money Shot

12. Code Red

Favorite Track: Kick You When You're Down

Least Favorite Track: Realize

Rating: 9.8/10

Chromatica - Lady Gaga

 Yeah, I know. The last artist you would ever expect me to ever talk about. Okay, maybe not the last, but certainly among the bottom of the list. But before getting into this, let me be clear about something: I respect Lady Gaga. She is truly a tremendous talent. I find it a shame that she wastes her talents on pop music, rather than directing her time toward a more metal outlet, but it is what it is, and it certainly has worked out for her so far.

Today's post is a special one for me, as it allows me to discuss an artist I normally never would, and it allows me to also bring in another guest writer, one of the biggest Gaga fans (or monsters, if you're down to clown) that I know: my sister. She'll make her grand Synic Spins debut in just a moment, after I give my 2 cents.

Chromatica opens with an electronic interlude, which some of my long-time readers may recall from my earlier post about In This Moment's newest album, I'm not a huge fan of interludes. They're wasted on me. Sorry. However, after that intro comes the first real track of the disc, "Alice." This track showcases the surprisingly deep and meaningful lyrics that I respect Lady Gaga so heavily for. From what I have heard about this record, many of the tracks are focused on Gaga's own battle with abuse and mental illness. "Alice" is the first track on the disc, and the first to make Gaga's message clear. Strong start, Germanotta.

"Stupid Love" was the big radio single, and my first exposure to the new record. Right off the bat, I was disappointed, and was turned off to the idea of sitting through the whole album. It was exactly what I expected from a radio hit today; mindless, dumb, repetitive, and danceable. Listening to it a second time with the rest of the songs around it, my feelings have not changed. Interludes aside, to me "Stupid Love" is the most bland and forgettable track on the LP.

Skipping ahead, listeners will find "911" and "Plastic Doll," two songs which act as a double-header, a one-two-punch if you will, that further illustrates the tone of the record. When I heard "Stupid Love," I was disappointed. I wanted the strength of writing that came from early Gaga, where was "Bad Romance?" Well, here it is. This is the shit I was looking for. 

After the peak of "911" and "Plastic Doll," we plummet into a hard valley of "Sour Candy," featuring a sonically confusing collaboration between Gaga and South Korean girl group BLACKPINK. This is certainly not a collaboration I ever would have wanted. Leaving aside the fact that I've never even HEARD of BLACKPINK, the sporadic changes in vocal tone and style which may have been designed to keep listeners interested, leaves me confused and desperate for the track to end.

Scratch what I said before. "911" and "Plastic Doll," while very strong tracks in their own right, are not the "Bad Romance" of Chromatica. That title, hands down, belongs to "Replay." Look up the lyrics, and consider Gaga's past of an abusive relationship and you will absolutely see what I mean. Holy hell.

Coming later is "Sine from Above," a beautifully immersive collaboration between Gaga and Sir Elton John. Here is a moving metaphor relating to the healing power of music. Without going too deep into it, just look at the spelling: SINE. like the curve. Like a sound wave. BRILLIANT. The track is deep and completely tragically relatable, and it has me reeled in right until the odd and seemingly out of place percussive breakdown at the end.

"1000 Doves," is a nice track to help wind down the album, sonically it is somewhat forgettable compared to the others, however Lady Gaga does not hold back on her lyrics. Seriously guys, I cannot stress enough how much I love her songwriting ability. The ending track of the disc is "Babylon," a song which, admittedly, I want to like, but I'm not sure its within me to actually enjoy it. The chorus sounds very reminiscent to 80's new wave, or brit-pop/punk. Wanna hear it for yourself? Listen to "Babylon," then follow it with Pet Shop Boys' "West End Girls," and Madonna's "Vogue."

And now, we hear from one of my favorite people in the world, for now let's call her Sister Synic.

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During the height of quarantine-induced hysteria, Lady Gaga released her 6th Album, Chromatica. And for this long-time “little Monster”, it simply could not have come a better time. 

Throughout her career, Gaga has been very candid about her own experience with her mental and physical health; these experiences are always so deeply evident in the art she creates both musically and onscreen, as well as in her advocacy work. It is the way that Gaga continues to pour these experiences into her works that makes Chromatica a particularly important album, especially in the times that we currently find ourselves in globally.

Each of Lady Gaga’s albums are vastly different in style and content, however each are laden with clear meaning and significance to the writer, each song so uniquely her. Gaga’s unparalleled tenaciousness, passion and ability to pour herself into every track married with her undeniable versatility, allows us all to enter her world and go through life’s trials and tribulations with her; and Chromatica is no exception to that rule.

Stylistically, Chromatica can best be described as a melding of the heart and passion of “Born This Way” with the dance hall style of “Art Pop”. This melding provides a “return to her roots” feeling of clubby chart toppers, while still nourishing us listeners with tracks that hold clear meaning not only to Gaga, but can easily be related to by the listener. What makes this album particularly exciting for me as a listener is that throughout the work, there is a clear juxtaposition of fun, catchy beats with lyrics that are emotional, and impactful and raw. This duality is something that I feel is not often enough explored in music, especially in the realm of Pop. 

While in my opinion there is no “flop” on the album and every track can shine on its own, Chromatica was crafted in such a way where it is best appreciated when listened to in order seamlessly. The album contains three short instrumental pieces (Chromatica I,II and III) that serve as transitions into different portions of the track list, acting as a sort of musical “palate cleanser” if you will. As a listener, I feel a very distinct shift in tone and intent as we move through the album’s different sections. The first section following the introduction provided by Chromatica I provides us with the tracks Alice, Stupid Love, Rain on Me, Free Woman and Fun Tonight. Now while I cannot speak for Gaga or any other listener, this section of the album to me speaks very much about ending of relationships, and the search for meaningful connections. “Alice” starts the album off strong, an upbeat tempo paired with lyrics highlighting the on-going search for connection, and the desperation that comes along with it. Alice also introduces the ongoing line of mental health and its impact, effectively setting the stage for the rest of the album.  Following Alice, we are provided with the first two radio singles, Stupid Love and Rain On Me (feat. Ariana Grande). These tracks are, to put it simply, fun. Both are high tempo with a simple hook and catchy lyrics, essentially fitting the mold for a radio hit. While not the most “meaningful lyrically” per se, these two tracks are certainly not to be discounted.  Closing out this first third of the album are Free Woman and Fun tonight. Free Woman is an anthem of strength and self-confidence, whereas Fun Tonight is more somber in intent, but not execution. Fun tonight is one of my favorite tracks for this reason, and is my favorite track in this portion of the album. It has been rumored that Fun Tonight is about the ending of her most recent engagement, but for me the lyrics speak more to an overall loss of sense of self within the context of a relationship, and the moment you begin to realize that the situation you are in is not the one for you.

