"There's a time in life for Hoagy Carmichael. There's a time in life for Claude Debussy. There's a time in life for Jerry Lee Lewis. There's a time in life for Destiny's Child. All these things have their moment." ~Elvis Costello
Sweden’s Ghost inhabit–haunt, really–a world of their own on the musical landscape. Inspired by Alice Cooper’s sense of the theatrical, Opeth’s dark vibe, Dio and BOC’s riffs, and ABBA’s songwriting, Ghost create their own uniquely creepy stew of something I want to call Halloween Rock.
The final track of 2018’s Prequelle LP is a ballad, and stands alone as such, even if a listen to what precedes it–a bombastic metal conceptual album revolving around Europe’s black plague–lends it some dark undertones.
The bell tolls and pipe organ don’t hurt, either.
Ghost’s best work is dark, twisted and creepy. But also beautiful, inspired and thrilling.
Fittingly, Alice Cooper-fronted supergroup/side project Hollywood Vampires mostly covered dead rockers on their 2015 debut release.
Cooper, guitarist Joe Perry and Johnny Depp form the core of the band, with Cooper’s old pal Bob Ezrin producing and a stupifying list of guest stars dropping by throughout.
Guest vampires include Dave Grohl, Perry Farrell, Sir Paul McCartney, Slash, Joe Walsh, Robbie Krieger, Zak Starkey, Brian Johnson and Kip Winger.
The result is one raucous party of a record, with MC Alice bringing all his multiple vocal personalities to the mic as required to revive the spirits of legends such as Jim Morrison, T.Rex, John Lennon, Harry Nilsson, Badfinger and, on this burner of a track, Spirit’s Randy California.
Sacrilegious as it might sound, this supergroup’s performances might just out-do some of the originals.
The Stapletons are a husband and wife, harp and guitar duo. Together, they write baroque folk rich with hints of Appalachian balladry, Delta blues, and echoes of the English folk revival movement. Blues-driven harp and guitar arrangements topped by ethereal vocal harmonies combine to create a wondrous sound.
Casey, a mariachi from LA married Kate, who grew up in Middle Ridge, WI. Swept into sooty post-industrial Pittsburgh, The Stapletons set about reconciling their many cultural clashes and started a brood of children. Six years later they sat down one morning in the kitchen with a Celtic harp and a Mexican guitar and began writing music. Their unique, “chamber folk” style features blues driven harp riffs, tightly interwoven vocals, and ethereal harmonies. Inspired by their home surrounded by civil war ghosts, this husband wife duo write intricate songs that bring the past alive, illuminate the present, and lift listeners into the stars.
For those not familiar with Douglas Adams’ HItchhiker’s Guide to the Galaxy, some explaining is in order on this one.
In the fictional book series, radio drama, TV series and movie, Marvin is a robot starship crew member who has been programmed with a human personality.
Unfortunately, Marvin is chronically depressed and bored with the mundane tasks he’s routinely asked to perform. Marvin claims to be 50,000 times more intelligient than a human, yet, as his song laments, “they make me pick the paper off the floor”.
Stephen Moore, who voiced Marvin in the British radio and TV series, released the single “Marvin” in 1981, and it reached number 52 in the British pop charts.
Aside from play on the Dr. Demento show, the song had basically zero exposure in America. And that’s exactly where I came across it, around 1985, and recorded it to a long lost cassette from the boombox beside my bed.
I'm just a robot and I know my place A metal servant to the human race I work my can off trying to satisfy I know they'll disconnect me by and by. Chip on my shoulder made of silicon My printed circuit's like a lexicon Ten billion logic functions, maybe more They make me pick the paper off the floor. Solitary solenoid Terminally paranoid Marvin Know what makes me really mad They clean me with a Brillo Pad A carwash wouldn't be so bad Life! Don't talk to me about life. I'm so depressed I could expectorate My moving parts are in a solid state I want to rust in peace, switch off and lie In that great junk yard in the sky. Solitary solenoid Terminally paranoid Marvin Nothing left to be enjoyed Every diode rheumatoid Marvin Outer alloy Inner void Marvin Happiness has been destroyed.
Another delightful pop nugget from New Zealand’s answer to Sum 41, Weezer, Beastie Boys, Nirvana and more.
Tyson Kennedy’s rap overlapping Brad Carter’s singing, backed by some tasty riffage makes for a winning formula. This band–and this gloriously ebullient album–should have been big.
Max Romeo & The Upsetters: “War Ina Babylon” (1976)
Jamaican Max Romeo was known for making rather lightweight, if at times racy, pop which performed well in both Jamaican and UK charts in the late 60’s.
But when he paired with Lee “Scratch” Perry’s studio band the Upsetters for the 1976 release War Ina Babylon he brought the goods. The religious and politically-themed album is widely acknowledged not only as Romeo’s best work but a classic of the reggae genre, and its title song, which describes the tense mood around the Jamaican election of 1972, is a highlight.
Every Moment Has A Song 