***** Midnight Blue by Kenny Burrell – The Only Legitimate Criticism of It Is That It Lacks Aggression

Firstly, I would like to say that all of the songs on Midnight Blue are great, and that that is the reason this one is a 5 star album. Though don’t mistake this one for the shred style albums, I am likely to give 5 stars, because Midnight Blue is a mellow album, in the vein of Kind of Blue by Miles Davis. Midnight Blue is better than Kind of Blue, but that may only be because I prefer guitar to trumpet. I am a guitarist, and if you ask me, Kenny Burrell on Midnight Blue is the real deal. Clearly, aggression wasn’t Burrell’s goal, but so often I go for the aggressive album, as compared to the blue album. That is, when it comes to Kind of Blue by Miles Davis, Blue Trane by John Coltrane, Midnight Blue by Kenny Burrell, and so many other jazz artists that had a blue album, frankly, this isn’t my favorite style of music. I can appreciate it, and that is where the 5 stars come in, but in the long run, this really isn’t my favorite style.

One thing that is striking about Midnight Blue is how well the guitar functions as a chording instrument. These aren’t boring chords. The chording on this album is quite skilled.

I like jazz, and that is probably one reason that I am a fan of Kenny Burrell. If you get into jazz guitar, then Kenny Burrell is a staple, but he is slowly being forgotten. There are better artists out there today that are less heard of than Burrell. Really, nothing separates Kenny Burrell from the local jazz act in many places. Such an act may have a name guitarist, but because he or she did not come along until this generation, he or she is lost in the shuffle. However, this is where the problem starts for giving him a 5th star. That is, because Kenny Burrell is really only known well among cloistered groups at universities where people go to study music in order to get a degree in it, and he is then only remembered among those knowledgeable in jazz, increasingly Kenny Burrell’s popularity has been waning. If you ask me, while this is a great album, it will eventually lose its status as a standard. I think it can be outdone because for the most part I prefer shred to music like King of Blue, or Midnight Blue. As for now though, I think this album is still a 5 star standard.

**** Live at Budokan by Dream Theater – Far From Bad, but also Far From Essential

Let’s face it; Dream Theater is better in the studio than live.  Live at Budokan isn’t bad at all though.  The mix does suffer a bit.  Live at Budokan sounds like an assembly of songs with less sound quality than a studio disc, and it doesn’t even serve well as a greatest hits package because there is never a song that seems like parts of it aren’t filler.
Why Dream Theater bothers releasing anything but their best live stuff is beyond me.  All the way back to “Once In a LIVEtime” they released a cd where James LaBrie’s voice was hoarse.  Why on earth that they would have picked this, one of the last stops on that tour to make a live set (for Once in a LIVEtime) is perplexing?  They did the same thing when they practically wasted the first cd of Live Scenes from New York.  Disc 2 was great off that one, but when they played the entire Scenes from a Memory from start to finish on Disc one, on that particular day in New York it was a catastrophe, IMHO.
Most bands never come close to being this good, and that is where the 4th star comes from.  However, what Dream Theater is doing with disc sets like Live at Budokan is saturating an already saturate market.  I would scarcely miss this one if I no longer had it.  Additionally, there is enough good prog metal that makes this even further nonessential.
It is a good set of three discs and all 3 are good, but it is just no where near as good as their average studio album, and they have plenty of studio albums by now, well maybe.  It does seem like I always end up craving a new Dream Theater album.
I have been burnt enough on Dream Theater’s low quality live albums that I am not looking for the next live album coming down the pike.  For example, I am not even going to waste my time on Live at Luna Park.  I am not going to say DT can’t play live.  They proved that they are one of the best live acts on earth when they released Score.  However, for the most part their live acts are a disappointment.  Even the times when I have personally seen them live, the band seems to lack personality, and can’t compare with more suave acts like Queensryche.
Granted it seems like there is not a track that doesn’t have both a highlight, and also lull.  But, for the most of the part, I wouldn’t reach for this one off the shelf, having a chance to listen to others is because the bulk of this material has dry parts, or parts that are cheesy in quality or lack feeling.