The second portion of the album consists of Chromatica II, 911, Plastic Doll, Sour Candy (with BLACKPINK), Enigma and Replay. In my opinion this is the portion of the album where the theme of mental health takes center stage and is overall my favorite portion of the album as a whole. 911 and Replay are two of the of the more personally impactful tracks for me. Both of these tracks have clear and significant mentions of where Gaga was mentally ill while working on this album, speaking about her own demons, while maintaining fast, house beats that can easily be found on any dance floor again speaking to the overall duality of the album. The push and pull of raw emotion versus party “bops”. While not as personally impactful to me, Plastic Doll continues to be a clear look into self-confidence and self image, while remaining just an overall catchy and just plain “singable” experience. Sour Candy and Enigma provide some respite from more tender subject matter, and re-invoke the sexy confidence that Lady Gaga is known for. 

The final leg of Chromatica closes with tracks that inspire a sense of hope and better times to come. Sine from Above (featuring Elton John), 1000 Doves and Babylon round the album out from the earlier, heavier tracks found in the first sections of the album. Sine from Above has some of the most impressive musical prowess on the album. Often tracks with high profile features can cause the artist to be out-shown, that simply does not happen here. Gaga and Elton John work on this piece as one, creating harmonies that are so natural and moving it as if they sing with one passion, one voice. 1000 Doves, while a beautiful song in its own right, is not my favorite. Vocally I don’t feel that it’s Gaga’s best work, but is not “bad” by any stretch of the imagination.  Babylon, the closing track is in my opinion, an odd fit. While the song itself is enjoyable and can easily be imagined blaring in any bar, it overall does not seem to fit the album of Chromatica as a whole. Babylon could easily have found a home on almost any of Gaga’s earlier albums, and would have made equal sense contextually. 

Overall, Chromatica is a triumphant return for Mother Monster, and is an album that I am thankful for on a personal level. Gaga has the ability to share her story through her music in such a way that makes the listener feel that their story is also being sung back to them. A gift that has been missing from popular music for far too long, in my opinion. 

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Chromatica - Lady Gaga

5 - 29 - 2020

1. Chromatica I

2. Alice

3. Stupid Love

4. Rain On Me

5. Free Woman

6. Fun Tonight

7. Chromatica II

8. 911

9. Plastic Doll

10. Sour Candy

11. Enigma

12. Replay

13. Chromatica III

14. Sine From Above

15. 1000 Doves

16. Babylon

Favorite Track: Replay

Least Favorite Track: Sour Candy

Rating: 7.8/10

Sister Synic's Favorite Track: Replay

Sister Synic's Least Favorite Track: 1000 Doves

Sister Synic's Rating: 9.5/10

Synic's Spotlight: Hold Your Fire - Firehouse (Or, The Final Spark in the Dying Flames of Hair Metal)

 Ladies and gentlemen if you've read my blog before you may have already picked up my affinity for classic metal, especially that of the 80's glam variety. But what about the 90s glam, you may ask? If you didn't ask then you've come to the wrong blog. If you did ask, chances are that we'd be pretty good friends if we knew each other in person.

Many people do not realize that there was actually some residual glitter sprinkling over the 90s. Much of it came from the already existing leopard-print and make-up clad metal groups that established themselves throughout the 80s. Bands such as Motley Crue, Cinderella, Poison, etc were still putting out albums in the early 90s. But for every glam band adding to their catalogue, there was another group, equally as hungry, rising from the torn spandex and fishnets.

For many glam fans out there, we look upon the 80s as the golden age of hard rock and metal. We then look upon the mid 90s as the fall of an empire; The Day The Music Died. While many fans and musicians alike may disagree the best term for the subgenre, whether you prefer hair, glam, sleaze, etc. does not matter here. What does matter here, is acknowledging that whatever you call it, I'll stick to glam for now, for the most part, died in the mid-90s. And why? Here's a free history lesson: many fans (myself included for a while) blamed it on the rise of grunge. And to some degree, that may be true, but hair metal's real tragic end was a result of its own misstep. The market simply became oversaturated with glitter and hairspray. Radio companies essentially started piecing together bands with no real talent. If you had big hair and could even hold a guitar, you got a record deal. Not only that, fans were getting tired of the same old formula: hard-rocking opener, maybe another, power ballad, metal anthem, filler... Take ANY glam record from the 80s to early 90s and you'll find that it fits this formula. Maybe with some minor tweaks, but for the most part the formula sticks. This was great at first, revolutionary some might say, but it wasn't to last. People were getting bored with it, and desperate for something new. Enter the torn denim and flannel shirts of the 90s grunge wave, or the final nail in the bedazzled coffin.

I know, I know, this is a SUPER long intro to this week's spotlight. I know. But I swear, I'm getting to the end. 

Anyway, to jump to the end, grunge will completely take over the airwaves and for the most part snuff out the last flame that glam had. As a result of this, there are many talented and fantastic glam metal groups who first came together in the early 90's that are often overlooked. Well if grunge can generate the sub-subgenre of post-grunge, then I can dub these 90s glam groups as post-glam. Why not, right? Some of the fantastic groups (there are too many to name, so I'll just stick with a few) include Vixen, Warrant, and today's subject: Firehouse. All of these groups are tremendous talents, and while some of them did actually make it as big as they deserve, others may have been mostly overlooked and generated only one or two radio hits, when the reality is that if they had debuted 5-6 years earlier, they would have been massive.

