Book Reviews by Elizabeth A. White

Like a fine wine, Tod Howarth (Frehley’s Comet, Cheap Trick, Ted Nugent) demonstrates with his new CD Opposite Gods that in the 10 years since his last solo rock CD West of Eight was released he has improved with age, becoming even more nuanced and complex.

A long time coming, Opposite Gods was truly a labor of love. Tomorrow I’ll be posting an interview I did with Tod about the album, but to give you an idea of the herculean task making Opposite Gods was here’s a quote from the liner notes: “Produced, recorded, mixed, and mastered under dire conditions by me… the variables took their toll.”

And he does mean by him. As with his prior releases, being the extremely talented musician that he is Tod once again is responsible for everything you hear coming from your speakers: guitars, drums, bass, keyboards, all vocals… the man is literally a one man band. And a damn good one at that!

Though the 13 track album is tip-top from start to finish, there are some songs that stand out to me for one reason or another. So, a few highlights:

“Drown” – As with any rock album worth its salt, Opposite Gods opens with an absolute burner. “Hello all you bitches, in your glossy magazines… you’re the entertainment for the feeble minded.” Hello, indeed! “Drown” is a scathing, yet lyrically playful, indictment of the cult of personality in America that makes celebrities of people whose only ‘talent’ is being famous: “Just icons, all image.” Yet despite the playfulness, there’s also an understandable sense of irony to the song; how could there not be when a song about the talentless famous is being performed by a man dripping with talent who literally plays every instrument, sings every vocal, and produced, mixed and mastered the song himself to boot. I’ve always thought you can tell a lot about how an album is going to go based on the opening track, and with that in mind “Drown” certainly sets the pace.

“Opposite Gods” – Two songs later in the album’s title track, however, Tod shows he’s more than capable of shifting gears from playful and sarcastic to tackle the always serious and charged topic of faith and religion. Given that most major religions have the same basic tenets at their core, Tod wonders how there can be so many different – and conflicting – paths one can supposedly take to get from Point A (leading a just life) to Point B (spiritual reward). Even more puzzling, how can any religion justify killing others in the name of its God? “The reasons they all fail me, regardless of faith, and with opposite gods there’s just no harmony.” Fitting for a song about conflict and multiple paths the lyrics are deeply layered, occasionally ’step’ on each other, and many are delivered via call and response. Definitely a heavy hitter.

“The Artist” – A message from Tod to his artist son, this hauntingly beautiful song explores the frustration that a deeply passionate artist can experience looking for a life partner who feels the passion for life and art as deeply as they do. “Life keeps you waiting for the memories worth the while and worth the time.” A floating, airy keyboard acts as the song’s subtle road map allowing the guitars to wander and explore, like the artist, yet always providing the anchor for their return. An absolutely sublime acoustic guitar solo is the perfect compliment to the aching, yet hopeful lyrics. Easily my favorite song on the album.

“Alfi’s Torment” – An all vocal track consisting of only two words, “Alfi’s Torment” nevertheless manages to pack quite a punch. That’s because those two words are delivered via 8 layered vocal tracks from Tod, which were then double tracked for an end result 16 part harmony that sounds like an eerie, slightly malevolent Gregorian chant. Originally to be called “Infidel Chant,” how the song got its final name is a funny story:

“While I was singing every track Alfi, our dog, was lying on a blanket near the console seemingly sleeping until I would hit the way freaking high notes or the hauntingly strange midrange and low note melodies, whereupon he would lift his head and look at me as if to say “Just what in the fuck are you doing?” and then of course lay his head back down. This happened so often that I would start to laugh during the tracking and have to start over again. Thus the name change.”

Funny how such a heavy track has such a lighthearted story behind it.

