...Like Clockwork [2013] - Queens Of The Stone Age

Ask any QOTSA fan and they'd tell you that the last six years have felt very long. In between recording albums for the Eagles of Death Metal, Them Crooked Vultures and dying on the surgery table, there wasn't much news from Josh Homme regarding the long awaited follow up to 2007's Era Vulgaris. However, in 2012, news broke that the Homme-led outfit was recording their 6th studio album. On paper, ...Like Clockwork boasts several famous guest stars. Dave Grohl features on drums on half the tracks for the first time since 2002's Songs For The Deaf, replacing long time stickman Joey Castillo, who was fired during the recording process. Sir Elton John, Trent Reznor (Nine Inch Nails), Alex Turner (Arctic Monkeys), Jake Shears (Scissor Sisters) and even erstwhile QOTSA bassist Nick Oliveri, make appearances on the album. But make no mistake, QOTSA is and always will be Homme's baby. The individual contributions are in no way bigger than than the sum of the parts, so if you're expecting an odd mash up of all the above mentioned artists, you'd be hard pressed to find it.

So how does ...Like Clockwork compare to the rest of the bands catalogue? Well, simply put, this is their best album since Songs For The Deaf. While that statement by no way means disrespect to the stellar efforts that were Lullabies to Paralyze and Era Vulgaris, ...Like Clockwork is a much more cohesive and focused album than its two predecessors. Album opener "Keep Your Eyes Peeled" is the perhaps the darkest song the band has written, however it soon gives to the relatively cheery crunch-laden "I Sat By The Ocean". "My God Is The Sun", the first single released off the album, would seem upon first listen to be ripped straight from Songs For The Deaf and is a fine rocker. By the halfway point in the album, the listener would have probably realised that this album is nothing like the previous two, nay, five. 

'So what's it gonna take/ To get you back in bed?' sings Homme on "Fairweather Friends" which features the great Sir Elton John on piano. His contribution is one of the few that is actually audible on the album. Keeping in tradition with QOTSA songs that one can dance to, "Smooth Sailing" is one sexy number. In my personal opinion, the penultimate song "I Appear Missing" is the best track off the album and one of the finest rock songs written in a very long. It gets better and better with multiple listens, revealing new layers of instrumentation every time. You may discover a slide guitar after the third listen and suddenly the song attains a whole new dimension. Oh, and it's got fantastic lyrics to boot like 'I've never loved anything/ Until I loved you'. The final song which happens to be the title track is a indeed a welcome surprise. Featuring Homme on piano like "The Vampyre Of Time And Memory" before it, his vocals have never sounded so naked and vulnerable. 'One thing that is clear/ It's all downhill from here' croons Homme as the song brings the album to a poignant and fitting end

In all honesty, I've put ...Like Clockwork through at least fifty spins (yes, you read that right, fifty) and it hasn't gone stale even once. It's the best rock album I've heard in a long time. It's very easy for one to be swayed by the glitter of the guest stars, but instead of the franken-album you were probably expecting, this is a sleek and modern update of the QOTSA sound we've come to know and love. 

Song Picks :

• If I Had A Tail
• My God Is The Sun
• Fairweather Friends
• Smooth Sailing
• I Appear Missing

"Calling all comas
Prisoner on the loose
Description
A spitting image of me
‘Cept for a heart shaped hole 
Where the hope runs out."

The Real Me [1973] - The Who

Many consider English rock legends The Who's sixth studio effort - Quadrophenia - as the last great Who record. And why not? The album is chock full of memorable songs from start to finish, and is the band's second rock opera after 1969's Tommy. Told from the perspective of British teenager Jimmy Cooper, the Who successfully captured teenage angst whilst commenting on the decline of Mod culture, a subculture from the 60s that the band themselves outgrew.

