Maurice White Was Blissfully Down To Earth

Tonight I'd like to pay tribute to Maurice White, the heart and soul behind Earth, Wind & Fire. His passing this past February 4th leaves our temporary island home a little bit less soulful, but his legacy cannot and should not be denied. His band embodied all that is good about music in general. The hits just kept on coming. When Earth, Wind & Fire threw a party we wanted theirs to be one party bound to last forever. Some of Earth, Wind & Fire's songs seemed to extend into the distant stratosphere. "Fantasy" counts as a jaw-dropping example. Not only that, you don't get much more life affirming. What a delectable soup of rhythms. Seconds, if you please. Horns aplenty lit up the track. "December" incorporated some of the most pitch perfect harmonies you'e likely to hear. "Let's Groove" needs to be put up on the funk pedestal that "Super Freak" owns so readily. Not that the entirety of Earth, Wind & Fire's catalog was cued up to R & B/funk workouts. "Reasons" took its own mid-tempo philosophic time and what emerged stands as a stupendous jam that gets heads swaying in zero seconds flat. Although squarely at home in the disco '70s, Maurice and friends melted hearts with the '80s standout "Fall In Love With Me". You really need to get your head examined if that track doesn't have you swiveling your hips in unbridled ecstasy. In a word that's what we hold Maurice forever grateful for...ecstasy, the spirit in which he conducted himself as a performer and funk mastermind. "Sing a Song" goes to show how R & B need not be crude and repressive to strike a chord in the public imagination. Theirs was truly an all-ages affair. I hold "Fantasy" up as a #1 favorite of mine. The luscious orchestration stands head and shoulders above what most modern era sounds are being trotted out. I don't claim this to be a fuddy duddy. It's simply an exemplary song from a band that gets what staying power's about. I feel like I'm sliding down a silky banister into the waiting arms of Phillip Bailey. Guitars to the left, horns to the right. Too cool for the room. Maurice definitely earned his rest. Wherever he is I hope he's smiling at the knowledge that his band's contribution to music will likely always be potent, far-reaching, and cause for rejoicing in big and small groups alike. Heaven was made for upstanding cats like him.

Hands Like Houses Puts The Roar In Romance

Hands Like Houses, a power obsessed rock act out of Australia, gets plenty of room to air it out on its new single "New Romantics". That title conjures up nifty memories of 1980s New Romantic bands like Duran Duran. Trust me when I tell you Hands Like Houses sounds nothing like those glamour pin-ups with the exotic MTV videos. Hands Like Houses rolls into fifth gear right at the outset and doesn't stop to notice who's in their rear view catching up too fast to be believed. These guys rumble like thunder in a Texas summer rainstorm. Nobody phones it in. Trenton Woodley vocals go to that sweet spot that transcends conscious awareness. Each note brims with purpose, direction, and no small degree of name taking. Ordinarily I'd be all over a band like ugly on an ape for sticking to one chord range and not daring to be different. Not the case here because the range Hands Like Houses opts for has way more zing than it has a right to demand. Joel Tyrell, your bass makes me swoon. I would follow that down the darket alley, no mace to be found. Matt Parkitny hammers away on the drums, a man awash in timely desperation. He makes his contribution last, a gesture mandating he'd like to be remembered as something other that a pretty face in a rock band making people squirm with unsteady psychological content. Want proof the boys mean business. True confessions starts from the top of the lyric sheet. How does one self-medicate on reality. I tend to view it as a drug injected into your veins kicking and screaming. Anyway, it's a novel approach to something which can leave us all a tad weary in spots. "Pulling up the floor to go deeper down". Wow. This guy either needs to come off his meds or start up on new ones that don't put him into such a destructive streak. It's all about finding yourself before it's too late. You go around in circles only to be stuck in the same place...circling oblivion's toilet bowl. Matt "Coops" Cooper gently seasons the proceedings on lead guitar. Really though it is Joel's bass that has "New Romantics" hitting the ground running. This band gets how cohesion can take you as far as your imagination will allow. Skies open up. Massive floods explode. Communication becomes less strained, more satisfying. You sense team effort piloted this plane and a smooth landing on the runway isn't very far fetched in the slightest. When all players get on the same page in the playbook, the results can't help but be electrifying. Electricity, super-charged combustion, piss and vinegar, whatever you wish to label it. Hands Like Houses keeps the legacy of strong Aussie bands alive and kicking. "New Romantics" goes on like a new roll of paint spread out from a comfortably reliable old formula.