“October Son” – Epic. There is simply no other way to describe the transcendental splendor that is the 10:24 long instrumental track “October Son.” Even without words “October Son” still tells more of a story than 90% of today’s disposable bands could ever hope to with an entire album of lyrics. At times gentle and soothing, then driving and insistent, this atmospheric keyboard driven song is a pulsing, live thing. Fittingly enough, trying to describe it in words just can’t fully do this instrumental track justice. So, buy the CD, cue up the track, grab a glass of wine, turn down the lights and immerse yourself in one of the lushest music experiences you will ever encounter.

Other notable tracks include “Jimbos Bunk” (Tod’s tribute to his best friend, who was paralyzed in a motorcycle accident), “Layne” (a tip of the cap from one musician to another, the late Layne Staley of Alice in Chains: “No ordinary songs ’cause you did, you broke the chains. And now you’re so far gone, but what you sang it still remains.”), “On Your Own” (another offering of fatherly advice, this time for his daughter Tara, the song showcases exquisite acoustic guitar work), and “Veterans” (a wonderful tribute to veterans of the United States armed forces: “Forever in my heart you remain, forever with a scar but never shame. Forever in my heart.”).

With Opposite Gods Tod demonstrates in no uncertain terms that while one hit wonders and flavors-of-the-month will always flame out, true talent will burn brightly forever. Now, let’s just hope he doesn’t make us wait another 10 years to get the next incendiary CD to stoke the fire.

The rock world lost a true visionary with the passing of Bill Aucoin yesterday of complications from prostate cancer. Though most well known for having discovered legendary rock band KISS in 1973 – and for launching the merchandising juggernaut that has come to be as associated with the band as their music – Aucoin was also the manager for Billy Squire and Billy Idol among others.

Most recently he had formed a new management company called Aucoin Globe Entertainment, which includes award winning Finnish metal band Lordi and the Louisville, Kentucky based Tantric among its roster.

Through my (then) co-ownership of the KISS Asylum website I was very fortunate to have the opportunity to interview Aucoin back in 1999. The interview coincided with the release of a 13 track interview CD called “Bill Aucoin: 13 Classic KISS Stories” and gave me a chance to put a grab bag of questions to him, many of which had been floating around KISS fandom for years but had never before been addressed to Bill directly.

Ultimately the interview is just a drop in the ocean of a life that influenced many, but I am proud to share it again now as my tiny contribution to the remembrance of a man who had an impact on the rock world that will last forever: Bill Aucoin – The KISS Asylum Interview

Earlier this year when TOOL released their tour schedule and my husband and I saw Jacksonville was listed as one of the tour stops we were beyond ecstatic! We have been to Jacksonville to see Godsmack (twice), Disturbed and KISS and have never been disappointed.

Though TOOL has been around for a while, we only really got into their music right before the release of their previous album “Lateralus” in 2001. Since then we have picked up the rest of their catalog, including their latest release “10,000 Days” (2006), and felt that this was one band we would really love to see live someday and hoped that we would get that chance. Easier said than done because the band does not tour often, primarily because they don’t crank out albums every year and they only tour when they have a new album to support.

In this case, it has been 5 years since the last album and tour (2001-2002). Needless to say, we were very excited that TOOL was finally back on tour and that they were coming near enough for us to be able to go see them. The show was in Jacksonville on Saturday, June 2, 2007. Below is our review of the concert and some information about the band if you are not too familiar with their work.

Unfortunately the opening band, Melt Banana (yes, you read that right), was quite possibly the worst thing we’ve ever had the misfortune to hear. They are a band from Japan that is categorized as “noise rock” (that’s an official term actually). Well, it was definitely noise. Rock? Not so much. They were the loudest thing we’ve ever heard, and we’re hard rock fans, but this was literally a painful level of sound. Imagine a very bad B-movie with a post-apocalyptic setting. Now imagine a run down bar in the middle of that post-apocalyptic wasteland. Melt Banana would be the “house band” in that run down bar. And to be clear, that is not a good thing. But hey, they’re somebody’s cup of tea… they’ve released 8 albums. Anyway, on to TOOL.