The Real Me is the first song to kick things off. It is an introduction to the album's protagonist who suffers from a condition known as "quadrophenia" (a play on the term schizophrenia), whereby he has  developed four distinct personalities. He visits his doctor, to no avail. He visits his mother, who tells him that craziness runs in the family. He has been alienated by those around him including the girl he once loved. In his desperation he turns to religion, only to be left answerless.

Musically, this is one of the heaviest songs in the Who's catalog. Jimmy's angst is perfectly captured by Roger Daltrey's strong vocals. Pete Townshend as always is solid on guitar, providing the driving rhythm for John Entwistle's lead bass. Yes, you read that right - lead bass. If one were to isolate the bassline, the song would be nothing but an extended bass solo and an amazing one no less. Keith Moon, is well, Keith Moon throughout the song. There is not a single moment of emptiness thanks to the relentless onslaught of drums, showcasing the Who as an extremely talented band, inspiring generations to come.

Can you see the real me?
Can ya?
Can ya?

I went back to the doctor
To get another shrink
I sit and tell him bout my weekend
But he never betrays what he thinks

Can you see the real me, Doctor?
Doctor?
Can you see the real me, Doctor?
Woah, Doctor!

I went back to my mother
I said "I'm crazy ma, help me"
She said "I know how it feels son
Cause it runs in the family"

Can you see the real me, Mama?
Mama?
Can you see the real me, Mama?
Woah, Mama!

Can you see
Can you see
Can you see the real me?
Can you see
Can you see the real me
The real me
The real me

The cracks between the paving stones
Look like rivers of flowing veins
Strange people who know me
Peeping from behind every window pane
The girl I used to love
Lives in this yellow house
Yesterday she passed me by
She doesn't want to know me now

Can you see the real me?
Can ya?
Can ya?
Can you see the real me?
Can ya?
Woah, yeah!

I ended up with a preacher
Full of lies and hate
I seemed to scare him a little
So he showed me to the golden gate

Can you see the real me, preacher?
Preacher?
Can you see the real me, preacher?
Preacher?

Can you see
Can you see
Can you see
Woah

Can you see the real me, Doctor?

Can you see the real me, Ma?

[Please Note: The above video is from 2002 and features Zak Starkey on drums. Keith Moon passed away in 1978]

Gold On The Ceiling [2012] - The Black Keys

Hot on the heels of 2010's Grammy-winning "Brothers", The Black Keys quickly released its much-anticipated follow up "El Camino"in December 2011. While essentially a duo, The Black Keys included co-producer Danger Mouse (of Gnarls Barkley fame) in the writing process of the album.

Gold on the Ceiling was the second single released after "Lonely Boy" and is a perfect indicator of the Black Keys' new sound. If you have heard the band's earlier work such as 2005's "Thickfreakness" (check out the title track) or even 2008's "Attack and Release", you will know that the Keys are essentially a revival of good-old fuzzy blues rock-n-roll. With Gold on the Ceiling, we find the Keys in top form, adding a fresh layer to their previously established sound. The fuzzy guitars are there with a bluesy solo to boot, the feel-good feeling - intact. Now add an organ and a backing trio of beautiful girls (at least I hope so) complete with handclaps, and you'll find yourself back in the 60s. The lyrics need no analysis, it simply doesn't matter, its all about the groove here and perfectly good reason to freak out. It's a breath of fresh air just when you thought rock-n-roll was going stale, the Keys have produced a genuine hit.

"They wanna get my…
They wanna get my
Gold on the ceiling
I ain’t blind
Just a matter of time
Before you steal it
It’s alright
Ain’t no guard in my house"

Roundabout [1971] - Yes

Perhaps a little more pop-oriented than progressive, Yes' "Roundabout" is a classic of the genre that became famous during the 1970's. Released in 1971 off their breakthrough album "Fragile", Roundabout is a perfect example of accomplished musicians coming together to create amazing music. Guitarist Steve Howe's gentle strumming on the opening few bars of the song soon gives way to the dynamic duo of bassist Chris Squire and drummer Bill Bruford. But what makes this song really stand out is the contribution of then-newly-hired keyboardist Rick Wakeman, whose Moog synthesizer added a new dimension to Yes' music. Look out especially for the keyboard solo around the 6-minute mark. The song perhaps wont immediately catch the listener's attention, but once the beauty is discovered, its hard not to give into its rhythm and fluidity - a real gem in Yes' legacy.

"I'll be the round about

The words will make you out 'n' out

I'll spend the day your way.

Call it morning driving thru the sound and

In and out the valley."

Lee Van Cleef [2011] - Primus

Following the release of 1999's 'Antipop', alternative (funk?) metal band Primus went on hiatus only to return in 2003 with longtime drummer Tim "Herb" Alexander in tow. The reunion however, seemed to promise little, with the band's only original release in the years subsequent being a 5-track EP titled 'Animals Should Not Try to Act Like People'. In 2011, after 8 long years, Primus finally released their long awaited seventh studio album "Green Naugahyde".

The first single off the new album is 'Lee Van Cleef', a song that can be compared to the band's earlier work on 'Frizzle Fry', their first studio album. And why not? Replacing Herb on drums (who left in 2010) is Primus' original drummer, Jay Lane, whom the band credit with greatly influencing the band's early sound and style. Singer and bassist Les Claypool is at the top of his game, playing one of his funkiest basslines in years. Guitarist Larry "Ler" LaLonde's country style soloing compliments Claypool's bass as it always has, contributing to Primus' signature sound that has been around since 1989 . As far as lyrics go, its still as zany as it was 20 years ago. This time its a tribute to the late actor Lee Van Cleef ('Angel Eyes' from 'The Good, the Bad and the Ugly'). Overall, its a welcome return for a band whose uniqueness has been sorely missed for an entire decade; here's to many more!

"We still get a kick outta watchin' Clint; we all get a kick outta Clint

Hi Hi Hi Hiii

There ain't never been one quite like Clint, there's really only one Clint

I always did like Lee Van Cleef; always did like Lee

Nobody's steely like Lee Van Cleef. Whatever happened to Lee?

Whatever happened to Lee Van Cleef? Don't forget about Lee"

In The Cage [1974] - Genesis

What makes a concept album good? Is the music, or the concept, or both? Sometimes the concept can be so overwrought yet the music can more than make for it. Sometimes the concept can be perfect yet the music just isn't there to back it up. Genesis' 1974 double album "The Lamb Lies Down on Broadway" is one such album that falls into the former category. The concept is intended to be simple : It tells the story of a half Puerto Rican by the name of Rael who goes on a surreal journey through the twisted and fantastical underbelly of 1970's New York City to search for his estranged brother John. The further one reads into the story, the crazier it gets, introducing weird and magical creatures along the way as well plenty of obscure literary references.It also very satirical in nature.

However if you're not kind of the person interested in such elaborate story-telling, fear not. There are some true gems to be found on this album, and one such song is "In the Cage". Found on the first half of the album, it is a classic example of British progressive rock. A word of caution : Don't let the term "progressive rock" fool you into thinking that it has the spacey, tripped out feel of classic Floyd. This is the kind of song that was in essence meant to fit into a Broadway musical. Starting off with a simple bass line, the keyboards and Peter Gabriel's vocals introduce themselves into the mix, building the tension slowly. Rael is trapped in a cave filled with stalactites and stalagmites which form a cage around his body. His initial confusion turns to fear as he desperately tries to escape. He sees his brother John outside the cage and cries out in desperation but alas! John ignores him and walks away. From a musical point of view, it is a good mix of progressive and pop rock. Tony Banks' keyboard solos are excellent, always twisting and turning and Phil Collins drumming is outstanding. The way the song changes to convey Rael's changing moods are a testament to Genesis' quality as musicians. It is as intense as it is powerful.

"I got sunshine in my stomach

Like I just rocked my baby to sleep.

I got sunshine in my stomach

But I can't keep me from creeping sleep,

Sleep, deep in the deep.

Rockface moves to press my skin

White liquid turn sour within

Turn fast - turn sour

Turn sweat - turn sour.

Must tell myself that I'm not here.

I'm drowning in a liquid fear.

Bottled in a strong compression,

My distortion shows obsession

In the cave.

Get me out of this cave!

If I keep my self-control,

I'll be safe in my soul.

And the childhood belief

Brings a moment's relief,

But my cynic soon returns

And the lifeboat burns.

My spirit just never learns.

Stalactites, stalagmites

Shut me in, lock me tight.

Lips are dry, throat is dry.

Feel like burning, stomach churning,

I'm dressed up in a white costume

Padding out leftover room.

Body stretching, feel the wretching

In the cage

Get me out of the cage!

In the glare of a light,

I see a strange kind of sight;

Of cages joined to form a star

Each person can't go very far;

All tied to their things

They're netted by their strings,

Free to flutter in memories of their wasted wings.

Outside the cage I see my Brother John,

He turns his head so slowly round.

I cry out Help! before he can be gone,

And he looks at me without a sound.

And I shout out 'John please help me!'

But he does not even want to try to speak.

I'm helpless in my violent rage

And a silent tear of blood dribbles down his cheek,

And I watch him turn away and leave the cage.

My little runaway.

(Raindrops keep falling on my head, they keep falling on my...)

In a trap, feel a strap

Holding still. Pinned for kill.

Chances narrow that I'll make it,

In the cushioned straight-jacket.

Just like 22nd Street,

They got me by my neck and feet.

Pressures building, can't take more.

My headaches charge, earaches roar.

In this pain

Get me out of this pain.

If I could change to liquid,

I could fill the cracks up in the rocks.

I know that I am solid

And I am my own bad luck.

Outside John disappears, my cage dissolves,

without any reason my body revolves.

Keep on turning,

Keep on turning,

Turning around,

spinning around.

(round, round, round, round...)"

In The Aeroplane Over The Sea [1998] - Neutral Milk Hotel

Simply put, Neutral Milk Hotel's second studio album "In The Aeroplane Over The Sea" is a modern day indie classic. Engaging from start to finish, it showcases one man's vision, nay, obsession and translates it into a body of magical music. Inspired loosely by the diary of Anne Frank, frontman Jeff Mangum displays his immense talent as a songwriter. As a singer, well let's just say it's not going to be everybody's cup of tea. Kicking off with 'The King of Carrot Flowers Pt. One" till "Two-Headed Boy Pt. Two", it is quite a surreal journey. The song arrangements are simple mostly consisting of Jeff Mangum and his acoustic guitar. However, some songs have added drums, fuzzed out bass and even horns.

Although I mentioned that Jeff Mangum's voice was a rather hit-or-miss affair, it is what makes this album unique. It's nasal and it goes places where it probably shouldn't venture, but it's honest. Every line delivered is honest and heartfelt. The emotions range from haunting ("Oh Comely) to excited ("Holland 1945") to melancholy espcially on "Two-Headed Boy Pt. Two" where he seems on the verge of tears, but it all fits so well together. The rapid fire lyrics are surreal and expose Jeff Mangum's poetry skills (What other album has the word semen feature so many times?).

If one were to nitpick any flaws on this album, it would have to be that it is accessible yet inaccessible at the same time. There are some genuine pop hits in this album and its mesmerizing, but only if you can get yourself look past the non-traditional vocals. An essential album for sure.

Song Picks :

• The King of Carrot Flowers Pt. One
• In the Aeroplane over the Sea
• Two-Headed Boy
• Holland, 1945
  
• Oh Comely
• Two-Headed Boy Pt. Two
  

"The only girl I've ever loved
Was born with roses in her eyes
But then they buried her alive
One evening 1945
With just her sister at her side
And only weeks before the guns
All came and rained on everyone
Now she's a little boy in Spain
Playing pianos filled with flames
On empty rings around the sun
All sing to say my dream has come."