**** Without a Net by the Grateful Dead – No Drugs Necessary to Enjoy This!

First, of all, I am not much of a dead head. I have never seen them live. I don’t do drugs. However, this is a really good concert. Phish is better, but the Grateful Dead was a good prototype. There is more to Without a Net than just humdrum scatterbrained sound. The Grateful Dead are definitely talented, and their improvisational skills shine through on Without a Net. Is this the Dead’s best? I’d have to say, “No.” However, this one is up there as being one of their better efforts.

What interested me in this disc was the Grateful Dead’s inclusion of “Eyes of the World” on the band’s greatest hits compilation from the Arista Years. I later learned who Branford Marsalis was, and that would happen to be that he has been one of the most influential musicians ever; captured in this song on saxophone. I figured that since Eyes of the World was so good on the Greatest Hits compilation that it would be worth it to pick up a copy, and I figured right. I can’t say that is true for some of the other albums by the Dead.

I have to admit Jerry Garcia’s voice sounds rather worn out, no doubt due to drug use. However, the voice does have a bit of charm to it.

Another highlight is the Grateful Dead’s version, “Mississippi Half-Step Uptown Toodleloo,” which at times is quite emotionally evocative, at least for me, though I have never crossed the Rio Grande, or any of those other rivers.

This is a stand out disc from the Grateful Dead’s mediocre Arista years. It is good from start to finish though I would hesitate to call it great. This time period may be compared to the Rolling Stones releases late in their career, where the disc usually has one good song, and yet the Dead put out a really good album. However, this disc stands out from this time period as being worthy of purchase.

What is really great about Without a Net is that I have had it since High School, probably 1996 or so, and it still entertains me.

*****The Kindness of Strangers by Spock’s Beard – Excellently Written Prog That Isn’t Showy

A part of the reason why people who aren’t musicians listen to music that is not good (the popular junk that is on the radio) is because progressive music is often quite showy, especially prog metal.  Usually, half of the prog in prog it that it is about the guitar solos.  If you are looking for solos that will wow you, there aren’t any on The Kindness of Strangers.  The music doesn’t even rely on high speed licks.  What makes this prog in my opinion is that the song writing is superior.  Someone could probably pull this album out from the shelf 500 or 1,000 years from now and would still find it as enjoyable as I am as I write this review while listening to the album.

The songs are beefy on the song craft, very catchy, very diverse, and very mature.  It is easy to listen to a lot of Spock’s Beard and not grow fatigued.  This isn’t children’s music though the content is not over the top with risqué topics.  It would appear that Neal Morse has been a champion of wholesome music even before he became Christian.

Really, the hardest part about listening to an album like this one from Spock’s Beard is that it is extremely good music - catchy, hip, etc. - music, but despite being so awesome it never got popular.  Neal Morse is to music is as, Vincent van Gogh is to art.  If you ask me, this is every bit as good as the ever more popular Phish.  However, I don’t believe the front man, Neal Morse, would put up with the drug use that Phish puts up with at their shows.  However, why Neal Morse isn’t nearly as big as Phish perplexes me.

If you like this one, I encourage you to check out the Flower Kings, Phish, and Transatlantic.  Of course there are other good similar progressive acts, but I will keep my list short, but I would put this music also in the same category as the Gypsy Kings, Soulive, Jimmy Smith (really the organ stands out), and Medeski Martin Wood.

So what do I think of most when I listen to this cd?  I think of song craft that is awesome from start to finish.  I also think of organ, because the Neal Morse is a vocalist/organ player.  However, while he does stand out as the front man in Spock’s Beard, the whole band comes across as awesome.

The hardest part of listening to this band is when Neal Morse converted to Christianity, and formed the Neal Morse band, which played Christian music that was absolutely terrible.  I think of the song that said, “In the name of Gd you must die,” which was supposed to be mocking the idea of slaying someone in the name of Gd, but that song never came across as was intended, and it ended up sounding like Neal Morse was serious about happily slaying people for fun in the name of religion.  Once on his Christianity binge he broke up Transatlantic, and Spock’s Beard.  Now, I am glad that he is back and into with Transatlantic.  I am also sure he would not hesitate to put out a new Spock’s Beard at some time in the future.