First it must be pointed out, for those not familiar with the band, TOOL is not a typical band either in their music or their stage show. Their music is crafted to be a total sensory experience, with the visuals that accompany the songs playing almost as important a role as the music itself. In that regard the concert is, conceptually, comparable to an opera in that one is there to not only hear music, but also to take in the visuals and experience the “story” each song tells. The band’s guitar player, Adam Jones, has a background in visual arts and special effects and worked on the special effects for films such as Terminator 2, Jurassic Park, and Predator 2 before joining TOOL. Also, the bass player, Justin, has music-color synesthesia, a condition in which the individual experiences colors in response to tones or other aspects of music (timbre, key). In other words, he literally sees the music they play as colors which, one would imagine, can’t help but heavily influence the bass parts he contributes.

Further, the drummer (Danny), bass player, and guitar player are each recognized by their peers as being exceptionally accomplished musicians and routinely appear high on lists of all time performers on their respective instruments. And singer Maynard James Keenan is by no stretch just along for the ride. His voice has amazing range, equally capable of singing the gentlest, soothing lullaby as it is belting out aggressive, angry screams or holding beautiful, soaring notes for seemingly impossible lengths. His voice is the 4th instrument in the band. Not surprisingly then, the songs are complex both musically and lyrically and the band utilizes uncommon/unusual meter/time signatures (not a lot of simple 4/4 beats going on), quite often going through several different meter/time progressions during the course of a single song.

The lyrics, written by Maynard, are intelligent, provocative, multi-layered, and every song has at least two (or more) meanings/interpretations. For example, the show opener, “Jambi.” At face value the lyrics are about the Indonesian province Jambi and its history; sultans, riches and indulgence, Dutch colonization, lost kingdoms. Or, tongue-in-cheek, it is about the genie character “Jambi” from the show Pee Wee’s Playhouse (the lyrics repeatedly reference “wishing” for something). Or, it is the Finnish word “jambi”, which means iamb, a metrical foot where an unstressed syllable is followed by a stressed one… the way the lyrics are delivered. Or, the song is about Maynard himself (the “sultan”/rock star) and the transformation of his lifestyle (indulgence) upon the birth of his son (wishing the “rock star life” away if it meant not being a good father). Or…. all of the above! So, forewarned and forearmed, here we go.

The band hit the stage shortly after 9:00 p.m. and went right into the opening number, “Jambi”. No “Good evening Jacksonville!” or “Are you ready to rock?” or other such happy chatter, they just hit the stage running. The stage itself is set up with the 4 band members pretty much lined up across the stage side by side, the singer and drummer in the middle on a raised platform, each band member with a huge video screen behind them. There is also a massive screen above the stage, and one screen on either side of the stage. Not once during the show does an image of a band member appear; the screens are for projecting visuals, collages, videos, etc. Whatever it takes to complete the atmosphere of the song. “Jambi” was awash in red and orange lighting and visuals and the band sounded amazing!

The crowd, which was a sell-out, was very vocal and had tremendous energy, which the band seemed to really tap into. The second song, “Stinkfist”, is one of the band’s better known/more popular songs and the crowd sang along so loud at points that they almost drowned out Maynard. The next song, “Forty-Six & 2″, may have made the most extensive use of the screens as far as telling the “story” of the song, which incorporates evolution/genetics (the “46+2″ being the chromosome count of the – supposed – next step in human evolution), mortality (the average American male lives 76 years; Maynard was just shy of 30 when wrote the song and, therefore, had roughly 46 years and 2 months “left”), and Jungian psychology (“the shadow”).

However, the unquestionable centerpiece/highlight of the show for us was the band’s performance of “Wings for Marie/10,000 Days”, an epic 18 minute piece. Prior to starting the song the band gathered and sat down on the drum riser for a few minutes, still no spotlights or pictures of them on the video screens. Justin took out a lighter, lit it, and held it up in the air. In response, seemingly the entire crowd also “flicked their bic” and held it aloft. Now, we’ve been to many concerts where the lighters aloft thing happened, but we agreed this was by far the most we had ever seen. It seemed like 80% of the crowd was holding a lighter overhead, which made for an awesome sea of flames throughout the arena.

