Author: Andy Labis

Let Go

Artist: Avril Lavigne
Listenability Scale: 95%
Released by: Arista Records
A Review by:
– The Dude on the Right

I’m a fan of teen girl pop music. There. I said it. I’m secure enough in my manhood to say it. I’m a fan of teen girl pop music. There. I said it again. It should be of no surprise, then, that Avril Lavigne’s “Let Go” is part of my music library, and that, yes, I can actually listen to it again and again and no the words to the songs. I still remember the first time I popped the CD in my player, already familiar with “Complicated,” but then enjoying the “Sk8er Boi” story, the “I’m With You” ballad, and almost being shocked and/or astounded at the innuendo of the lines “I’d say I want to blow you (pause) away” and “I want to see you go down (pause) on one knee” during “Things I’ll never say.” I learned she grew up in a 5000 population town called Napanee in the poppy “My World” and am pretty sure that if I were 18 I wouldn’t choose weed over her like in “Too Much to Ask.”

“Let Go” is one of those CD’s that if you are fan of teen girl pop music, well, you’d probably like it. For me it’s 95% on the Entertainment Ave! listenability scale.

That’s it for this quick review! I’m The Dude on the Right!! L8R!!!

The Best Damn Thing

Artist: Avril Lavigne
Listenability Scale: 92%
Released by: Arista Records
A Review by:
– The Dude on the Right

When I got Avril Lavigne’s latest CD, um, download, um, I don’t even know what to really call things anymore, but in any case I downloaded all of the songs off of “The Best Damn Thing” from iTunes, and for whatever reason, the songs were what I found myself listening to when I would take my weekend walks. “Girlfriend” was the quick pop tune to filter into the airwaves, and I found myself singing along. I had planned on doing a review of the CD soon after I got it, but I got too wrapped up in getting the web site redesigned so, well, I didn’t. But as her next single, “When You’re Gone,” is now being released, and The Rubinoos are claiming she ripped off their single “I Wanna Be Your Boyfriend,” I figured now might as well be as good a time as any to review the CD. Here we go…

First I have to admit to the fact that I am a fan of teen, girl, pop music, and always have been, and yes, because I’m older now, I will also admit I even own some Debbie Gibson CD’s (look her up if you don’t know who she is). There is usually just something bouncing about the music, sometimes sad about love lost, sometimes happy about being in love, and as I was listening to “The Best Damn Thing” I couldn’t help but wonder where all of Avril’s anger and sadness was coming from, her being a newlywed and all. There she is during “Girlfriend” looking to have a dude break up with his then girlfriend and become Avril’s; she hates someone now and wants them gone in “I Can Do Better”; “Runaway” sounds like sort of sort of sad song because it starts as one of those kind of days, where the blue skies are there but the sun isn’t coming out, but Avril feels so alive, so maybe I don’t know how she feels (such are women sometimes). “The Best Damn Thing” comes around, and she’s not happy because here dude isn’t paying the tab, doesn’t understand that time of the month, and doesn’t open up the door for her, and as the CD was pumping along for the first few tracks, here comes the ballad, “When You’re Gone” where strings punctuate the music and I can’t figure out if the dude left her and she’s sad, or if she’s just sad because her man had to go away for a while, even knowing he’s coming back soon.

So much sadness, so much angst, and it’s pure Avril, and I’m liking every song so far.

But then asshole guys come back in the rollicking “Everything Back But You.” The song simply starts “Today was the worst day, I went through hell. I wish I could remove it from my mind.” It seems her man went away, sent her a postcard, which would have been a nice note if it said, “I wish you were here.” Sadly the dumb-shit, as Avril puts it, left off the “e.” (I nominate this for the third single because this song has every bit of anger any jilted girlfriend could feel, with the musical, rocking influence of her husband, Deryck Whibley from Sum 41).

Happily, though, things seem to got better for the girl during “Hot,” slow back down for another ballad, “Innocence,” that had it been released in early spring could have been a nice Prom song for the girls to drag their boyfriends on to the dance floor.

But Avril is a sassy girl, as we have also found out from some tabloid stories, and in “I Don’t Have to Try” we find out she’s the one who wears the pants and to get ready because she’s happenin’.