*****Surfing with the Alien by Joe Satriani – Weep Techno Engineers, Satch Is Better than Machinery

If you are looking for a fan of Joe Satriani, I am not.  I like this Satch disk.  That is it.  Yes, it is true; I didn’t much care for his more recent work with Chicken Foot much too.  (Though I reviewed Chicken Foot first, I have been more familiar with Surfing with the Alien, since high school c. 1996, which I got after liking The Extremist.  However, I no longer like The Extremist).  I have never heard anything else of Satch’s, other than Surfing with the Alien that I liked or didn’t bore me.

I am positive that he is a phenomenal guitarist, but it is just that I never seem to like the music he solos over.  When Satch is king, he spoils the stew.  He usually sets it up so that he is the star, and the other instruments just support him.  He is a hog of the good music on his albums and usually I hate that, but this album despite being the guitar virtuoso at the center of attention, as if he is only person at the show is any good, this album is really good, really.  This is Joe’s best work so far as I know.  I do know a Satch fan who thinks Surfing with the Alien isn’t his swansong though, but as far as I know this is his best.

My favorite song on the album is track 4, “Always with Me, Always with You.”  Usually, I am not a fan of slow music, but this song is great.  Think Tears of Sahara if you are a Tony MacAlpine fan, oh yeah I forgot Tony MacAlpine has consistently put out better music than Satch, and suffers from obscurity.  This is a problem for many musicians, but I digress.  Track 4 is so lyrical, and Joe leaves nothing aside in the song that could hide his anything but perfect playing.  No computer techno beats could touch a song like this one.  It takes a human musician’s touch to make music like this.  You can’t program something as good as this for programming can’t account for the inflections of one’s touch on their instrument (provided that you are a good musician).

Just like a 5 star album should be, every track is awesome.  No second on Surfing with the Alien is wasted, start to finish, well almost, track 6, “Circles” is terrible.  That one almost got by me because my 100 disc shuffler usually never plays track 6 on any cds.  I have to wonder if the engineers where paranoid about the number 6.  666 the number of the beast or even the number 6 on its own sometimes creeps people out.  As I write my reviews, I usually have the disc in player while writing.  Oddly enough, at this point in the review track 6 came on, just as I was musing over how this disc is flawless.  Lol!  I have had this disc in the player for probably more than a year and never heard track 6 once, as usual, due to the weird engineering of whoever made my (actually, my wife’s) disc changer contraption.

***** Fire Garden by Steve Vai – Highly Recommended Progressive Rock Soul Music

What separates Steve Vai from the other leading brands are that able to shred faster than him is that he is better able to put his soul into his music.  I realize that I am invoking supernatural powers to suggest Steve Vai is just a better musician than the competition.  I am a spiritual person and I hope that is okay with my audience.  If you don’t believe in Steve Vai’s supernatural powers, I suggest seeing him live.  He puts on a good show, and you will see progressive rock soul music looks like.

While I owned some of Vai’s music prior to when the Ultra Zone came out, the Ultra Zone is what got me into him.  I would imagine that Fire Garden would have captivated me just as much as the Ultra Zone had I experienced it first.  My first experience with Steve Vai was Sex and Religion, and when I was in high school, I thought that album was just terrible, but now I love it.  Sex and Religion has very little shredding and is about song craft, but not usual song craft.  It is more like song craft from planet q.  That album, Sex and Religion, actually turned me off to Steve Vai, and it wasn’t until one of my friends played Ultra Zone, c. 2,000, for me that I was hooked.

I wish I had got Fire Garden earlier.  It has been in my 100 disc changer for many years now.  It is a true favorite of mine, even to the extent that I would probably have a difficult time getting along with someone who wasn’t able to appreciate this album for its greatness, technicality aside.

Fire Garden - like every five star album should be - is superior quality music from start to finish, while at the same time providing a lot of music.  Vai has a lot to say on this one with his guitar, and if you get it, I don’t think that you have to be some sort of genius to appreciate this one.  IMHO this one has been good from start to finish year after year.  It didn’t require me to adjust my musical taste to appreciate it.  It wasn’t hard to get into.  It is a readily accessible work art.  What more can I say?