Things Are Looking Up For Elton John

We'll have officially hit Armageddon when Elton John's creative well runs dry. No chance of that happening anytime soon though. His new album's called "Wonderful Crazy Night" and its first single goes by the name "Looking Up". This song crackles with Elton's trademark enthusiasm. He knows how to squeeze every drop of life from the material in front of him. His versatility, honed over four decades, remains in fine form. The conflicted young man has blossomed into a jolly old sage who has learned pearls of wisdom, and never shies away from his gift for showing it to the rest of us. His backing musicians elevate Elton's handiwork to neat new levels. The drumming has purpose to spare, the bridge guitar didn't leave its oomph on the cutting room floor. In the end though it's Elton's world, a place that's been a gas to visit over and over again. Its accompanying video puts Elton's color and joir de vivre center stage. Certain artists command excitement each time they put a new record out. That's an exclusive list to be on. Smartly, Elton eases us into his paint by numbers landscape, allowing us to soak in whirlpool bath comfort before he shifts chords. We like the fiesta we have joined and are therefore loathe to turn away. I think it's a fair question to ask anyone who has ever come within spitting distance of music appreciation this question, "Has anyone out there not had the soundtrack of his/her life intertwined with one of Elton John's massive hits?" Whatever mood you've ever been in he's been there with a track to serve as tension easing or life affirming. I'd place "Looking Up" squarely in the latter category. His wisdom reigns supreme, as the lyrics will attest. Right up from you can tell Elton has forged a real storyteller's sensibility. The lyrics I draw reference to are "Figuring out where I went wrong. The script not followed then was awfully long." Sentiments sung like a man who knows what it means to survive. Add to that the chorus, which revels in letting the past stay where it belongs. What hasn't Elton, or should I properly say, Sir Elton, done at this stage of his career? I hope this road doesn't end anytime soon because taking the journey with him doesn't skimp on the rewards. My own appreciation for Elton began in the '80s, years after his gaudy fashion sense and lyrical astuteness took hold. From "Empty Garden" to "I'm Still Standing" to "Nikita", Elton left in his wake a string of indelible hits. He has come to be the Betty White of the music world in that, like the spunky nonagenarian, he's been a fixture in our entertainment lives for so long that if he dropped off the planet tomorrow we'd definitely notice. Elton's gifts are a once in a lifetime experience. "Looking Up" looks and sounds like another round of vintage Elton.