Alright, I’ve been simply tracking through the CD, and I think why I have liked the CD so much is, as I have been doing my self-prescribed walking, because it is a great mix of rocking, dudette pop, mixed with a decent ballad just about when I need a catch my breath a bit. The music is sassy, sad, with the part of pop music that I like because usually there seems to be a light at the end of tunnel for the girl to fall in love again.

Of “The Best Damn Thing” about the only song I really don’t care for is “Contagious,” and I guess I can’t give a great reason for my dislike of the song other than the rest of the CD is so strong in balancing girl, teen pop, with the ballads it needs, that I tend to fast forward through it to get to “Keep Holding On.” Maybe I’m just a sucker for the ballad.

I’m a fan of Avril’s, have been since her first release of “Let Go,” and since “The Best Damn Thing” has twelve songs, of which I never skip past eleven of them, the CD simply gets a 92% on the Entertainment Ave! listenability scale. As far as that lawsuit from “The Rubinoos,” hell, I don’t know. Sure, the lines “I wanna be your boyfriend” and “I can be your girlfriend” are close, even with the “Hey Hey Hey’s,” I just wonder where in the hell Avril would have ever heard that song to lift it. I guess some judge will decide, but I don’t care because I like “Girlfriend” a lot more than that boyfriend song anyway.

That’s it for this one! I’m The Dude on the Right!! L8R!!!

Nihil

Artist: KMFDM
Listenability Scale: 90%
Released by: Metropolis Records
A Review by:
– The Dude on the Right

As my music collection has grown, and turning them into mp3’s so my computer has become a jukebox, a lot of times you miss music you used to like to listen to. Such was I delighted when “Nihil” from KMFDM came up in my review rotation.

KMFDM is sometimes classified as industrial rock, or maybe anarchy rock, but I tend to put “Nihil” in the “this is great exercise music” category. “Juke Joint Jezebel” would be the song most people will remember from them, but pretty much take driving bass, lots of electronic keyboards, pounding guitars, and lyrics that sound angry, and you get the idea. What does separate KMFDM from some of the counterparts is pretty much you can understand the lyrics, which makes riding my exercise bike to them that much more enjoyable.

This one is a 90% on the Entertainment Ave! listenability scale. A CD that will always keep you blood pumping.

That’s it for this quick review. I’m The Dude on the Right!! L8R!!!

Peace on Earth

Artist: Kitaro
Listenability Scale: 100%
Released by: Domo Records
A Review by:
– The Dude on the Right

You know, I really don’t like the whole Christmas time of year. Now don’t get me wrong, I understand the true meaning of Christmas, or at least the general Christian message of the holiday season, me being the good Catholic boy that I am, but between having to spend too much money on people who kinda don’t deserve it, not having that special lady to spend too much money on, dealing with the family arguments that always seem to come up at the holiday table, and seeing how the holiday season is slowly shifting from the message of thankfulness and good-cheer to "I can’t believe you only bought me this," Christmas just doesn’t seem as much fun as when I was a kid. But, in spite of all of this, there is one thing about the holiday season that I do like and that is, or rather are, Christmas Carols, or just those holiday songs in general.

It was while I was pondering the "joy" of facing this years holidays that I popped "Peace on Earth," a new CD from Kitaro, in my CD player. A smile came to my face.

As I sat listening to "Peace on Earth" I think I started to realize why I like the holiday music instead of the holiday. It’s because that whether it’s the comical side of a runaway reindeer, the classic "White Christmas’" of yesteryear, versions sung by high-pitched, squeaky rodents, or a new twist like Kitaro has touched on, the music still holds that message of hope, that message of being thankful, that message of giving, and that message of peace.

Those familiar with the music of Kitaro know that he is one for synthesizer-style music with cool use of percussion and nearly any type of instrument he can find to paint an image with his music. This CD is no different as to his style of music, and for holiday songs Kitaro pulls it off perfectly, but for a twist on his style he adds a great sounding children’s choir to the mix.

Simply put, "Peace on Earth" is now added to my growing list of cool holiday music. It’s not overbearing, but peaceful, and he uses the choir almost as a background to the music he has put his touch on. As for the songs, he recreates the classics from American and European culture. As for the choir, it’s the International Peace Choir, and I like the fact that they come out as innocent and not boisterous. As for the CD, proceeds from it our going to the Earth Communications Office, an organization working on the betterment of the global environment. You can’t go wrong.