 

 

***** Bridge Across Forever by Transatlantic - Unbelievably Awesome!!! Never a Dull Moment!!!

This album remains among the somewhat hidden treasures of today’s musicians. I love a good secret, as long as nobody gets harmed in the process.

If this album had been cut when the Baby Boomers were young, I predict that this band would be filling stadiums. Transatlantic is better than The Who, or The Rolling Stones, and might be considered on the elevated level of a timeless band like Led Zeppelin, or Jimi Hendrix. I love that though. It would be a shame if Transatlantic filled stadiums full of beer drinkers throwing up and doing drugs. Transatlantic is a lot like Phish. However, fans of Phish are almost always drug users as well as music aficionados. If you listen to Transatlantic, then you will probably find that drugs are not cool at all by this band.

The songs on this album are too long to make it readily accessible by the regular America crew. I would definitely opt to see Transatlantic live though for that reason. It is really good music that would only attract an intimate audience. Most people just can’t stand for songs that are long, but I can assure you that though these songs are long, there is never a dull moment.

Bridge Across Forever is even better than Transatlantic’s first album, “SMPTe,” and I give both albums a 5 star rating. I don’t just hand out 5 star ratings like most people. If an album gets 5 star rating from me, then that means something.

So who is this album not for? I would have to say the masses of teenagers, and frat boy college students, that are merely looking to fit in because they feel uncomfortable listening to anything except something that has promotion, and national attention that only major label records can afford. As Rush says in their very famous song Subdivisions, its “Be cool or be cast out,” and I would figure that a Rush fan would dig this, but not someone who listens to Rush only when they are on the radio. If you seek Rush, then I hope you find Transatlantic.

I like this album because at times it is very jazzy, and then at other times it is very rigidly written. Also, unlike many albums I like this album sounds beautiful in the way that level headed person would perceive. It is an album where the musicians have taste, and it is not so difficult to play that compression dominates the sound.

This is moderately complex music though this is prog rock. It is not musicians showing off their chops. Every note has its place, and though there is jamming there isn’t a single superfluous note on the entire album! There are very few albums I could give such high praise to. However, when this was released it could still be said that usually if a Dream Theater member is on an album, or in this case a former Dream Theater member, then there is no filler on the album.

**** Live at Budokan by Dream Theater – Spotty. Buy It If You Are A Fanatic. Skip It If You Are Not.

This was my first indication that the album 6 Degrees of Inner Turbulence was not a total loss. Score proved that without a doubt, and so did 4 Degrees of Radio Edits. Score is a 5 by any standard, and those that criticize are not correct, they are wrong, but that is not this album.

Now, I know that I am in the minority, as most fans loved 6 Degrees of Inner Turbulence. My major criticism of that album, 6 Degrees of Inner Turbulence, is that the songs on it are too repetitious. For some reason on Live at Budokan, songs from that album don’t bother me as much.

There are definitely some tracks on this one that are not as good as they could have been. If they took Live at Budokan into the studio, and worked some magic, I might have loved this album. For example, “In the Name of God,” has an absolutely incredible guitar solo, but LaBrie is a little lacking on that song, and there are a few times when it sounds like the show nearly falls apart given a little improvisation. That is how this album goes. Usually, it is not perfect like a studio album, and Dream Theater is the type of band that needs to sounds perfect, or else they sound like they are playing under their own ability levels!

Sometimes Jordan’s keyboard sounds cheesy, sometimes John Petrucci’s guitar sounds cheesy, James LaBrie’s voice sometimes sounds awesome, other times it needs some help, and the bass is almost non-existent. Mike Portnoy comes across very well.

This is not an essential Dream Theater album IMHO. With Dream Theater, you can expect to hear flawlessness, especially with their studio albums, but as usual, and with Live at Budokan, the live albums Dream Theater releases are spotty.

