Category: Music Reflective

Hire Your Guns

Hire Your Guns

After weeks of speculation, the rock family tree finally sees another connection. Axl Rose will join AC/DC, enabling them to complete their Rock or Bust world tour. Suddenly that title has a greater meaning. Have the aging rockers just taken their biggest gamble?

There’s no doubt W. Axl Rose catches people’s attention. He has courted controversy that has only been topped by AC/DC’s undesired foray into the dark side of the media. Where Rose appears to thrive on scandal, DC’s management has spent the last eighteen months trying to deflect negative media stories. From arrested drummers to career ending illnesses. Brian Johnson’s recent departure was the climax of a turbulent time.

Well, it should have been the final act. Since joining the band in 1980, Johnson has seen their biggest commercial highs (Back in Black), sustained exposure in America, and a genuine resurgence and acknowledgement of their reign with Black Ice.

Rather than fade into the night, confirmed as kings, they stuck around. They are only one of several rock bands that can fill stadium tours and still have thousands unable to get tickets. They have never attempt to upset the formula. AC/DC play good old fashioned hard rock and roll. The sound rarely deviates, neither does the popularity.

So why take the risk? Is the hunger from the remaining skeleton crew so strong they must go on at all costs? What makes the appointment of Rose an even more interesting proposition, is how initial reports at the time of Johnson’s departure claimed the Geordie frontman was unaware he’d been axed from the tour.

He had performed knowing the doctor’s diagnosis. It seems the band made the decision for him once they got wind of this. Only they know if this was an act of mercy or a deceitful plan to replace a singer they perceived to be on the decline.

During the Black Ice tour Johnson had spoken as if it could be his last. However, it proved not to be. He clearly still had the drive to perform as the voice of the world’s biggest rock band. But it could be his pondering during this period made the other members draw up a plan B.

That fresh alternative would need to bring a dynamic perspective. A new unknown would have been a gamble but a great way to break free from comparisons. Somebody that could do better justice to the original Bon Scott sound would have been a request from diehard fans. The ability, should they choose to carry on for years, to produce a definitive new album.

What they went for was rock’s version of a diva.

Nobody can doubt Rose’s charisma. After years of floating around with a band flogging a dead horse by using the Guns N’ Roses name, he remains in the public conscious because of his personality. His ability will be truly tested once again. This is a major step-up from his current comfort zone. There’s a good reason that former bandmate, Slash, enjoys so much critical acclaim with Myles Kennedy while Axl only makes headlines for being late at gigs.

All that aside, the thought of him fronting a new look AC/DC is tantalising.

It was put to Slash in an interview with Chris Jericho that a reformed Guns N’ Roses would be about the only band that could fill stadia like AC/DC manage. Slash agreed but said he was yet to get the bug. Rose obviously feels different. Unable to work through differences with his former guitarist, this offer gives him a pass back to the big time.

Chinese Democracy was eight years ago now. It didn’t give Axl the rebirth he’d hoped. The elevation in exposure he’s about to experience will. Just how these rock giants will mix, only time will tell. Will AC/DC play the odd Guns N’ Roses number or will it be a strictly DC set? And the biggest question is how will they deal with Rose’s eccentricities.

A failure to make a date because of his behaviour will surely put the final nail in the coffin for all those concerned.

Let’s hope nobody tells AC/DC to “Fire Your Guns.”

A Human Tale

A Human Tale
Coldplay’s latest offering, Ghost Stories, hit the shops on Monday, revealing a change of pace compared to its predecessor. It also strips back Chris Martin’s shell and reveals what he went through when splitting with Gwyneth Paltrow. This doesn’t mean it’s the gloomy album some would have you believe, it happens to be uplifting in surprising ways.
 