After coming back to Chicago from traveling home to the family this Christmas, I’ll probably need a little something to help me remember the meaning of the holiday season. If I’m lucky I’ll walk in the door, the snow will start to fall, I’ll light a fire, gaze out the window and remember what the holiday is about. In the background will probably be "Peace on Earth" from Kitaro. I guess I really won’t need the snow or the fire – all I’ll really need to do is close my eyes and listen. The picture will be the same.

There’s not a song on this CD that I don’t like, or couldn’t listen to again and again this holiday season. There’s 12 tracks, I like them all, and that rates this CD 100% on the E-Ave Listenability Scale.

That’s it for this one, I’m The Dude on the Right! Have a great holiday season! L8R!

We Kill Everything

Artist: GWAR
Listenability Scale: 95%
Released by: Metal Blade Records
A Review by:
– The Dude on the Right

As the last track on this CD was playing, my secretary was getting into the music. It had a fun beat, kinda catchy, but she wasn’t paying attention to the lyrics. I asked her if she kinda liked this song, and she told me she sort of did. Then I told her the song was called “Fuckin’ An Animal.” At first she was appalled, then she remembered this was GWAR, and then she was just worried that somewhere in the lyrics it might mention a giraffe, since she loves giraffes (no, not in the way of the title of the song), so I checked the lyrics and much to her relief, I informed her things were pretty much kept to dogs, geese, and a moose.

Look, GWAR is GWAR, space aliens who also are very talented metal musicians, constantly fighting their enemies. Their CD’s and concerts usually try to tell a story, but mostly what you get is some great punk metal that, yea, might offend some, but if you get beyond being offended, you do have to admire some of the guitar work and just the balls-outness of the band. And if you also want a great time, check out their live show – it’s still one of the best times I’ve had at a concert. For what it is supposed to be, “We Kill Everything” does it all, and although this might ruin my credibility as a music reviewer, I’m giving it 95% on the Entertainment Ave! listenability scale.

That’s it for this quick review! I’m The Dude on the Right!! L8R!!!

The Gufs

Artist: The Gufs
Listenability Scale: 50%
Released by: Atlantic Records
A Review by:
– The Dude on the Right

The Gufs. They’re a band, it’s a CD, and the name comes from The Bible, and maybe just as important, a Demi Moore movie called “The Seventh Sign.” Where does one come up with a connection? Well, like all good band names it can come from just about anywhere and religious or not, The Gufs decided that was the name for them after seeing the movie. But, what about this midwest group of college buddies trying to make their break into the giant world of music. It seems it’s been a pretty dedicated journey culminating in the release of their self-titled CD, The Gufs, on Atlantic Records.

This CD comes about as a compilation of songs they released on a CD they put out called “Collide” as well as some newly recorded tracks for the major label folks. Pretty simply put, The Gufs are pretty much pop rock, guitar and melody influenced, with messages thrown in their for good measure. And it’s a good CD, kinda catchy, and some almost great sounding songs, but, and I really hate getting technical, or maybe it’s just me, but my main problem with this CD is you can’t really understand the singing: either the vocal mix is too low, to reverbed, or the lyrics get mumbled. I’m used to unintelligible lyrics, and hell, as I’m singing to myself a lot of times I’ll make them up as I go along, but as for The Gufs CD, even trying to follow the lyrics in the CD booklet seemed a challenge. Seeing them live is a different story, they come off much more crisp and lyric based, but this review is about the CD, and, well, I’m finding myself liking The Gufs for their music but wishing I could only understand them.

As I read the lyrics with the CD, I saw a lot of potential. From relationships to some social messages, The Gufs pretty much have it covered. But I was really looking for that hook, maybe that one song that I could listen to over and over, find myself sick of but still play, and be able to say I’ve been listening to them for years. Unfortunately, I couldn’t find it. “Crash (into me)” was alright, but I couldn’t find myself singing along, “Out Somehow” kinda reminded me of Crosby, Stills & Nash with the harmonies the guys put together, and I would have to say my favorite track was “Sunday driver” except the guitars seemed to overpower the lyrics. Hmmm, it’s hard to explain but I guess it’s a good CD only missing something, and other than the lyric problem I mentioned before, I can’t figure out what.