***** Metanoia by Porcupine Tree – Top Notch Rock Jazz Fusion That Is Not for Everyone

Lol. I was reading on the internet that this album, Metanoia, has been called the opposite of Stupid Dream, but every bit as good. That is so accurate! Why they didn’t release it first as a regular Porcupine Tree album is beyond me…well sort of…this music is great, but it doesn’t sound at all like Stupid Dream, which is often called Porcupine Tree’s best cd, especially by those that don’t commonly listen to progressive rock.

Stupid Dream does not lend itself very well to jazz blending. Stupid Dream’s songs are written seemingly to catapult the band to the fame of bands like Rush. Rush is one of those bands that plays a song again, and again, and again, until they get it correct, and then the song is played exactly the same way for the rest of all time.

Also, if you are looking for something with lyrics, then this one will fail you.

If you want to know how good jazz fusion can get, I highly recommend this album. This is like the sound Miles Davis was trying to achieve in his later years. In fact, Metanoia reminds me a little of the Miles Davis album Bitch’s Brew, except in my opinion Metanoia is better.

Metanoia has some fantastic jams.  In fact, they go really well with the other album I am reviewing today, "Spontaneous Combustion," by the Liquid Trio Experiment. You just have to give it a chance though. If you don’t like this one on first listen, I completely understand. However, if you walk away from this album with a negative opinion of it, I judge that you are not a fan of good music. If you don’t like Metanoia, go listen to it when you drink or something, as for me I like this one sober.

**** Listen By Jordan Rudess – Excellent, But Not Jordan’s Best

If you like Marillion, then chances are that you will like “Listen” by Jordan Rudess. My guess would be that if you have heard of and listened to Marillion before looking for this more obscure work, as it is his first album, predating his more famous work with Dream Theater, but times are a changin’, and Jordan Rudess has achieved super star popularity in the band Dream Theater, far more popularity than Marillion ever had.

If you are looking for something that reminds you of Dream Theater, while this music is still quite technical, I would have to urge you to look somewhere else. This album has hardly any resemblance to Dream Theater. If you are interested in collecting all of Dream Theater’s and their members solo projects, then this one might be a good one to own in the way that James LaBrie’s Winter Rose is worth owning (both of these pre Dream Theater efforts are really good.) I do have to admit, though the rest of the band does not remind me of Dream Theater at all, by the time Jordan produced Listen, a good deal of his technical style, which so far as I know was uniquely developed by him is possibly a result to the musical doors that had been unlocked to him through keyboard technology. Some people find this technical stuff, sounds that only could be produced by a keyboard played with what seems like high precision randomness to be annoying, others, like me, love it.

This album is not a 5 star work though. It is not an essential album in any way. It is the music of a serious young musician, someone well on the path toward being virtuoso, if not even a virtuoso by this album. I can’t quite put my finger on why this work falls short of 5 stars from a technical point of view. Dare I say that it is the song craft that makes this a 4 star album; I think so. That’s it. If you believe this is a 5 star album, I understand if you disagree with me, however.

***** …And Justice for All by Metallica – Trailblazing Metal Innovation

I think I was in 4th grade when this album was released. I vaguely remember that Metallica had been nominated for a Grammy or some other award, and that at the show they were to perform a song. However, I don’t remember much more than that.

Metallica was really just starting to gain in popularity with this one. This was when they still had something to prove. In my opinion, they proved themselves to world fully with the black album. After that, there was nothing left to say. Load and Reload where after the fact, superfluous and not necessary. Over Metallica’s first 5 albums they proved they play beyond a reasonable doubt. They proved that their names belonged to the ranks of musicians that have influenced the world in the same way Beethoven has, even though there are bands that are better than Metallica.

S&M was a silly little ditty, though that is generally considered to have bridged the gap between metal and classical music, I, personally, find that idea hilarious. If you are a classical musician, and can’t hear the talent on Metallica’s early albums like this one, then I would question your credentials.

First, and foremost, if you don’t like most metal, I might suggest that you give this album a try. It is really one of those albums that almost anyone should be able to appreciate. For example, try listening to the song, “One.” You shouldn’t need any help from a lyric sheet. Sure the vocals do have some rasp, but only to the extent of adding flavor in a tasteful way.

***** Emergent by Gordian Knot – Obscure But Awesome

It should be no surprise that this album is tremendous.  Look at the names of the players.  They are the names most progressive rockers should know.  For example, Jim Matheos (Fates Warning, OSI) plays on this one.  If you want a really good album by him, pick up either this one (Emergent) or Office of Strategic Influence by OSI.  Fates Warning also has some darned good albums.  Also, I recognize the name Bill Bruford, a guru on his instrument, (King Crimson) who plays on Emergent.

Apparently this incarnation of Gordian Knot has all the original members of Cynic.  I remember listening to Cynic at college and not finding the music to be that great.  However, my tastes have changed radically since college, so that doesn’t mean anything.  Cynic was at one time considered one of the best progressive heavy metal bands, along with bands like Fates Warning.  However, over time so far as I know Cynic has fallen into obscurity.  I never hear anyone talking about the new Cynic album, or if Cynic is going on tour.
Really, it is a shame that Gordian Knot’s Emergent didn’t take off.  To date the band has 2 albums, the first of which had John Myung on it.  Apparently, John Myung’s name was not enough to carry this band to a level where they might play small clubs.  Gordian Knot is essentially unknown.  The world is upside down.  Most musicians in popular bands deserve to bow before these musicians.

***** My Favorite Things by John Coltrane – Tasteful Excellence for Anyone and Everyone

My Favorite Things gets my highest recommendation. It is a timeless classic. You could pull this cd out 1,000 years or more later, and this cd would still be cherished by listeners, both tone deaf and those with perfect pitch, and everyone in between. From start to finish, everything about My Favorite Things, the compact disc, remade from the original, is every bit as worthy of cherishing. If someone said, “I’m interested in jazz. Where should I start?” This would be one of probably the top 10 cds I would recommend.  I would say, “If you are looking for jazz, My Favorite Things won’t let you down, and if it does then you might consider yourself as some sort of new species, other than human.”

I actually purchased this disc a long time ago, back when I was at college and in my John Coltrane phase. That would be roughly the year 2001. That disc, the original, got scratched. However, I had burned a copy of it for the car, and that disc, the one I am reviewing, has no scratches. The original got tossed in the trash. That brings me to an important issue. The issue of duplicating cds, which I believe is completely okay to do in the same way people duplicated cassette tapes back in the day. Having a back up is an important thing! I currently have at least one cd in my 100 disc changer that can’t be duplicated for whatever reason, such that if I try to burn a copy, computer won’t comply. If that had been the case with My Favorite Things by John Coltrane, I wouldn’t have been able to have even a copy to write a review, all these years later, because the original would have been scratched. That’s just food for thought, and really almost aside from the review of this cd.

This disc is definitely one of my favorites by Coltrane tied with discs such as, Giant Steps, that are among my favorite discs. This disc is among my favorite things. I love music, and My Favorite Things is a sonic jazz treasure. However, it didn’t spend that much time in my 100 disc changer this time, not because I don’t like it anymore, but because I have much of it memorized. I don’t like to listen to the same thing over and over, and I tend to favor music that does not have a lot of repetition, as I could definitely say I am not sick of this disc. It is just to say that it is time to move one.

Much if not all of this music is in the Real Book. Honestly, I can’t quite remember if everything from this disc made it in. I often overlook the local jazz musicians, who have not composed their own music, and continually play the same stuff from the “Real Books,” as opposed to Fake Books, where it is thought that what makes a Fake Book, “fake,” is that somehow the original has been perverted just a little bit, such that copyright infringement has not occurred.

When it comes to jazz, there is no danger in writing a Real Book, because of the nature of jazz. Jazz is not supposed to be played the same way, and also to argue before a tone deaf jury of tone deaf walkers that the Real Book was indeed copyright infringement would probably be impossible, as there is just simply not enough information about the songs in the Real Books, because it is jazz, that one could arrive at the original completely through just copying the music.

Jazz is a music that by nature must have improvisation. The Real Book provides what is called the “head,” of the song, which is sort of like the theme of the song, almost like a chorus, though perhaps it is only played only once, twice, or thrice during a song.

