Gyasi Here Comes The Good Part 2025

 

Maybe you are someone who loved Bowie's Ziggy Stardust, or Mott The Hoople's Mott or T Rex's Electric Warrior, or anything by Slade, and you wish that the glam era wasn't so short-lived in the seventies. Well, Gyasi (pronounced Jah-See) is here for you.

The record kicks off with the pounding Sweet Thing, big buzzsaw guitars and hooky melodies. Lightening follows, another pounding rocker that's just fine. Snake City features a nice skronky lead break and a chorus made for arena sing-alongs. Solo bass starts off She Says, and then it kicks into high gear, driving fast and hard with big guitars and another catchy chorus. Street Life is riff rock of high caliber, and then American Dream is the big ballad that sounds like a Ziggy outtake (a good one), ending the first side in fine style.

Side two comes driving out of the gate with Cheap High, a fast and furious workout with a smoking lead guitar. Big crunching guitar announces Baby Blue, with another riff supporting a catchy melody and more wailing lead guitar. Bang Bang (Runaway) rocks hard, Star starts off like a lost Led Zeppelin track and then morphs into a Mott the Hoople song. Piano is featured on 23, and it's a mid-tempo number with an interesting rhythm and yet another searing lead break. The record ends with Grand Finale, a sweet Bowie-inspired ballad with synth strings and a sentimental lyric, that turns into a big arena ballad before it ends, and closes with a hot lead guitar.

Throughout the record, Gyasi sings in an affected nasal style that is a cross between Bowie and Marc Bolin, and also employs a strong Robert Plant falsetto for the high parts. Melodies are strong, lyrics are good, and the band is tight. 

What more could a glam rock fan ask for?

The Golden Era of Rock 'n' Roll 1955-1963 2004

During the 1990s and early 2000s the reissue market took off like crazy. Motown, Stax/Volt, Atlantic and others all released box sets of their back catalog hits, usually with nice booklets with essays and track information. Rhino Records and Hip-O Records both did excellent work in the reissue field, and especially in various artist compilations. This set is a companion to The Roots of Rock 'n' Roll set I discussed way back here.  

This is one of the better compilations of it's ilk, and hits most of the highlights (with the usual licensing issues) that one might want in covering this early rock and roll era. Bill Haley, the Moonglows, Fats Domino, Gene Vincent and Carl Perkins show up on the first CD (the set is nicely chronological). The Ventures, Dion, Del Shannon and Roy Orbison populate the third CD. All the names you might remember or that you may have studied through reading about the era are here, but so are some of the lesser artists such as The Bobettes, Lee Andrews and the Hearts, The Five Satins, Shirley and Lee, and Joey Dee and the Starlighters. Their songs are more familiar than their names in most cases.

It isn't quite the revelation that the Roots of Rock 'n' Roll set was, as that one explored the era before rock really took over the airwaves, and was a deep dive into less familiar music and varied genres. But for someone born in the seventies or later, much of this material might be quite alien, and perhaps even as revelatory. And if you were listening to the oldies station in the sixties or seventies, much of this will sound pleasingly familiar, and some of it will be new. The set ends in 1963 with The Angels' My Boyfriend's Back, The Chiffons' He's So Fine, and The Beach Boys Surfin' USA. Let's just say they nailed the landing.

I've explored a number of Box Set collections in the past, and the good ones are mighty fine listening. You can check those entries out here. Additionally, most of them are available at bargain prices these days. I'm going to try to review the remainder of these sets in my collection in the near future. Stay tuned.

Lindsey Buckingham Go Insane 1984

Lindsey Buckingham seemed to relish his chances to go solo, and he makes a concerted effort not to sound like Fleetwood Mac. Which makes sense, but it also means that Mac fans would have mixed feelings about Buckingham solo. His first was very good with just a few exceptions, and I guess this one could be assessed pretty much the same way. 

The records open with the rocking I Want You, with tinny keyboards, speeded-up vocal section, and smoking hot lead guitar, with a hook for a chorus. Nice way to kick things off. The title track is next and has layered keys, layered vocals, sharp percussion, with another catchy chorus. The warbly high register that is his vocal on Slow Dancing is classic Buckingham. The pulsing beat and and complex arrangement keep a simple tune interesting. I Must Go gets a little more experimental, and that either detracts or you like it. Lots of keyboards, but it runs for a minute or two longer than it has ideas. And then Play In The Rain brings the crazy theme to the fore, with quiet vocal parts interrupted by clamorous percussion segments. Then the Indian instruments come in to raga the song out. 

Flip over to side two and Play In The Rain continues, starting with the raga, then shifting back to alternating vocal sections with percussion and big keyboard/guitar segments. It all comes together to rock out the ending. The slinky rock of Loving Cup is familiar territory for Buckingham, and rocks pretty hard. We get a hot guitar solo, and a big stadium-rock sound. It's good, but again seems to milk the motif for a few extra minutes. Bang The Drum opens without drums (of course), and the "bang the drum" chorus is catchy with  those eighties synths and layered vocal harmonies. The song ends on the banging drums (thank goodness). The D. W. Suite (honoring Dennis Wilson) is in three parts. The gentle opening section with Scottish folk overtones morphs through some cacophony into a Beach Boys inspired, harmony packed song, and then into a march of the familiar Scottish folk song "The Bonnie Banks o' Loch Lomond" (or something awfully close) that serves as a funeral march for the recently deceased Wilson. It's a bit out there.

Listening to it after a long time away made for fun and intriguing listening. I suppose if you didn't like Tusk you probably won't like his early solo work (this is his second). Side one is better than side two. The record plays for 38 minutes, and even at that, some of it feels like it's stretched out a bit. And so yes, it's very good, with a few exceptions.

Spinning Vinyl

So this session had a theme of 80s vinyl. Sometime between 1988 and 1991, new releases stopped being issued on vinyl except for mega-hits, and CDs took over. But the early and mid 80s, while crammed with terrible synthesizer pop, also saw some of my favorite artists making great records. All of these are very special to me. 

Things started with XTC's English Settlement 1982, side two with No Thugs In Our House, Yacht Dance, and All Of A Sudden (It's Too Late). I've always loved the chorus of No Thugs, "No thugs in our house, are there dear, We made that clear, We made little Graham promise us he'd be a good boy". Sure, as long as an adolescent male tells you they'll be good, it's all set. Both Yacht Dance and All Of A Sudden are also great. "Life's like a jigsaw, you get the straight bits but there's something missing in the middle". English Settlement has always been my favorite XTC, and for an unknown reason I bought the expensive two LP import version when it came out, which was vastly superior to the single disc US version that had five less songs.

Next up, The Clash London Calling 1980, also side two. