MEDiA REViEWS
ALBuM
Rush
Clockwork Angels
Roadrunner Records
Rush has created some of the most complex and
groundbreaking rock albums ever. The Toronto
prog-rockers’ marathon, high-energy live shows
continue to please a fiercely loyal fan base and
defy the odds for a group conceived more than 40 years ago. But many of their efforts
from the past 25 years have been more contemporary in nature—unable to hold a
candle to classics like Fly by Night, 2112, and of course, Moving Pictures.
was a raw, chest-pounding, bruising debut,
whereas 2010’s Blue Record evolved into
a much more dynamic, progressive-metal
package. Baroness’ third full-length and
double LP, Yellow & Green, shows a band
walking upright, fully realizing its potential.
“Take My Bones Away” and “The Line
Between” are the album’s most accessible
songs with their octave-fuzz distorted
guitars and fast-paced nature. Equally
appealing is when guitarists John Baizley
and Peter Adams harmonize à la Thin
Lizzy. Lead vocalist Baizley unleashes his
most true singing effort ever—best heard
in slower songs. Complex, melodious
guitar parts and synth-infused textures
are balanced with subdued instrumental
passages and acoustic numbers similar to
Metallica’s intros for “Battery” and “Fight
Fire with Fire.”
Yellow & Green captures a band in an
organic maturation from its primal sludge
roots, while the accessible nature of the
music has the potential to catapult Baroness
to larger audiences, much like Metallica’s
Black Album. —Chris Kies
Must-hear track: “Take My Bones Away”
ALBuM
Steve Vai
The Story of Light
Favored Nations
Entertainment
ALBuM
Royal Southern
Brotherhood
Royal Southern
Brotherhood
Ruf Records
Steve Vai continues the convoluted narratives found on 2005’s Real Illusions: Reflection
with his new concept album, The Story of
Light— the second installment of a trilogy displaying Vai’s interest in New Age spirituality.
As expected, this mostly instrumental
album is filled with dense production, soaring
multi-layered guitar tones, and tight harmo-
nies. It does offer some nice surprises. Vai cov-
ers Blind Willie Johnson’s “John the Revelator”
with a gospel choir and Beverly McClellan
(a finalist on The Voice). He also duets with
singer-songwriter Aimee Mann on “No More
Amsterdam” to great effect. And Vai gets in
his share of familiar arena-rock workouts like
“Velorum” and “Gravity Storm,” and mellower
compositions such as “Creamsickle Sunset.”
It’s a beautifully expansive work that
orbits within a galaxy we’ve visited before,
and Vai is truly awesome throughout. “John
the Revelator” and “Book of the Seven Seals”
are interesting because who hasn’t wanted to
hear Vai in the context of a gospel choir or
black musical theater? Although his spiritual
libretto will confuse some, his artistry will
leave no nonbelievers. —Oscar Jordan
Must-hear track: “Gravity Storm,”
“No More Amsterdam”
ALBuM
Baroness
Yellow & Green
Relapse Records
Baroness believes in Darwinism. The
Southern metal band’s 2007 Red Album
What a cool union! Two musical lineages
intertwine in RSB, a new quintet headed
by the mighty Cyril Neville. As a member
of The Meters and Neville Brothers, the
Grammy-winning vocalist and percussionist helped pioneer New Orleans funk,
and at 63, he’s still a force of nature. Les
Paul-wielding Devon Allman, whose dad
is Gregg Allman, represents the other,
equally potent bloodline.
Allman and blues-rocker Mike Zito
trade fiery leads and sweaty riffs throughout the 12-song set, and their contrasting Gibson and Fender tones are a treat
for anyone who has OD’d on mushy,
high-gain guitar sounds. Producer Jim
Gaines (SRV, Steve Miller, Santana, Albert
Collins, John Lee Hooker) deserves credit