If your immediate response when I mentioned Firehouse was "...who?" Then allow me to apologize for the tragically sheltered life you have lived up until now. Well your old pal Synic is here to help. Real quick: if you had ever been to a wedding between the years of 1990 and 2020 then you know Firehouse's biggest ballad hit "Love of a Lifetime." If you have SIRIUS XM radio and you frequent the Hair Nation channel, keep it tuned there for a couple hours and you will likely hear "Don't Treat Me Bad," or "All She Wrote." What these three tracks have in common, besides the band that recorded them, is the record they were released on. All three tracks appear on the band's self titled debut record. In fact, to this day the band's setlist is very heavily comprised of songs from this record. Well the group certainly has more in their catalogue than just their debut album, and ignoring that fact is a true travesty. So today's spotlight will correct that.

Their sophomore record, Hold Your Fire, is every bit as strong as the debut. So why does it not get quite as much recognition as the debut? Well that remains to be seen. The truth is, I don't know. Maybe it is due to the fact that it's release fell closer to the mid 90s, where as I said before, grunge was coming, fans were sick of the same tired glam formula, etc. Whatever the story is, the fact that this record isn't widely loved by rock and metal fans truly saddens me. It's one of those records where even the filler tracks are just crazy fun to listen to. I truly don't believe that there is a skippable track on either side of the disc. When I first introduce my friends to the band, I always tell them "Yeah, listen to 'Don't Treat Me Bad' first, cause that's their biggest hit, but also listen to this!" and I show them "Reach For The Sky." and a small stack of other tracks from their first two records. I also throw in "Prime Time" from a much later record, but that's a song for another day.

I'm never that big into love songs/ballads, my readers are probably tired of reading that statement by now, but I always include it in case there's anyone new here. That said, "When I Look Into Your Eyes" is every bit as strong of a love ballad as "Love of a Lifetime." Actually, I would argue that vocalist CJ Snare gives a more passionate performance on this track, and wrote even stronger and more beautiful lyrics for it. When I see them live during non-pandemic summer tours, I will smile when they play "When I Look..." and I will roll my eyes when they play "Love of a Lifetime." I think that tells you everything you need to know.

I could delve deeper into each and every track on this record, but really I think I could sum it up by reiterating what I've already said. The album features a very strong opening rocker, plenty of fun and definitely not-skippable filler tracks, and a lovely and memorable ballad in "When I Look Into Your Eyes." Some essential tracks deserving of a shout out are "Reach For The Sky," "Hold Your Fire," "Mama Didn't Raise No Fool," "Sleeping With You," "Get In Touch," and, who am I kidding? Just do yourself a favor and listen to the whole damn thing. If you're looking to get into the last flickers of light in the dying flame of the glam-metal movement. Firehouse and their first two records Firehouse and Hold Your Fire is a great place to start.

Hold Your Fire - Firehouse

6 - 16 - 1992

1. Reach For The Sky

2. Rock You Tonight

3. Sleeping With You

4. You're Too Bad

5. When I Look Into Your Eyes

6. Get In Touch

7. Hold Your Fire

8. Meaning Of Love

9. Talk Of The Town

10. Life In The Real World

11. Mama Didn't Raise No Fool

12. Hold The Dream

Favorite Track: Reach For The Sky

Least Favorite Track: Hold The Dream

Synic Selects Vol. VII - The Under-Playlist

 Hey guys, let me ask you: how do you follow a playlist of the most overplayed songs from your favorite bands? If your immediate thought was the most underplayed songs from those same bands, then we had the same exact brilliant idea. Great minds, eh?

What follows is a collection of songs, by the same bands as last month, that are tragically under appreciated. They may not have been released as singles, or received much airplay, etc. Basically, this is a collection of some songs in the artist's catalogue that didn't receive the recognition they deserve. Some of them I will listen to 1000 times before I listen to the songs on last month's collection.

So, without further bush-beating, here we go:

1. Gone Shootin' - AC/DC

This track is one of 9 (or 10, if you're English) of the brilliant tracks off of 1978's Powerage. Mentioned previously as my all-time favorite record, there is just not enough I can say about this album. It's their most eclectic mix of songs, some of their rawest production to date, and certainly some of the band's most brilliant lyrics. "Gone Shootin'" is a bluesy rock ballad of sorts, in which Bon finds himself hopelessly in love with a drug addict. Give it a listen for yourself and experience the bluesy rock swing that will have you dancing to another man's woes.

2. Come Out Swinging - The Offspring

Another track from my list of all-time favorite albums. Noticing a theme, are you? Well The Offspring's 2000 effort Conspiracy of One, as a whole, is criminally under appreciated. It generated 3 singles, one of which is a setlist staple for the band: "Want You Bad," while another is a setlist alternate: "Original Prankster." They play "Prankster" quite often in their live show, but they will swap it out for another fan favorite. Case and Point, I've seen them three times and haven't seen "Prankster" once, but have seen "Want You Bad" all three times. "Come Out Swinging" is the album opener from CO1, and what a strong opener it is. It features a head-banging riff, and catchy yet unfortunately relatable lyrics. Combine that with a brilliant bridge and you have a great song that would never be played live in its 20 years of existence. There are plenty of other gems on this record, too, if you're so inclined. "Denial, Revisited," "Vultures," and "Living in Chaos" come to mind specifically.

3. Dirty Water Dog - Van Halen

There is a big fat stack of songs by Van Halen that I could have put here. Plenty from Roth, and certainly more than a handful from Hagar. But Cherone's time in the band AS A WHOLE is underrated in my opinion. The 1998 tour was criminally under-attended, Van Halen III was criminally under-sold, and Cherone's time with the band was far shorter than it should have been. "Dirty Water Dog" is only one of the handful of tracks from VHIII that is definitely worth listening to more than once. If you're into it, check out "From Afar," "One I Want," and the sole hit from the record, "Without You."