The song, intensely personal for Maynard, is about his mother (Marie), her faith/belief in him, her faith in God, the stroke she suffered, and her ultimate death after “10,000 days” of suffering. Though Maynard himself doesn’t profess to be an overly religious person, the song expresses his hope that his mother will be “taken home” and get what she deserves for her years of unwaivering faith, her “wings”. Heavy stuff, made all the more powerful by the AMAZING visuals which accompanied it on the screens and with lasers and lights. The depth and complexity of the laser show that was presented during this song was jaw dropping. Far from being quick and flashy, the lasers were deep and lush and seemed to envelop first the band/stage then, eventually, the entire arena. A show stopper for sure!

Yet, the show did go on, as the band charged into the second to last number, “Lateralus”. Cited by a great number of TOOL fans as their favorite song, “Lateralus” speaks to trying to bridge the gap that has grown between mind, spirit and body. It reflects a belief that people have lost some of their (good) primitive human instincts and need to not be so sterile in “over thinking and over analyzing” every little thing; allow yourself to just feel and experience! Of course, this being Maynard and Tool, if one does a little “over analyzing” it can’t possibly be a coincidence that the number of syllables in the words during the verses are the beginning of the Fibonacci number sequence, first ascending then descending. After all, Maynard concentrated heavily in mathematics at West Point Prep and the Fibonacci sequence shares a relationship with spirals, which are mentioned throughout the lyrics.

Finally, the band wrapped up with the first single from their current album, “Vicarious”, a scathing indictment of the public’s morbid fascination with misfortune, tragedy and death. The “catch phrase” of the song? “I need to watch things die… from a good safe distance.” And, as Maynard sings, before you say he’s a “monster” for saying that, ask yourself why there is so much negativity in the news. Why do bombings and tsunamis and earthquakes and school shootings and hurricanes get so much coverage? Because that’s what the public wants to see… “from a good safe distance”. Sad but true. A powerful message delivered via powerful music and visuals, and a phenomenal end to an incredible performance!

For those who are interested, the complete set list:

Jambi
Stinkfist
Forty-Six & 2
Schism
Lost Keys/Rosetta Stoned
Intension/Right in Two
Wings for Marie/10,000 Days
Lateralus
Vicarious

All in all it was an absolutely incredible experience, both musically and visually. The best concert we’ve ever seen by far. Now if TOOL would only put out a DVD of their live show so we can see it again without another 5 year wait and 4 hour round trip!

It turns out that Tod Howarth’s previous two solo releases, Silhouette and Cobalt Parlor, while both very impressive and enjoyable, were only the tip of the musical iceberg Tod had in store for us all. With his newest release, West of Eight, Tod serves up a sonic assault of an iceberg big enough to sink the Titanic!

Clocking in at slightly over an hour, the fifteen music tracks (plus a spoken “liner note” track called “Thanks,” which is exactly that) assembled here represent some of the most complete, satisfying musicianship that I’ve had the pleasure to experience in recent memory. Well written and well presented, every track has a clear theme, purpose, evolution and satisfying conclusion – no endlessly looped fade outs here.

Tod, an extremely accomplished musician, handles all lead and backing vocals, lead and rhythm guitars, keyboards (used sparingly and to great effect – don’t get scared!), acoustic, baritone and bass guitars. Whew! He does leave the drumming in the hands (and feet) of the very able Dave Aaron, and the lightening fingered Jamie Eden steps up to the plate for both lead and rhythm guitar work on eight of the album’s tracks.

Put all that together, simmer for two to three years to make sure all components are aged to perfection, serve LOUD, and you have the musical masterpiece otherwise known as West of Eight. I am not exaggerating when I say West of Eight has not left my cd changer since I received it. Read on for my review of some of the album highlights (I have to leave you some surprises).

