STACK #130 Aug 2016

MUSIC

REVIEWS

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Robin Gibb Saved By the Bell: The Collected Works of Robin Gibb 1968-1970

Warren Haynes Ashes and Dust

Neil Young + Promise of the Real The Monsanto Years Throughout a career that spans six decades, Neil Young has fearlessly railed against political and environmental abusers. His latest target is the chemical company Monsanto, a leading producer of genetically engineered seed who have been widely criticised as a threat to biodiversity. Recorded with Willie Nelson's sons Lukas and Micah, along with Lukas' bandmates in Promise of the Real (who sound like Crazy Horse), Neil doesn't hold back in his political tirades that also target Walmart and Starbucks (“I want a cup of coffee, but I don't want a GMO”). Loud guitars, powerful messages. (Warner) Billy Pinnell

Any pop legend worth his platinum can expect a 63-track triple-disc retrospective in memoriam, if not before. But the weirdest Bee Gees second posthumous package in 10 months comes with several unique distinctions. First, a staggering 46 of these tracks are previously unissued. Second, the blessed lot gushed into being in one 18-month window, a Niagaral surge of creativity during a late '60s band bust-up. The runaway success of Robin's single, Saved By the Bell, was something of a catalyst for the brothers' hiatus, and though he failed to follow through chart-wise, the Robin's Reign album is a precious, swinging London curiosity. It's here in its entirety: all flutes and strings and cheeky Bacharach trumpets to beat the velvet-trousered band. Gibb's penchant for tragic melodramas, his oddball rhymes ("You like to think you're Admiral Nelson with a gun, a wife and a son") and extreme nasal vibrato amount to an eccentric uncle effect aptly described in Bob Stanley's insightful liner notes as a mix of Scott Walker and Syd Barrett. The bizarre Farmer Ferdinand Hudson is exposed here as a mere fragment of the epic Hudson's Fallen Wind ; hints of a quasi-historical obsession that blossoms on a series of solo organ and guitar demos on disc three. Disc two is a sprawl of hysterically sad ditties, florid with sentiments such as "Without your voice I'm a helpless choice" – cue Edwardian harpsichord and garden party strings. They add up to Sing Slowly Sisters , a much mythologised but, until now, officially "lost" second solo album. Finders keepers or what? (Reprise ) Michael Dwyer

Singer/guitarist Haynes takes leave from Gov't Mule and The Allman Brothers Band for this mostly acoustic, song-orientated solo release that features Americana band Railroad Earth. Showcasing his soulful vocals and acoustic and slide guitar like never before, Haynes dusted off songs he'd written 20 or 30 years ago that fit comfortably with fiddle, banjo, mandolin and clarinet. Cover songs include Billy Edd Wheeler's Coal Tattoo and Stevie Nicks' Gold Dust Woman , a duet with Nocturnals' singer Grace Potter, and on his song Wanderlust he's joined by singer Shawn Colvin and harmonica virtuoso Mickey Raphael. (Warner) Billy PInnell

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Motörhead Bad Magic

Tribulation The Children of the Night Sweden’s Tribulation have mutated into quite an entity. Their origins lie in the thrash and death metal scenes but the stylistic changes made on second album Formulas of Death turned heads. This continues with The Children of the Night . Retro rock is peaking at the moment with Ghost leading the way; unlike Ghost, Tribulation maintain their heavy metal roots. Jimmy Page once said that Led Zeppelin never wanted to copy the blues, just capture its mood. Tribulation do the same with heavy metal, emulating Zeppelin’s creativity, free spirit and occult tendencies for the modern metal fan. (Century Media/EMI) Simon Lukic

The Dark Horses Tunnel at the End of the Light Tex Perkins and The Dark Horses saddle up for the third part of their trilogy, following 2011’s self- titled set and 2012’s Everyone’s Alone . This is late-night Tex, not the rowdy rocker. “As I begin my journey to the end of the day,” he intones in the ironic opener Oh Lucky Me , “with a kind of reluctance you get at my age.” Perkins has the perfect voice to set a mood. With his deep, smoky tone and genuine presence, it’s as if he’s singing to you, next to your bed. Recorded and mixed by Roger Bergodaz, the sound is understated but powerful. Languid beauty. (Dark Horse Records/Inertia) Jeff Jenkins

Albert Hammond, Jr. Momentary Masters

There’s no mistaking those controlled guitar ribbons, and The Strokes’ Albert Hammond, Jr. brings his usual in-the-pocket flair to this solo album. But after the promising opener Born Slippy and the dancey Power Hungry , Hammond, Jr. spins off in too many unsatisfying directions. While Losing Touch does well with chugging 1980s power-pop (think Squeeze), Caught By My Shadow is a glowering, Black Keys-esque detour, and Don’t Think Twice is a stilted Dylan cover. Even as he strives to branch out, Hammond, Jr. keeps evoking his usual band, right down to the anxious pulse and distorted vocals. (Liberator/Infectious) Doug Wallen

Motörhead’s influence cannot be measured, even transcending music to impact on fashion and art. Their mascot, Snaggletooth, defines rock 'n’ roll, becoming an iconic figure to many who have never even heard of the band. Bad Magic is Motörhead’s 22nd studio album and another solid collection of tunes. Lemmy’s recent health scares may have slowed him down, but he continues to snarl and spit out tales of war and revenge without missing a beat. Motörhead offer no new tricks with Bad Magic , but like any act with 40 years of experience, they always put on a great show. (UDR/Warner) Simon Lukic

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