Much focus has been made about the album’s opening words (“I think of you, I haven’t slept”) but that’s been a hook used by some to conclude the album starts low and swims in its own self-induced depression. This must come with the territory when a band becomes the biggest in the world; there are always people ready to snipe. Also, Mylo Xyloto was high-energy grandiose commercial rock, this starts with a reserved feel. But the DNA from the previous album is there in those first gentle sounds. It’s rumoured that when the band started Mylo Xyloto they planned it to be a double album, one half of which would have featured a stripped-back sound. That never materialised and what we got was Coldplay’s extravagant peak.
 
Perhaps during the recording of Mylo Xyloto it was decided to save the acoustic inspired set pieces for another day, after all, they had something on their hands that didn’t deserve to be pegged back. The previous tour wouldn’t have become the action-packed fantasy if they had been obligated to include tracks from a stripped down section. It’s that side we get now with Ghost Stories, but that’s not to say it’s an afterthought or leftovers; considering the subject matter it’s all Martin’s real thoughts and his everything. What makes it progressive as a musical performance is the hint of the last album’s opening track existing in the vibe that kicks off “Always in My Head.” It’s subtle, but so was the “conscious uncoupling” of the two albums.
 
“Magic” is already comfortably sitting alongside songs like “Fix You.” It’s remarkable after all these years they can seemingly produce such a classic at will. Any doubters about the positive nature of the record need look no further. Has a break-up song before now ever been so thankful for the former relationship? The following song, “Ink,” lyrically may delve into Martin’s pain but it’s counterbalanced by the chirpy beat. It’s only when we get to “Midnight” that we wallow in an electric purgatory as we contemplate the meaning of his loss.
 
“Another’s Arms” continues this idea in a more tangible light. The choir that leads us into the song shows that the duet with Rhianna is now light years away from the way to achieve dramatic effect. This reflective Mylo only needs his thoughts.
 
The song that follows steps away from the new-DNA and could have easily been on the Brothers and Sisters EP. Having said that, “Oceans” doesn’t feel out of place, which can only be testament to their talent. It could well be this flip-back to the older sound that has made some liken the entire album to Parachutes, some have even mentioned X&Y, but Coldplay have evolved into a different band since those albums. Music is like comedy, very subjective, so some new fans will be disappointed it doesn’t follow up with a sound similar to the last album, while at the same time long serving fans with cling to anything indicating that the old Coldplay still exist. One song shouldn’t pigeon hole an entire album, though.
 
“A Sky Full Of Stars” follows and, personally, I see it as the only dip across the nine songs. There’s no doubt it’ll be a singles hit and a soundtrack to the summer. And critics of albums that linger in self-pity too much, accusing them of becoming drab, may welcome a dancey number, but it feels disingenuous when viewed as part of a concept album. I won’t go as far to suggest it was just made for a commercial hit, but if others do I won’t correct them.
 
 
“O” is the sort of uplifting song that exists so we don’t need a forced, false, jumpy peak. The lyrics form a beautiful metaphor of hope and acceptance, with a simple bass and piano for company. On the subject of lyrics, some areas of the press have criticised Martin’s efforts as being overly simple and lacking depth. While I’ll admit there aren’t any profound statements that better quantify the loss of a human relationship found here, what we do get served works well in the arena that’s been set. Also, when in the eye of the storm, still in the moment of heartbreak, it’s hard to step back and describe one’s true emotions – everything is too raw.
 

 

Years from now Martin may see the woods after stepping back from the trees and revisit this painful period with better clarity. In those intervening years this album will take its rightful place amongst their best. You won’t always fancy lively Coldplay, or guitar Coldplay (I think I’ll always have a spare hour in my day for A Rush of Blood To The Head) but when you want chilled Coldplay this is where you’ll go. I have faith that wherever they decide to take the sound next will be a story worth listening to.
 
 

13

13

With this being my thirteenth article I thought it’d make good subject matter. Not the number itself, often termed as “unlucky for some,” but the Black Sabbath album. An album that didn’t rely on luck and certainly suffered from no ill fortune. Also we’ll take a look at how it has placed Sabbath in the modern world of music.