West of Eight: “I’m finally home/I’ve traveled far but here I am/West of eight,” sings Tod on this kick ass album opener in which he extols the virtues of his home, San Diego. However, the song avoids being a maudlin “tribute” to home sweet home by allowing for the listener to come away with their own impression of whether or not the song is actually signing the praises of the familiar – home is where the heart is? – or referencing home as a sanctuary (retreat?) from the brutal surroundings of the “outside” world. Either way, there’s definitely a “secret” revealed. The secret? Well, “Dorothy had the secret all along/seldom should you venture from your home.” This track rocks along relentlessly, instilling a feel of urgency in the need to return “home”, with Jamie Eden weighing in with the first of several extremely impressive guitar performances, whetting your appetite for what’s to come.

Valley of Artifice: What an absolutely awesome showcasing of Tod’s vocal abilities! From the velvety purr of the verses to the desperate wail of the choruses Tod gives the pipes a true workout on this saga, which recounts the experience (hopefully fiction!) of being broken down in the hot desert of the “valley of artifice.” The crunching rhythm guitar chords that drive this tune give way only long enough for the plaintive, wailing guitar solo to capture the feeling of wandering lost “miles from anywhere/the sun is everywhere/and I don’t want to fry, so start hiking high/but which way to go, is beyond me…” Definitely a song that beautifully uses the shifts in both the vocal delivery and music to capture the mood of the story being told by the lyrics – you can almost feel the frustration and the sweat beading up between your shoulder blades as the song (and storyteller?) slowly grinds to a halt.

Day Down: The teasing, spiraling, playful guitar hook which runs through this song makes for an interesting counterpoint to the rather harsh lyrics – “cause one more day down/on the eve of my parade/is harsh but profound/when revenge is finally made.” This may well be the most complex song on the album musically, featuring a deep, rich texture and a very nice non-traditional “solo” in which the guitars engage in a “call and response” exchange, the angry chords of one barking at the playful, teasing notes of the other. The chorus features a very nice layering effect whereby each line is echoed, and Dave Aaron’s drumming – at first patient and steady, then ballistic and rapid-fire – steps to the fore on this “every dog has his day” track.

Painting Spiders: This song is second only to “Evil Clown Song” for my favorite on the disc. Musically the bass is the star of this track, lurching and lumbering along toward the inevitable conclusion of the track like the doomed painter/spider duo reflected in the lyrics. The arrangement of the vocals on this track is again first rate, with the verses building to the incredibly textured, layered choruses. There is something extremely, morbidly fascinating about the lyrics of this track – “Reaching for the ceiling/should be reaching for the sky/last thing on my mind is easy prey/venting my frustrations/as I illustrate the end/painting little spiders in my way/paint in my eyes/naturally my temper will arise/painted alive/struggle like the fly for his life.” And though the lyrics are seemingly straight forward (“death by pigmentation/let me mummify”), at the end of the song you could actually be left to wonder exactly who it is that has been “painted alive” and left to “struggle like the fly for his life” – the spider or the painter?

Evil Clown Song:What a treat! One of my favorite musicians singing about one of my favorite authors. Being a long time fan of both Tod’s and Stephen King’s makes this song, which quite independently kicks ass, even sweeter. Not many people are creative enough to be able to artfully capture their nightmares in a way that retains the terror enough to effect those to whom they are relayed. Stephen King has done that with his novels, and now Tod has captured his reaction to King’s writing in the awesome “Evil Clown Song.” The acapella track “Mr. King,” in which Tod questions why he continues to read something that puts him so on edge, sets the stage for the sonic assault that is “Evil Clown Song.” Written about the clown from the King novel “It”, this song is just down right, balls out, ass kicking NASTY! You know something intense is about to happen as soon as the first eerie strains of the child’s toy box tune that lead into this track escape your speakers. Then come the hyper drums, followed by the barking guitars and growling bass, each added one at a time before all decide to gang up and drag you down into their nightmare. The guitars rip through the verses of the track at a frenetic pace, while the drums crash and thrash along like the evil clown of the title, “stalking children in the guise of fun.” And please, be sure all loose objects are securely stowed beneath your seat or in the overhead bin prior to entering the choruses, because your ass (as well as any small objects, children and pets) will be vibrated across the room by the booming baritone bass that kicks in each time. This is by far my favorite track on the album, and both the music and Tod’s vocal delivery (“BLOOD – RED – FEET – ARE CHASING ME!!”) will haunt and hound you as effectively as any good scary story ever could!