4. What Were You Expecting - Halestorm

A little-known shining star from their debut album, this song introduced the world to Lzzy Hale before she became the powerful bicon of our generation. This is her edgy, tongue in cheek confession to the world that she likes sex just as much as any man, and she certainly is not gonna fall in love with you after one hookup. This has all of the sexy attitude that "Do Not Disturb" and "White Dress" has, but "What Were You Expecting" came significantly earlier in the band's career.

5. Overburdened - Disturbed

One of the band's few early slow songs, this one is a true spectacle, and another off my favorite records of all time list. I find myself listening to this one quite often, which may come as a surprise to you since it is one of their slower tunes. It tells the tale of a line of fallen soldiers waiting their turn at the entrance to hell. They are all wondering how they could have ended up there after giving their lives fighting for their country. This song has all of vocalist David Draiman's best and strongest qualities. His powerful and intense vocal range, and his religious and political inspired lyrics.

6. Riddles - Joan Jett & The Blackhearts

This one comes from Sinner, another favorite of mine. This is the album opener, yet it was never released as a single. Instead, in true Joan Jett fashion, she released the covers from this record as the singles. The Sweet's "A.C.D.C." and The Replacements' "Androgynous." I believe that this song deserves more recognition than it ever got because it is some of Joan's best original work, and it contains that angsty anti-government edge that proves Joan Jett is a true punk at heart.

7. Scratch N Sniff - Stevie Ray Vaughan

Lyrically brilliant, musically brilliant, on my all-time favorite records list YET AGAIN, and come on, that title? Only Stevie could write a brilliant bluesy-rock jam, call it "Scratch N Sniff" and get away with it. He does say it once in the song, but I still find myself wondering how he decided upon that for a title. This song is one of many in his catalogue that I listen to and find myself wishing he were still alive and making music. It really was his gift to the world.

8. Only Broken Heart - Warrant

Warrant is one of the many 80s/90s metal acts that continue to perform to this day, and if you see them 20 times I'll wager that the setlist will be damn near the exact same at each of those 20 shows. All hits (and maybe an occasional B-Side) from their prime in the 80s. Several bands from this decade continue to tour and record, though some others will only tour. The frontman of Firehouse has even gone on record saying something along the lines of "don't hold your breath waiting for new music, what's the point? The fans in the audience only wanna hear the old stuff anyway." And sadly, he's not really wrong in saying this. Warrant has put out a couple really solid records with their current vocalist Robert Mason, but not many of their fans actually care. Which is a real shame, cause these albums are ripe with some under appreciated gems, especially "Only Broken Heart."

9. Dancing On Glass - Motley Crue

A fantastic song by a fantastic band. The band's notorious reputation for booze, drugs, women, etc. was certainly always well-known to their fans, so why did a song- featuring a brilliant metaphor for heroin- so harshly underperform compared to the mild and boring "Home Sweet Home?" Someone explain that to me.

10. Dot Your Eyes - Five Finger Death Punch

Not much to say about this one. The band is in top form here, it's an undeniable headbanger, yet it is criminally ignored compared to "The Bleeding." Bleh, "The Bleeding".... no thanks.

11. Just For - Nickelback

This song marks the exact spot when the Canadian rock group that everyone loves to hate transitioned from post-grunge to straight up hard rock. Anyone who has ever witnessed someone they care about get their heartbroken can easily relate to this one. And say/think what you will about the band, but a good song is a good song. And "Just For" is a good song.

12. It's So Easy - Guns N' Roses

This one is a bit of a stretch. It was released as a single, it's definitely a hit for the band, and it was their opening song from the Not In This Lifetime Tour, but it far undersold the boring and mindless "Paradise City." And it certainly doesn't get any radio play today, not like the unfinished and nauseating "Sweet Child O' Mine." Do yourself a favor, every time you feel like listening to "Paradise City" or "Sweet Child O' Mine," listen to "It's So Easy," "My Michelle," Rocket Queen," "It's So Easy," and "Nightrain" instead. Did I list "It's So Easy" twice? Oops...

BONUS: Bob - "Weird Al" Yankovic

"Weird Al"'s 2003 studio effort Poodle Hat features some of Al's finest work. "Bob" is a key example of Al's brilliance on this record, as he composed an uncanny likeness of Bob Dylan, and the song's lyrics are entirely comprised of palindromes. Find me another artist that can do that successfully. I DARE you.

Well, there you have it. The Under-Playlist. I promise you, this collection is a more interesting and worthwhile listen than last month's edition.

Synic Selects Vol. VII - The Under-Playlist

1. Gone Shootin' - AC/DC

2. Come Out Swinging - The Offspring

3. Dirty Water Dog - Van Halen

4. What Were You Expecting - Halestorm

5. Overburdened - Disturbed

6. Riddles - Joan Jett & The Blackhearts

7. Scratch N Sniff - Stevie Ray Vaughan

8. Only Broken Heart - Warrant

9. Dancing On Glass - Motley Crue

10. Dot Your Eyes - Five Finger Death Punch

11. Just For - Nickelback

12. It's So Easy - Guns N' Roses

Bonus: Bob - "Weird Al" Yankovic

Synic's Spotlight: A Different Kind of Truth - Van Halen

 Before we get started, let me answer some preliminary questions for you.

1. Yes, this will be another Van Halen post.

2. No, I will never be "over" Eddie's death.

All set? Okay, settle in, because what follows is a carefully thought-out retraction of my opinion toward what would serve as Van Halen's final studio record, 2012's A Different Kind of Truth.

I bought this album like anyone else would, as an excited fan ready to hear the latest offering from The Mighty Van Halen, recently reunited with Diamond Dave himself. The only drawback that I could see, was that this new evolution of Van Halen would be moving forward without longtime (and original) bassist Michael Anthony. I won't go into deep detail as to how much this hurt me personally, for that you can refer to an earlier post where I compare and contrast the 3 singers of Van Halen. For this version of VH, they would have Eddie's son Wolfgang filling in Mikey's shoes.