The Gufs have been developing a great fan base in the midwest for years, starting from their college days in Wisconsin to their touring between classes and jobs. I can see why the crowds flock to them, their live show is pretty cool. I only wish the crispness of the music during their live show translated to the CD. It’s kind of like their are two ratings I have to give this CD. One is based on the music: I’d say there are about 10 cool tracks out of 13 for a factor of 77%. On the other hand, on the mix and singability of this CD, I’d give it a 3 out of 13, ouch, a 23%. I guess, in the end, I’ll split it for a 50% on the Entertainment Ave! listenability scale.

That’s it for this one! I’m The Dude on the Right!! L8R!!!

The Guitar Trio

Artist: The Guitar Trio 
Listenability Scale: 80%
Released by: Classic Jazz France 
A Review by:
– The Dude on the Left

The Guitar Trio is the third and latest release from, well, the Guitar Trio: Al Di Meola, John McLaughlin, and Paco de Lucia. For the uninformed The Guitar Trio’s debut album, “Friday Night in San Francisco” was released in 1981, and is in my humble opinion one of the greatest albums of all time. It was followed in 1983 by “Passion, Grace, and Fire”, a title which describes their music perfectly. Al Di Meola is one of the greatest jazz fusion guitars of the decades, John McLaughlin has both a traditional jazz background (he recorded with Miles Davis) as well as Indian (Eastern, not American) influences, and last, but not least, Paco de Lucia won his first flamenco guitar competition at the age of 11, and is an incredible guitar talent. Separately they are three of the greatest guitarists on the planet. Together they are even better. The music they create is something that has to be heard to be believed.

Here’s what I thought of the nine individual pieces that make up The Guitar Trio.

Track #
 Song Title (Length) Credits
1.
 La Estiba (5:51) arranged/written by Paco de Lucia
All three solos are pretty wimpy and not real original sounding. A disappointing start, in my opinion.
.
2.
 Beyond the Mirage (6:10) arranged/written by Al Di Meola
The second solo (Paco’s) is powerful stuff. Great backing rhythms.
.
3.
 Midsummer Night (4:36) arranged/written by John McLaughlin
Has a kinda weird into, and is a little slow to start off, but Paco’s solo picks up the pace. Really nice interplay between the three players, especially during the closing solo (John’s).
.
4.
 Manha De Carnaval (6:11) arranged by John McLaughlin
John’s intro is beautiful. It has a soft and soothing feel, yet very crisply delivered. Al completes the piece nicely.
.
5.
 Letter From India (3:54) arranged/written by John McLaughlin
Two nice solos. Paco’s guitar work really stands out
.
6.
 Espiritu (5:30) Al Di Meola
It’s OK, but it’s the only piece that is performed by only one player. I guess Al just has to show off a little.
.
7.
 Le Monastere Dans Les Montagnes(6:15) arranged/written by John McLaughlin
Paco’s solo on this one is one of the best on the album.
.
8.
 Azzura (7:58) arranged/written by Al Di Meola
Al’s best piece on the album, very haunting. Great transitions and an interesting mix of rhythms throughout. Great solos – one of the best pieces on the album.
.
9.
 Cardeosa (6:36) arranged/written by Paco de Lucia
Paco goes all out here. Just great stuff from beginning to end. My favorite song on the album.

I give The Guitar Trio an 80% on the Entertainment Ave! listenability scale. Again, The Trio shows incredible guitar work and the recording is excellent. The only knock I have is it’s kind of sterile. There isn’t the same live feel that created the intensity on “Friday Night in San Francisco,” and the chemistry doesn’t seem to be what it once was. The solos tend to shift abruptly, and not flow the way their older material does. All that being said it’s still a must for anyone who loves great guitar work.

Calling All Stations

Artist: Genesis
Listenability Scale: 15%
Released by: Atlantic Records A Review by:
– The Dude on the Right

Why does it seem that Tony Banks and Mike Rutherford just tried to capitalize on the Genesis name? Yes, I know Genesis has gone through many metamorphoses, but this one seems to be the proverbial straw that doomed a great band. They obviously weren’t paying attention to how Journey and Styx were resurrecting their careers (please don’t lambaste me for comparing Journey and Styx to Genesis, I know they are totally different beasts, but Journey and Styx found that they could still make music bringing in lead singers that sounded incredibly like the original dudes) because this CD came out and you heard nothing about them. Song-wise, my secretary said they all sounded the same, and all sounded dreadful and boring. I wasn’t swept away by anything either. Maybe they were trying to re-invent themselves, maybe they thought calling themselves “Genesis” was the easy way to make people find them, but nothing on this CD brought back either the popish side with Phil Collins or the weirder side with Peter Gabriel. This one’s a 15% on the Entertainment Ave! listenability scale. Maybe hard-core fans of Tony Banks and Mike Rutherford will like it, but I didn’t.