Severed Ties: This acoustic based tune is from the other side of the musical spectrum, illustrating Tod’s ability to effortlessly switch from a balls out rocker like “Evil Clown Song” to something lighter, and yet make it all flow as smooth as silk and sound as if it’s second nature. This bittersweet ballad is a reflection on the emotional and psychological aftermath of ended relationships and the scars they can leave – “But I would let go/truer words were never spoken/and I wish you well/wherever you may be/but here in Hell the spell was finally broken/severed ties.” This is a profoundly grown up look at how we behave toward our memory of someone once we have gone our separate ways from them, wanting both to move on and think good thoughts, while at the same time reeling from the void that remains once they no longer do. Tod handles the (electric) guitar solo on this track himself, and there aren’t many songs leaping to my mind that feature a solo more fitting of the song in which they are featured than what Tod has captured here; a solo that somehow manages to be majestic and mourning at the same time.

They Blow: Ok, this is a rock album. And every great rock album has got to have a middle finger flying, fuck you, attitude song. Well, Tod’s got it more than covered here with They Blow. “Every rumor’s a deadly weapon/in the hands of a shit/so proud of the carnage/when they started it… you are a tale, born by the wind of a lie/and breath of the frail they blow, and hard.” So goes this chronicle of the pathetic and hypocritical nature of those who feel the need to elevate themselves by tearing others down with criticism and rumors, all the while knowing those same “high and mighty” are secretly dying on the inside to be like and live the lives of those they pick apart out of envy and spite. The music is as driving and merciless as the lyrics, which skewer hypocrites with surgical precision. Not for the faint of heart – or those with a guilty conscience!

In addition to those I’ve highlighted above, West of Eight also features tracks as varied as “Carl and Edna” (a very personal tribute to Tod’s grandparents), “Rough and Tumble” (extolling the virtues of “spirited” sexual romping – still waiting for that video Tod!), and “Egyptian” (highlighting the sacrilege of robbing and “displaying” those so long ago entombed for the afterlife). The excellent song “Misgivings” from Cobalt Parlor is also treated to a rerecording here, Tod managing to polish to a brighter luster what was already quite the gem of a song. Some musicians, while talented, seem to get stuck in whatever groove they first find success, at the expense of expanding their musical horizons.

West of Eight is another step forward in Tod’s journey as a musician, and I hope he has packed a very large bundle of supplies to carry him through because his journey seems nowhere near reaching the incredible horizon of his talent. With each new release he kicks it into another gear, blazing forward like his beloved’69 Corvette. The 15 tracks represented on this album effortlessly span the entire emotional spectrum: from introspective to provoking, playful to combative. West of Eight reflects someone who is clearly hitting full stride and confidently moving forward, both as a musician and a man. I for one am incredibly thankful Tod has chosen to share himself with us through his music, and will eagerly await his next offering. Until then, I will gladly continue to lose myself somewhere West of Eight.

To learn more about Tod be sure to visit his website.