Kelly Clarkson Sings The Virtues of Picking Up The Pieces

Kelly Clarkson sings about how important it is to have a strong father figure in one's life in her brand new "Piece By Piece". To make the subject matter easier to swallow she's blessed with some light ethereal keyboard fills that tend to glide over her feminine, proud, one would even say defiant vocals. You don't get much weightier than the sight of a father's back headed for the airport. That's essentially the ultimate kiss off. You don't get over that so easily, sometimes not at all, depending on the person who wronged you. I know from daddy issues. It certainly stings. In the video, Kelly casts a radiant glow. The black and white motif suits her and the topic at hand. Towards the end we are treated to many smile worthy snapshots. Kelly's range remains a force to be reckoned with. She really rounds into form on moderate and higher ranges. Given how perky the single is you wouldn't know she deals with material that isn't easy on the emotional palate. Then again Kelly sure does have a history of baring her inner yawp. It's her stock in trade. Listening to her body of work resembles taking a peek at someone's journal. She makes music to please herself as much as she does her core audience. Speak of said audience, it will find Kelly's persona easy to enjoy. For me "Since U Been Gone" demonstrated early on that Kelly's not going to roll over and die simply because you insist she do it. That single was danceable but with claws out daring you to get up in her face making a big production out of things. By comparison "Piece By Piece" benefits from its shuffle step. If you lean in close enough you'll be able to detect my meaning. Kelly's one mom who isn't about to mess around. That daddy of hers isn't going to come marching back in after having wreaked so much havoc and expect to pick up where things left off. Kelly points out the difference between him and the man in her life who wants nothing other than to take care of her. Strings? What strings? The restored spring in Kelly's step can be detected for miles around. Therein lies the importance of not letting one man, the primary man, the man who helped give you life, cast a pall over the rest of your relationships. Especially when others, if you have the courage to let them, can gladly pick up the cosmic slack. "Because Of You" highlighted the damage that happens when past hurts make you afraid to let down your guard long enough to let anyone else in. "Piece By Piece" shows Kelly making peace with her past and welcoming in love that gives instead of takes away from.

Man, Does AWOLNATION Ever Pay Tribute To Woman

If AWOLNATION were the only band standing after the zombie apocalypse we'd still know that Planet Earth loves its women. Gotta give the LA band credit for injecting some humor into their video. Lots of skin, hair, and babes gyrating in front of that mike. Fun gets front and center attention to delightful effect. When you've got Kenny Carkeet's keyboards to springboard off of then success is the only conceivable outcome. "Woman Woman" fits any post-hangover chill period. It gets a little razor stubble at the chorus but not in such a fashion that migraines are haunting every decision you make, every syllable you utter. Marc Walloch knows to dial back his bass guitar so the overall brilliance of the collective can shine through. Isaac Carpenter allows his presence to be felt behind the kit but he isn't demanding to be given the ball like an NBA showboat. The new album "RUN" gets a good dose of distaff mojo. It's the theme that generation after generation will likely pick up the torch for. I'm sure all the women on camera very much enjoyed their individual turn in the spotlight. You hear chord change but not at the expense of a solid sound that can bring wallflowers out of their shells. Sure, the subtlety doesn't exist but why should that matter. Kenny's keys get us into that deep space tractor beam right upfront. Then percussion spices permeate the broth. Lead singer Aaron Bruno remembered that in rock anthem 101 you want your voice let loose from the porch so it can run with the big dogs. He hams it up on a primeval level. What a treat to hear him espouse one of this orb's simpler pleasures. Come to think of it the video could easily double as soft core porn. You sense fourteen year-olds are getting boners thinking about it right now. Note the cleverly placed black bars. Aaron candidly admits how worthless he is without woman in his life. Surely does point our the effectiveness of wearing one's heart on one's sleeve. Try not to fist pump at the two and a half minute mark. Too irresistible to say no to. As if one could thrive off of anthem within an anthem logic. Nevertheless AWOLNATION possesses this never say never confidence that any band worth its salt would consider itself lucky to have. "Woman Woman" should score points with man and woman alike.