**** I Care Because You Do by Aphex Twin – As With All His Works; You Love It or Hate It

Firstly, I like artsy fartsy music, so it should come to no surprise to the reader that I really like this cd.  Every song is weird in its own strange way.  Be prepared for some very unusual music if you should buy this cd.  Mostly, I like this though because it is music.  As far as I know, in the techno genre Aphex Twin was the original artist that tried to make music via computer that was also skillful and thought provoking, appealing to college students, and even geeks like me that don’t like any other techno artist.  Maybe there are other good techno artists by now, but Aphex is the original, and probably the best.  The reason I don’t give this 5 stars is that I don’t believe that it is timeless.  Computer technology will likely evolve and I Care Because You Do will probably become dated, in favor of better written music.  Though I love them, these songs just aren’t 5 star quality.

*** Greatest Hits: Back to the Start by Megadeth – Just Okay Because Some of Remakes Are Sub-Par

Let me tell you something. I have been a fan of Megadeth for a heck of a long time. One of the first compact discs I ever got was Countdown to Extinction back when it was brand new in 1993. That was back when compact discs used to come with extra cardboard paper packaging artwork. I put my picture of Vic in my Trapper Keeper notebook, as a proud statement that I was a fan of Megadeth, who for most of my life I have thought are one of the coolest bands on earth. I have seen Megadeth live twice. Really, Megadeth is one of my favorite bands of all time, along with Dream Theater. I even loved Killing Is My Business and Business Is Good.

So, by now you must be wondering, where did Megadeth go wrong on “Back to the Start?” That answer is entirely in the mix. I loved all the original mixes, and I detect that in this remake they tried to make the album sound better through doing a tad of things such as adding the effect, compression. I hate compression, probably, because it seems as if everyone uses it these days. Sure, the kids probably won’t know the difference, and maybe even will like it better, but Dave you’ve got to admit that you sold your soul to the devil on this one.

Of course, some of the tracks that were originally released with compression like Skin O’ My Teeth rock hard. It is just that I don’t like the touch ups on what I considered to be the old classic Megadeth albums. They didn’t need touch ups.

Additionally, while I don’t like this record mixed in with other discs, as I crave the original sound not the remix, as a whole the album mixes better with the touch ups. For example, Hanger 18 sounds hideous in this collection. Megadeth has been around for so long that technologies have changed, some for good, some for bad. What this means is that when listening to a bunch of music the technology on each album usually varies, and this hits package seems to try to overcome that, and it does so with a moderate amount of success.

**** Greatest Hit (...and 21 other pretty cool songs) by Dream Theater - Great for Fans of Mellow DT

Though I would give most every Dream Theater album 5 stars, it always seemed that on every album there was one song that stuck out like a sore thumb. These songs where often released as singles for some reason, as they never gave the band any popularity.

Most of Dream Theater’s fans like it complex, heavy, and fast. Most of the songs on songs on this album have a modest amount of complexity, but no heaviness or speed, and when I say heaviness I mean strictly slammin’ riffs, and not emotional heaviness, as one could perhaps conclude that these songs are in fact heavier than the others, according to personal taste.

Prior to this album, however, these songs were not among my favorites by DT. In fact, they were my least favorite prior, as I liked the more complex and heavy side of Dream Theater. However, the mix on these songs sounds like they have been redone, rerecorded, and that the general quality of the music was increased.

What I can say for this album is that in an amazingly coherent and well put together way, these kinds of songs on the albums that seemed as loners fit together very well. And, frankly I was surprised at this, but Dream Theater usually does surprise me. I was surprised because when I heard that when Dream Theater said that they were going to come out with a greatest hit like package, I had no clue what that would consist of, as to me every song on most every album belonged in that a package.

Also, it is worthy to note that finally the song, “To Live Forever,” made its way onto a major album, as prior to this release it had been kicked around and reworked several times on bootlegs prior to this release.

**** Friday Night in San Francisco by Al di Meola, John McLaughlin and Paco de Lucia – A Bad Moment Nearly Ruins It

A really bad moment on track 2 stole the show, literally.  For the most part the audience is into it, but the audience cheers the loudest during the most simple part of the cd, a mere 12 bar blues without any solo.  If I could merely edit out that part, then this album would rate a 6 out 5 possible stars.  Really though, this album doesn’t have enough tracks on it to keep something on track 2 that only a loser would like.