Former Ace Frehley Band member and “Into the Void” co-writer Karl Cochran has a new band, Voodooland. If you liked ESP, which also featured Karl’s impressive musical talents, you’ll love Voodooland. The band’s self-titled seven song EP, which reflects a heavy blues-rock influenced sound, is the 70’s rock sound at its best. Along with special guests Ace Frehley (1 track only) and Eric Singer, Voodooland is comprised of Karl on guitars, bass and vocals, Bruce Terkildsen on bass and vocals, Billy Orrico and Dave Halprin on drums, and Tommy Lamb on harp. Every track on the disc rocks hard, and below is just a sample of the treat in store for those who are smart enough to grab a copy of this awesome debut CD.

Freedom: Every great album has a kick ass opener, and Voodooland is certainly no exception. The driving guitar – which screams off into a nasty solo midway that takes on a life of its own through the rest of the track – nicely mirrors the lyrics, which urge people not to be followers who need rules; you don’t need ‘em…. scream Freedom! This is no bullshit, straight ahead GUITAR ROCK at its best.

Caroline: The guitar work on this track, both rhythm and lead, are what really stood out to me. This song has the catchiest rhythm guitar hook I’ve heard in a long time, and it’s complimented very nicely by a throbbing, grooving bass line. The lead guitar swirls seamlessly around the hook throughout the track, which also features really nice vocal harmonies during the chorus. “Caroline” strikes the perfect musical balance in its presentation; it’s a love song, but with a little bite.

Make Up Your Mind: The song begins with a lone guitar before blasting into a wailing number that features another killer rhythm guitar hook. It also features absolutely awesome drumming by the incomparable Eric Singer, who truly gives the kit a workout on this one! The guitar is as plaintive as the lyrics, which beg the object of affection to “make up your mind, just make a decision. Give me a sign, let me know what you’re thinking. Do me right or do me wrong; don’t leave me hanging on.”

Inside Looking Out: FUNKY! That’s the bottom line on this blues/funk rocker. Great tempo change ups, a rolling ‘n popping bass line and masterful vocals all set the stage for the catchiest song on the disc. This is get up and dance kind of music that you will find yourself singing unconsciously later in the day. If you liked ESP, this song will rock your ass because this is 70’s funk/rock at its best!

I’ll Lay Down: This is easily my favorite song on the disc. There are good songs and there are great songs. And then there are those precious few songs that transcend the whole “rating” thing and hit you with a feeling way deep down that is almost impossible to describe. This is one of those songs. There is more soul, depth and emotion in this one song than most bands could ever hope to muster on an entire album. This is deep down, gut wrenching, soul searching music that leaves me with a spiritual, uplifted feeling every time I listen to it; a seriously mature piece of song writing. It’s worth the price of the entire disc for this track alone. Awesome.

Higher: The one cover song on the disc does not disappoint. This kick ass version of Sly and the Family Stone’s “Higher” clearly demonstrates Voodooland is a band that isn’t afraid to shows its blues/rock influences, from which they learned well. Dave Halprin drums his ass off, and Tommy Lamb’s harp blowing makes you wish they had found a way to use it on some of the other tracks. Voodooland is definitely a band that is tight and firing on all cylinders.

Freedom (original demo): The “Freedom” original demo which closes the disc is a slightly extended version of the track (approximately 24 seconds longer), and includes an awesome guitar solo by the one and only Ace Frehley – not that you wouldn’t be able to tell! It’s vintage Ace work all the way, and you can almost smell the strings smoking as the song closes with his “outro” solo.

The bottom line? This is an awesome disc that is well worth picking up and checking out. This is a catchy, hook filled album, with screaming guitars and precision drumming at every turn. The production is first rate, crisp, and with a very nice, balanced mix (no high end guitars or muddy drums here). The packaging is also very cool, including a full color four page booklet and picture CD.

It will come as no surprise after you hear the album that Voodooland is currently in negotiations for major label release. However, a limited edition 1,000 CD pressing of this awesome debut is available for collectors to order now! Click over to www.karlcochran.com for ordering information, but don’t wait too long because this special limited pressing is going fast!

My music reviews are in the process of being transferred from their original locations. Come back soon for reviews of works by artists such as KISS, Karl Cochran, UNION and more.