When I bought this album in 2012, I listened to it eagerly for the first time, and after it ended, I put it back in its case, and it sat on my shelf for the next 8 years. Admittedly, the only songs I listened to semi-regularly after that were "Tattoo," and "She's The Woman," two of every other Van Halen fans' least favorite tracks from the record. The song I hated the most? "Stay Frosty." A song that many absolutely cherish. And I cannot for the LIFE of me understand why. They tried to recreate the debut's "Ice Cream Man" with an older Dave, whose voice aged like milk, and without the bass/backing vocal harmony expertise of Michael Anthony. If anything, I take this song as an insult to their catalogue. And it personally offended me when I saw them in 2015 and they literally interrupted "Ice Cream Man" after every verse with verses of "Stay Frosty." I can forgive Diamond Dave for many of his faults, but this is not one of them.

It took the death of the legendary rock guitar icon Edward Van Halen for me to revisit this album. Many of these songs I have not heard in 8 years. So how has my opinion changed? Let's take a look.

"Tattoo" is the opening track, and albeit a catchy and jammy LP-opening tune, it certainly is not Van Halen's best. It's poppy, it's rocky, it's almost reminiscent of their 1984 brand of pop-rock. Though it just about misses with Dave's weak lyrics. Eddie certainly makes up for it with his face-melting guitar work as he always does, but the harmonies are completely missing. What was my favorite song from this record once upon a time, now falls short of the mark.

My opinion of "She's the Woman" has not changed much in 8 years. Catchy, all around decently strong Van Halen tune, probably not anyone's favorite, certainly not anyones least favorite either. However, once you hear them say "She's the Wombat," you can't un-hear it.

"You and Your Blues" gives me very similar feelings to that of "She's the Woman." Fun, strong, no real points to make here.

"Chinatown" I will put right up there along with "Tattoo." An early favorite from 2012, falls short of the mark in 2020.

"Blood and Fire," "Bullethead," and "Honeybabysweetiedoll" I will lump together and say these are some of Dave's worst vocal performances. His sound is also exceptionally weak on "The Trouble With Never," but I can at least forgive this one because it is among one of the more classic VH era sounding tunes. The sudden somber, low-toned bridge is a little unsettling, and I think the song would improve greatly if it were omitted completely. So while I forgive the song for Dave's performance, I will never stop second guessing it.

"As Is" is an unexpected favorite from this record. It was a regular skip for me back in 2012, but something about it shines in 2020. I'm not sure what it is, but Dave's lyric and vocal work are some of his best here out of the entire 13-track LP.

"Outta Space" quickly ruins that. Another epic riff from EVH and hard driving rhythm work from the uncle and nephew combo of Alex and Wolfgang Van Halen tarnished by feral cat David Lee Roth.

"Stay Frosty" was an immediate least favorite in 2012, and here we are 8 years later and nothing has changed. I know I touched upon this track earlier in this post, but I have to revisit it. I don't think I made it quite clear enough how much I hate it. Dave's vocals are astoundingly bad here, his acoustic guitar is damn near in top form, as is Eddie, Alex and Wolfie's track work, however the song feels like such a strange and unnecessary amalgamation of unfinished pieces slapped together with a weird anecdote that Dave came up with when he awoke one night in a cold sweat. Sonically it comes across as a phony Van Halen track with multiple personality disorder and it just can't decide what it wants to be. Needless to say, this is easily among my least favorite Van Halen tracks of all time. It sits down there with "How Many Say I" and maaaaaybe even "Jamie's Cryin'".... But don't tell anyone I said that.

"Big River" and "Beats Workin'" complete the downward slope of this record. Heartbreaking as it is to say, Van Halen did not go out on a strong note. This album was a once-listen twice shy, ridden hard and put away wet collection of songs. I was hungry for more Van Halen, and in a way that's what I got, with one key member well past his sell-by date. I would love to keep talking about why these songs are so bad, but how much shitting on Dave can I really do in one post?

But a lot has changed in 8 years. We got no new music, we got 2 reunion tours with Dave and Wolf, with Sam, Gary, and Mikey not even mentioned or referenced in the setlist. Finally, the king has left us. Eddie died, forever closing the door on the future of the band. So what we have now, is what we will ever get (unless Alex and Wolf go through the 5150 archives and release some secret stuff someday... dare to dream, right?)

That said, revisiting this album now I have forgiven a lot of its weaknesses. Eddie and Alex are still in their prime on this recording, and I have to appreciate it for that. We got plenty of hard rocking riffs and driving percussion from the two brothers here, maybe the last that we will ever hear. Knowing that, I can listen past the weak performances from Dave and maybe even enjoy this album now. Except of course for one song in particular... fuck "Stay Frosty."

A Different Kind of Truth - Van Halen

2 - 7 - 2012

1. Tattoo

2. She's The Woman

3. You and Your Blues

4. Chinatown

5. Blood and Fire

6. Bullethead

7. As Is

8. Honeybabysweetiedoll

9. The Trouble With Never

10. Outta Space

11. Stay Frosty

12. Big River

13. Beats Workin'

Favorite Track: As Is

Least Favorite Track: Stay Frosty....duh?

For Eddie...

 Husband. Brother. Father. Friend. Bandmate. Composer. Inventor. Innovator. Idol. Hero. Legend.

There are many words to describe the late and great Edward Lodewijk Van Halen. Listed above are merely a few of his best qualities for which he will remain immortal. I'm sitting in my living room, writing this memorial post in painful denial. The truth is, I have not yet accepted the fact that the king is dead. I can't. I won't; for a part of me has died with him. Of course, I was never blessed enough to have the opportunity to meet Eddie Van Halen, I am merely one of millions and millions of his fans, one of millions and millions who was blessed enough to hear his music, his gift to the world, and I was also fortunate enough to bear witness to the spectacle of his live performance. At the time, I thought of their 2015 summer Tour as a fun Roth-reunion tour, with an exciting career-spanning setlist riddled with all the hits, and some of the mega-fan's favorite B-Sides and rarities. Hell, they opened with "Light Up The Sky." It doesn't get any better than that. Unbeknownst to me, however, as well as the hundreds of thousands of other fans to have attended the tour, the 2015 summer Tour would actually serve as the band's unofficial farewell tour.