Even with the absence of Bill Ward the current incarnation of the band is widely seen as a return to the past, a last hurrah of the old boys. There have been calls from fans all over to get Bill on board but the contract dispute makes it seem unlikely to occur now, so we should enjoy and examine this Sabbath for all it is.

I can see both arguments for and against Bill Ward’s inclusion. Yes, he was a founding member and enjoyed a long run of success in the band. Many see him as much as Sabbath as Ozzy or Iommi. Sharon Osbourne would counter this by claiming Ozzy could make more money touring solo with Ozzfest and his appearance in the band now is for the fans – but he needs a higher cut. Iommi is Black Sabbath. The only member to appear on every single Sabbath album. His riffs not only make the band but defined a genre. Geezer Butler provides the signature bass and all the lyrics. When laid out like that it’s easy to see why they thought Bill was expendable.

The album the reunited members (with Brad Wilk as the sessions drummer) gave birth to was 13. It would have been so easy to produce a record that played by the numbers and offered nothing new or relevant. Instead it acknowledges its past, the lineage, whilst becoming as necessary as anything in the current metal scene. “End of Beginning” opens up with hints of NIB’s DNA before kicking up a gear or two. From the off the album gives the feel of an authentic effort. The popular “God is Dead” follows and the decades fall away. Iommi’s ability to produce a tune is reemphasised time and time again.

There are no weak songs on an album that isn’t afraid to change tone and pace. They could have taken the easy route and produced forty minutes of songs like the first two. Instead they are happy to play and twist all the sounds in their arsenal. “Loner” could have been taken from the Dio era with Ozzy adapting more than ever previously heard on a Sabbath record.

If “Loner” was revolution then the slow paced “Zeitgeist” is pure evolution from Paranoid’s “Planet Caravan.” Evidence of advancement is further found in “Age of Reason” which wouldn’t sound out of place on Metallica’s Death Magnetic. It’s fitting how a band that created a sound can progress further in the atmosphere developed by their students.

Geezer Butler over the decades has provided some great lyrics and this album equals most of them. “Damaged Soul” could well be his deepest metaphor yet. Age may have mellowed the players involved and it’s offered Geezer more introspective views on the world.

The album ends with rain and church bells, much like their debut album began. In doing so it gives a sense of completion, a circle that is now complete. If it is to be their last album I approve of the gesture – I’m a sucker for things with a cyclical nature.

But I have a feeling there is much more to come. The idea the last album loops to the first is great, but the gesture can also be seen as a nod to the past, confident they are rightly placed moving forward. It’s commendable that on this album they provided enough flavour of their former glories without becoming a parody of themselves. Whilst one shouldn’t get too carried away – it’s does lack the textures and depths attained in Vol 4 and Sabotage – they have pulled off the trick of being a genuine article of days-gone-by and something modern.

Like true legends, that have faced adversity before, the process of them coming together again hasn’t been easy, but they have managed to make it work. Contract disputes and well-documented illnesses aside, the feel of them live was missing as recent as 2012. I saw them perform when they headlined the Download Festival. It’d be easy to make excuses (Iommi was in recovery from his treatments; Ozzy had fallen off the wagon) but the fact was they hadn’t found their sweet-spot. For lesser bands they’d have called it a day. Seen it as a sign that perhaps they were past their best.

Not Sabbath. They carried on. 13 was completed and a world tour began. During the process they grew organically again. When I saw them in Manchester at the end of 2013 it was like being transported back in time. Ozzy sounded like he was on an LP, not a live mic. Iommi played effortlessly with great enthusiasm. Butler played as well as he did at Download – and for my money he was on fire there. Tommy Clufetos also provided the best drum solo I have ever witnessed, and I’ve seen Cozy Powell live and Roger Taylor play a bass with his drum sticks.

At one point Ozzy asked, “Should we come back and do this again?” The crowd roared approval. “I think we may,” he replied. Let’s hope they do. There’s still a role in the world of music for Black Sabbath to play.