Five Finger Death Punch Introduces Us To a Nemesis Worth Befriending

Long may groove heavy hard rock reign. Five Finger Death Punch, and this is going to sound somewhat ironic for a band with "death" in its title, succeeds in keeping the traditional burning and viable for all who dare walk into its path to show appreciation. "My Nemesis" gives us blood dripping from the fangs. The guitar solo featured at the bridge sounds effusively rapturous. Lead vocalist Ivan Moody explores lower bass facets of his vocal range to chilling nightmare inducing effect. Not that his mid range doesn't work to trouser soiling effect too. On drums we get Jeremy Spencer belting out one glorious sequence after another. That's a thing of beauty to behold. The way Jason Hook's guitar performance melds maniacally with Ivan's bitter lyrics cannot be underestimated in its bravado and ferociousness. If that wasn't enough of a sweet deal you throw in Chris Kael over on bass. What muscular power he brings. I would imagine there will always be a place in the musical firmament for hard rock emphasizing astute lyrics and stellar craftsmanship. This ranks as a well-focused battering ram assault on the senses. Each riff lands with a colossal crunch much like Muhammad Ali's fists did in the legendary boxer's prime years. If you didn't clearly detect notes of resentment in the lyrics strictly from the audio then the video for "My Nemesis" should fill in any left over gaps you might have in your knowledge base. It doesn't take Ivan too much deep breath space before he's off and running with what amounts to a burned out farewell to the planet, his identity on the planet, and all who have done him wrong during his stay on the planet. Doesn't get clearer than "I'm leaving behind this world and all the things I am. I'm tearing away from it because I know I can." Hope flat out doesn't exist in Ivan's universe. The way Jason leans into his guitar solo at the bridge has the potential to leave even the most jaded metal maven reaching to pick his jaw off the floor. Ivan's mode of expression will require you to either run to the store to buy Kleenex to prepare for repeated listening or meander to the pantry for the supply you've got lest Ivan's overt hostility jar you with too much spittle. You had better not try to run from this uncontrolled chaos because what good would that do you anyway. Much shedding of tears and the neatly placed cemetery scene heighten the discomfort factor which in turn heightens the effectiveness of the song. Try not to become engagingly nauseated by the refrain because you know judgments and recriminations can't be far behind. How do you protect your soul from "I gave you everything and in return you gave me nothing. Can't you visualize the spit jetting from that last word. "My Nemesis" wants to get into a pier six brawl with your rib cage, eardrums, and any other part of your body that's not nailed down to solid terra firma. In conclusion "My Nemesis" doesn't covet your friendship given the bad attitude it harbors but it does all the little things right on the road to winning over your admiration with room to spare.

JR JR Has Gone To Its Happy Place

Hailing from Detroit, JR JR ladles out a nice soup of aural delight which gracefully conceals the deep seated unrest gripping the lyric sheet from stem to stern. Like some whistling joviality? JR JR is very happy to oblige. Up for some juicy bass riffs? You'll find them there too. Daniel Zott, Joshua Epstein, Mike Higgins, Jon Visger, and Bryan Pope make for a highly unified collective that goes tripping down the primrose path while grappling with weighty life decisions such as what to do with oneself as Father Time presses forward. Give them credit for upfront declaration about opening door after door trying to find the true self and getting precious little traction. JR JR uses a nifty visual approach in the video. Decapitation station anyone? Lots of legs but no upward body parts accompanying them. The whistling I brought up earlier enables you not to get too swept up in the weight of the immense life decisions, increasingly urgent as time passes. To think JR JR was conceived with precious little intent on reaching the public. The pop chart game is akin to throwing darts against a wall to see what sticks. I'm so glad JR JR didn't throw in the towel. "Gone" tastes very good on the tongue as musical feasts go. You can't hardly beat the peppiness involved. This chorus represents a declaration of emotional independence of sorts. Loud and clear we're treated to "I can't be everything you want me to be." Who on Earth really can? We put our best foot forward and hope for the best when all is said and done. You can bet hand clapping is a prerequisite. That's straight out of the spoonful of sugar helping the medicine go down school of thought. The vocals merge gorgeously in the right places. Mike Higgins keeps the beat maintained beautifully all the while adding due froth to the mix. The group's self-titled album contains this fetching jewel. It never ceases to amaze and delight me how far out in space video directors can be. The "Gone" video must have been created using copious paint thinner inhalants to lube the creative process. That sounds apt given in the '80s plenty of coke was on the mixing console. The stars of the day will admit to using in large amounts. Nothing wrong with liberating the flow a hair. Many an artist has used substance to unlock the hidden potential. Another tightly coiled package at under 4 minutes. The spring action can't be denied nor can the propensity of "Gone" to keep you footloose when and where possible. "Gone" is very much about centering on the here and now and that works out well for these Michigan musicians. Slip this into the iPad shuffle next time you're at a life crossroads.