That makes me think two things about this album.  The first is that, maybe this audience was so trashed and drunk that they couldn’t tell what parts of the music were good.  The second is that, maybe this audience is completely tone deaf like most Americans are.  America is terrible at educating most of its high school students in the arts.  The result is that people act like parrots, such that when someone with credentials from the Baby Boomer Generation recommends something they listen, but the problem is that they don’t appreciate it.  Most of America even at the college level doesn’t know the difference between major and minor, and that is pathetic.  Take it from me.  I stopped listening to popular music in 8^th grade in favor of stuff that usually took more skill to play, though I do admit listening to Nirvana.

Other than that, this Saturday Night in San Francisco is magnificent.  It is a rare moment in history: A summit of the best known flamenco guitarists that may very well have been the best in the world when this album was cut.  These days often times it doesn’t matter how good you are.  You could be unknown and the best guitar player in the world at the same time.  I know of no other album that blends the skills of guitar in this style as well as this one.

Audience aside, it is a true gem, but it is a gem with a giant blemish.  Imagine a huge diamond that at its center has a colossal malformation.  That malformation is the audience cheering its loudest on the entire cd for the part that is the worst, and most contrived deformity, and should be thought of as an embarrassment to musicians everywhere.

The best track on this album is track 3.  I haven’t heard the song elsewhere, and so it is extra special in comparison to the other songs which if I recall correctly I was already well familiar with them before this live disc.

***** A Show of Hands by Victor Wooten –Move Over Ron Carter, Victor Wooten Is Probably The Best

This album is a solo bass album.  Not too many bassists would do that.  It explores the bass in ways that only Wooten can.  Why?  Wooten is the probably the best bassist of his time.  I think he is far better than Ron Carter even.  He needs no other musician to aid him to fill out the sound.  In fact, I think the summit of music’s super powers, the Dennis Chambers, Greg Howe, and Victor Wooten album didn’t quite capture the essence of these players very well because they are all capable of performing solo and for them to play together tripping over each other’s beats must be very difficult.  So, I would recommend this album for anyone, and I would expect that just about anyone would like it.  Just because I would recommend an album for everyone however does not mean that I would also expect them to like it.  There are some vocals on the album.  However, they aren’t central to the album, and they add very cleverly to the sound.

***** Destroy Erase Improve by Meshuggah – Unique and Awesome Are an Understatements

From start to finish, this album has rhythms that I had never heard previously.  The aim is heaviness, and it is good heaviness.  There is some clean channel noodling that makes for a break from the onslaught making the heavy parts seem even heavier, rather than all heaviness, which in my opinion often just leaves the listener numb.  If you are into metal, then get this album; it is essential to any metal collection.  Because its rhythms are so unique, I would put the influence that Meshuggah has on par with bands like Black Sabbath, and Deep Purple.  Destroy Erase Improve is really the first album where Meshuggah evolves their trademark style of rhythms that nobody has heard anywhere ever before so far as I know.  I would recommend this album to anyone, even though anyone won’t like it.  Really, anyone who appreciates music should be able to appreciate this one.  This is some of the best metal ever made!

** III by Chicken Foot – Music of the Rich, For the Rich, and By the Rich

This album suffers from a major problem.  The problem is that there are loads of unknown bands that can play at this level of talent that are almost completely unknown.  I admit this album does have its moments where it is really good.  However, at its core this is same old same old rock n’ roll and I would rather go to a local bar and sit on the bar stool with a front row seat to listen to music like this.  Seriously, I don’t have a lot of money.  The chances I’d have the money to see Chicken Foot live are nil because I have no money.  I can’t believe the audacity of the singer thinking that he has something in common with the common man through adding a track about the woes of common people, as if this would make it okay when they bring in millions of dollars in album sales alone.  The music is worth 3 stars in my opinion, but the mass marketing of this band and its support that it has undeservedly received has this album clocking in at 2 stars IMHO.  I don’t like music of the rich, for the rich, and by the rich.