Eddie had been fighting a "long and arduous" battle with cancer, as his son Wolfgang called it. And this is true, he was really sick for some time around 20 years ago, when he had 1/3 of his tongue removed. He was said to be doing much better in the years since, but regrettably the cancer returned, and had spread to his other organs. Ed lost the fight to cancer just yesterday in a hospital surrounded by family and close friends, proving to the world that no one is safe from the devil disease, not even a god.

Rather than pouring my heart out all over the page and instilling more pain upon myself during this time of grieving, I thought maybe I should talk about the moment I first discovered my love for Edward Van Halen.

The first song I had ever heard (and really grasped onto) from the Pasadena rock band was 1984's "Hot For Teacher." No, I didn't live under a rock, of course I knew "Runnin' With The Devil," "Jamie's Cryin'," etc. etc. But for a kid that grew up wanting to be a drummer, "Hot For Teacher" was the one that truly changed the game. That intro, something that a high school friend of mine once described as "what it would sound like if you kicked a bass drum that was filled with rabbits," grabbed me and reeled me in immediately. I was amazed still further when that riff joined in. That riff, one of over a hundred mind-blowing licks from the legendary Eddie Van Halen. It was unlike anything I had ever heard before. I needed more of it. So I went home and dug through my father's CD collection. I pulled the only Van Halen title I could find, the one that would eventually become my favorite VH album to date, For Unlawful Carnal Knowledge. 

For you Roth fans reading this that groaned at that, get over yourself. Sam/Dave debate aside, can we FINALLY move forward and agree that Van Halen always was, and always will be, Eddie and Alex? Thank you.

Anyway, F.U.C.K. laid the groundwork for my inevitable Van Halen obsession. It was packed with more killer riffs! "Poundcake," "Judgement Day," "In N Out," "Top of the World," and more! There truly isn't a skippable song on the whole record. But the one track that truly stood out to me at the time of first hearing it, maybe this is a surprise, maybe it isn't, was "Right Now." The keyboard intro that builds and builds until percussion and guitar join in STILL gives me chills to this day.

In the years since my first discovery, I have accumulated the rest of their 12 studio albums, two live albums, and whatever demo or bootleg I could get my hands on. I have heard and studied each song time and time again, and will continue to do so for the rest of my days on this Earth, as will each and every one of Van Halen's millions of fans worldwide. It is absolutely undeniable that while Eddie Van Halen's physical being may have left us, his impact and legacy will live on until the end of mankind. 

RIP Eddie Van Halen. Long Live The King.

Outta touch, most all the time

Too many things on my mind

Shuttin' down, gotta stop this thing

Feelin'... no, I don't like what I've been told I'm feelin'

I'm bleedin'... like no one else will ever know I'm bleedin'

Dealin'... I'm dealin' with these things I'm feelin'

Evolution - Hip Bobsha

Boys and girls this has been a tremendous week for the Synic Spins camp. My inbox has been getting music review requests from all over this big blue marble. Today's request comes to us from the majestic faraway land of Rhode Island. Hip Bobsha is a self-described rock, blues, & folk band that was "brewed up and left to ferment." Their words, not mine. Their influences come from early 90s rock bands, including RHCP, Pearl Jam, Phish, and Grateful Dead. Upon hearing their newest EP "Evolution," I can 100% hear their influence here.

Admittedly, and I have never done this before, but upon starting their EP for the first time, I accidentally shuffled it, so I started with "From The Treetops" rather than "The Rope Climber." Whoops a daisy... See what I did there, Hip Bobsha?

Anyway, getting into it with the first track "The Rope Climber," I can immediately hear their influences. It is a solid opening track for an EP, as the very beginning of the song hits you with an engaging guitar intro that pulls you in almost immediately. Eventually they mellow out a little and the bluesy folk-rock commences. On top of the pile of influences mentioned above, after hearing the entire EP I would even add bands like 311 and R.E.M. into the mix. The way the songs are composed, with the catchy guitar parts and mellow vocals, reminds me very much of 311 or a mellow and drug-free Sublime. It is the singer's tone when he is delivering some of the louder, harder notes where he reminds me of Michael Stipe of R.E.M. (There are some parts when he almost sounds like a reggae Elvis Costello as well...)

"The Wellspring" takes a slight departure from these influences, and focuses on a lighter melody with a still very folky percussive drive underneath it. Sonically it works quite well. I even appreciate the whistling interludes. It's quite the fun listen, the only drawback to it is the tragically abrupt ending that almost feels as if it comes in the middle of the phrase. It seems to me that they could have done something different here, perhaps a fade-out or lighter guitar and whistling outro, rather than finishing on the vocal.

The most promising song at first glance was "Empire Blues," as you know Synic LOVES a good blues track. The guitar tone on this song is so dirty and bluesy I absolutely love it. I could smell beer and feel my feet sticking to a dirty hardwood floor while I listened to it. Unfortunately, that guitar doesn't last forever, as the blues gets periodically interrupted by some 311 reggae-folky interludes. It hurts me for this to happen as I am a massive blues fan, but alas life goes on.

For me, the weakness of this EP comes with the longer jam-band compositions. But that is entirely personal. I'm not a jam-band guy, never was, never will be. I knew I was in trouble when they claim their influences are Grateful Dead and RHCP, two groups on my least-favorite-bands-of-all-time list. Tracks like "Evenings of Sound" and "Dust" get repetitive and long for me, and they are each 7+ minutes of what feels like the same 6 measures of original music on repeat. 