That’s it for this quick review! I’m The Dude on the Right!! L8R!!!

One Live Night

Artist: Dokken
Listenability Scale: 40%
Released by: CMC International A Review by:
– The Wimp

It’s always a good thing when you can dive into a new album from one of your oldest, most favorite bands, in this case the new album being “One Live Night” and the oldest, most favorite band being Dokken. But I am always hesitant when a live album/best of/stocking-stuffer type thing is released (remember “Beast from the East?”). So I placed the CD into my CD-ROM, and gave it a 4X spin.

The only disappointing thing about this album is that I didn’t attend the damn recording at The Strand in Redondo Beach, California. While I was performing my own personal West Coast Tour, I lived and worked very near Redondo Beach and knew where The Stand was. The Strand is a cool, small beach bar named after the walkway/bike path that runs parallel to the ocean. It would have been an ideal place to see this show. As I began to listen to the album and reminisce about those huge tracts of sand at Redondo Beach, I couldn’t help but reiterate some of Don’s opening words “Who would have known?” As I said before, the album is a greatest hits/live album. It has a mix of very old and a few very new songs. As for me, I am annoyed that the band is spending so much time reliving the past and not covering their best stuff. Here is a list of the songs and my comments.

Into the Fire
Interesting version of their first hit song. Low energy, melodic.
Unchain the Night
George lets loose a bit on the electric but still low energy. Duet with Jeff Pilsen, but Jeff has more intensity then Don.
The Maze
The new stuff rules, should play more of it. Don picks up a bit. More mature sounding.
Nothing Left to Say
New ballad. Kind of grows on you…like a pimple. Awww wrinkles. ;( At this point, I agree with the annoying guy who yells “C’mon George” Instead we get this.
From the Beginning – Emerson, Lake & Palmer cover
Don’t like the seventies cover thing. This song is on “Dysfunctional”…fast forward.
Tooth and Nail
Funky acoustic beginning to another classic song, song by Wild Mick. Again, Mick has more energy then Don. This version wails.
Just Got Lucky
Lively acoustic rendition sung by Jeff. I can’t believe Don has given up the spotlight for this length of time. Maybe that explains the reunion, and has lead to a more complete sound in the music.
I Will Remember – Instrumental
Laid back. What this album needs is for George to let loose just once.
Alone Again
Piano version with Don singing. Of course the women go crazy not realizing it’s all their fault.
In My Dreams
Acoustic version of this MTV classic. Yeah, yeah, the 80’s ruled.
Nowhere Man – Beatles cover
I dislike 60’s covers even more than 70’s covers…fast forward. Actually, though, it’s not bad rendition.
It’s Not Love
Country-ish beginning and end to another 80’s classic. Hopefully not a sign of things to come.
After the show hubbub. Re-introductions and the like.

I know if you haven’t bought this album already, you probably won’t. But my editor thought it would be a good idea to finish the review before their next album is released this year. Dokken fans will find this an excellent album to have in the background while working or driving to and from work.

This album gets a 40% on the Entertainment Ave! listenability scale from me.

That’s it – I’m The Wimp!

Accident of Birth

Artist: Bruce Dickinson
Listenability Scale: 80%
Released by: CMC International
A Review by:
– The Dude on the Right

I must say that I’m not a big Iron Maiden fan, but I do appreciate their role in heavy metal history. Listening to “Accident of Birth” you hear a lot of the Iron Maiden influence (as well you should with Bruce being the lead singer for them, then leaving the band, and as of this time back with the band), but there are some differences that leave Bruce on his own. Pretty much if you are an Iron Maiden fan I don’t think can really do wrong picking up this CD. Lots of driving guitar, lots of yelling, lots of dark images, but isn’t that what you would want from him Dickinson. I’m not a huge fan, but I did enjoy this CD for what it’s worth, so I’ll give it an 80% on the Entertainment Ave! listenability scale.

That’s it for this quick review! I’m The Dude on the Right!! L8R!!!