As a whole, I think the EP would value from stronger mixing. I felt that the guitar was tragically washed out by some of the other components that were turned up too high. There was a long while during "From The Treetops" that I felt was far too treble-heavy, and I thought that tuning it down a bit and upping the bass. However, it was a very fun listen and it is clear to me that these guys have played music for a long time and they know how to write a song.

Evolution - Hip Bobsha

7 - 8 - 2015

1. The Rope Climber

2. The Wellspring

3. From The Treetops

4. Empire Blues

5. Evenings Of Sound

6. Dust

Favorite Track: The Wellspring

Least Favorite Track: From The Treetops

Rating: 6.4

Toxicity - The Unknown Brothers

 Ladies and gentlemen, these posts are my favorite to write. Just two days ago, I received yet another review request from overseas. This time, the artist seeking my two cents came to me from Wales. Known as The Unknown Brothers (see what I did there?), they are a self described eclectic pop-rock songwriting duo with 60s vibes. Though upon listening to their newest single, "Toxicity," I'm not sure that this description is entirely accurate. I don't believe I would use the word "eclectic" to describe their sound, however placing them in the 60s was absolutely spot on. I personally would drop them somewhere between '66 and '70, and below I will explain why. Their website offers a different bio, in which they call themselves melodic indie pop-rock, which I believe is right on the money.

Their newest single, "Toxicity," features a beautiful melody, achieved by an acoustic guitar paired with a harmony of two male voices, which, to me, very closely resembles the signature sound of Simon and Garfunkel. One song that comes to mind is "The Sound of Silence," which was released in 1966, as mentioned earlier. So where does 1970 fit in? Ask Crosby, Stills, Nash & Young, for "Toxicity" is also very reminiscent of their sound, specifically in the 1970 song "Our House."

As I have done in previous posts for single songs, as I can't pick a favorite and least favorite track, I will simply discuss the strengths and weaknesses of the lone song at hand.

Something that this song did very well, firstly, is the mixing. Each component of the song (guitars, vocals, backing vocals, percussion, etc) was mixed damn-near perfectly. There was not one second during any of my several listens of the song where I wish the vocals were turned up more, which is a common problem among younger indie bands. I thought the simple percussion throughout the track kept low provided a subtle backing rhythm for the melody and harmonies above it.

Another strength is the message behind the lyrics. Toxic masculinity is something that is widely seen throughout the world, and in popular culture, but it is rarely discussed or brought into the spotlight. Kudos to this duo for shining a light on the pressure that nearly every man in the world has felt at least once in his life.

Furthermore, the guitar melody and harmonies were the strongest part of this track, and they consistently stayed that way throughout the entire 3:10. However, I have to talk about the weaker part of the song. Someone listening to the song with me pointed out something that I may not have ever noticed myself. Each verse features the same lyrical pattern. While it fits the melody of the song beautifully, it does get repetitive and sonically disinteresting towards the end.

Time for Synic's final thoughts. Overall, I really like what these guys are doing with their sound. They are bringing back the golden age of harmonization. While it is not a sound I actively seek out to listen to on my own, it was actually a pleasure to analyze this song for The Unknown Brothers and I look forward to seeing where they go from here.

"Toxicity" - The Unknown Brothers

Synic Selects Vol. VI - The Over-Playlist

 Truth be told, guys, I really didn't know how to follow my last Synic Selects compilation. The Songs That Shaped Me was deeply personal, and writing it was immensely reflective, nostalgic, and just plain fun to throw together. So how the hell do I follow that?

Then I realized, you guys have heard enough gushing from me about the handful of bands listed below, maybe it's time I talk some shit about them. Nobody's perfect, and my favorite bands are no exception to the rule. So below is a collection of the songs I find to be the most overrated, by the bands that I hold the highest above the rest. Keep in mind that I am not saying the songs below are each band's worst song, just simply the one I consider to be the most overrated. So remember that before your feelings get hurt.

Hope you get a kick out of it, though admittedly all I could do was cringe while putting this playlist together.

1. AC/DC - Shoot To Thrill

It's no secret to any of you that AC/DC are my favorite band of all time. That in mind, it is my belief that every song they've ever shat out is pure gold. Or multi-platinum, in the case of 1980's Back In Black. BIB is the band's massive break-through record featuring 10 tracks, 10 hits. Here we are now, 40 years later and you still can't listen to classic rock radio for an hour without hearing one of the songs from this record. However, I can almost guarantee that it will pretty much always be either "Hell's Bells," "You Shook Me...," "Back In Black," or "Shoot To Thrill." But... why? In a 5-star record such as this how can you possibly select just a small handful to keep in the regular shuffle 40 years later? I especially find myself questioning the longevity of the powerful-yet-generic "Shoot To Thrill." If anything, this song to me, purely exists to foreshadow the bands plummet down the rabbit hole of writing songs exclusively about rock n roll and sex. So why is "Shoot To Thrill" a setlist staple for the band, but the tragically under appreciated "What Do You Do For Money Honey," "Let Me Put My Love Into You," and "Shake A Leg" are widely ignored? Riddle me that.

2. The Offspring - Pretty Fly (For A White Guy)

Every novice Offspring fan's favorite song, every true long-time Offspring fan's least favorite. I will admit, there was a time when I truly loved this song. Maybe a part of me still does. But there is no reason why this song was such a massive hit, and now permanent setlist fixture, for an established PUNK band. Granted, The Offspring sway from the punk definition on every record, but very rarely do one of these odd tracks become such a beloved track. Americana contains two such songs: "Pretty Fly" and "Why Don't You Get A Job?" If "Get A Job" charted higher than "Pretty Fly," then that one would have made the list instead.

3. Van Halen - Jump

Van Halen's ONLY #1 song. Why? Because it's the most typical-80s crap the band ever produced. Guitar God Eddie Van Halen wicked around with a synthesizer and wrote a silly tune so dumb that even Dave didn't want to write lyrics to it. When he finally did, he wrote them about a man on a ledge who didn't have the balls to jump. True story. So let me be clear here: fuck "Jump." So before you hop on the bandwagon and blame Sammy Hagar for the band's transition to synthesizers instead of face-melting riffs, blame the success of this atrocity of a song.

4. Halestorm - Do Not Disturb

I did not immediately dislike this song when I first heard it, but I didn't necessarily love it either. Truth be told, anything Lzzy and Co. produce is something I will most likely enjoy. But this song is one that I quickly grew tired of. Lyrically, its arousing and dirty rock n roll, which you know I love. But sonically? It's very meh. It's entirely rhythm driven, with a rather boring rhythm that the entire composition is based around. Complete with a somewhat forgettable guitar riff, I find myself wondering why this song was a lead single rather than some of the stronger tracks that come later on the record.

5. Disturbed - Stupify

I could talk for HOURS about how important to me The Sickness is. I love this album. I don't love every track, in fact there are a couple that I will skip 9 out of 10 times. While Stupify is not my least favorite track on the record, it is the highest-charting track that I often find myself skipping and wondering why it is such a staple for the band's live show. Maybe it is because of the band-crowd interaction it inspires, "all the people in the left wing... all the people in the right wing... etc," but regardless, The Sickness contains other tracks that I find to be far superior and under-appreciated compared to this one. "God of the Mind" and "Meaning of Life" specifically come to mind.

6. Joan Jett - Do You Wanna Touch Me? (Oh Yeah!)

One of Joan Jett's long string of hits that she didn't write. I love Joan Jett, I can't imagine a world without her, but look at her setlists from the last 30 years. if she plays 16 songs, 14-15 of them are covers. So of all of these, why did I pick "Do You Wanna Touch Me?" Easy. Gary Glitter. Not only is the song itself just simply mindless and dumb, but Gary Glitter himself is a truly disgusting human being. Browse his wikipedia page if you are unfamiliar, then forget he ever existed and pretend that Joan wrote this song herself, like the rest of the world has been doing since 1981. 

7. Stevie Ray Vaughan - Pride & Joy

Refer to my earlier point about "Shoot To Thrill." Over the course of his career, SRV wrote countless blues jams and powerful riffs that redefined Texas blues-rock. So why is it that when you turn on the radio and IF he comes on at all, it is ALWAYS "Pride & Joy?" Explain this to me. Please. I could blindly pull a song from his discography and I guarantee I will have pulled a lesser-known track that I would rather listen to 10/10 times over P&J. Is it a bad song? Of course not. But SRV definitely has better.

8. Warrant - Cherry Pie

This is a song that even the band wishes didn't exist. When they were cutting their sophomore record, Warrant originally intended for it to be titled after the lead single, "Uncle Tom's Cabin," however the record company felt that they needed a stronger, more anthemic track to serve as the lead single. So, an annoyed band wrote and slapped together "Cherry Pie," one of their biggest hits (and permanent encore track) ever. An obvious and lazy metaphor, with obnoxious and repetitive lyrics. I find it personally offensive that something as lyrically juvenile could ever supersede something as brilliantly written as "Uncle Tom's Cabin." There are several other tracks on this record that I believe far outshine "Cherry Pie" as well. Needless to say, if I were building a Warrant mixtape, "Cherry Pie" would be the LAST track I thought to include.

9. Motley Crue - Home Sweet Home

Full disclosure, I don't have much to say about this one. It's a good power ballad, but they have better songs than this one. I listen to it regularly, but it is far from my favorite of their catalogue.

10. Five Finger Death Punch - The Bleeding

This is the only charting single from 5FDP's debut record. Even from someone who loves metal such as myself, this one is too much for me. It is instrumentally disengaging, and the vocals are very tragically delivered. Ivan sacrifices his surprisingly beautiful singing voice for his agonizingly abrasive screams and wails. Good news, though. The album includes an acoustic version of the song as a bonus track. The bad news, it's somehow just as bad as the original. Of all the songs on this playlist, there are really only two that I truly dislike. This is one of them.

11. Nickelback - Photograph

This is the other one.

12. Guns N' Roses - Sweet Child O' Mine

The iconic riff to this came from a warm-up session Slash was noodling around with before heading into the studio to record Appetite For Destruction. Axl loved the riff so much he demanded they record it. So they had a full tracks worth of guitar, bass and drums, but they only had half a song's worth of lyrics. So in the studio, Axl found himself asking the band "Where do we go now? Where do we go?" But they ran out of ideas, so they recorded 2 minutes worth of "Where do we go now?" This is arguably one of the most iconic rock songs ever recorded, but it is far from the best track on Appetite. (Looking at you, Nightrain...)

Bonus: "Weird Al" Yankovic - The Saga Begins

This is far from being "Weird Al"'s highest-charting track, but it IS a parody of the also overrated "American Pie" by Don McClean. The lyrics are simply a synopsis of The Phantom Menace, which is Episode 1 of the ALSO highly-overrated Star Wars movie franchise. What's more, this song will be 50% of Al's encores at every live show he will perform from 1999 to present. That said, I will still sing every word along with him when I am in the audience, but I will also tell you 10/10 times that I would've rather heard literally any other song that he recorded. Enough is enough, bro.

So anyway, that's it. You made it to the end. Congratulations. Or should I say I'm sorry? Either way, thanks for tuning in.

Synic Selects Vol. VI: The Over-Playlist

1. AC/DC - Shoot To Thrill

2. The Offspring - Pretty Fly (For A White Guy)

3. Van Halen - Jump

4. Halestorm - Do Not Disturb

5. Disturbed - Stupify

6. Joan Jett - Do You Wanna Touch Me? (Oh Yeah!)

7. Stevie Ray Vaughan - Pride & Joy

8. Warrant - Cherry Pie

9. Motley Crue - Home Sweet Home

10. Five Finger Death Punch - The Bleeding

11. Nickelback - Photograph

12. Guns N' Roses - Sweet Child O' Mine

Bonus: "Weird Al" Yankovic - The Saga Begins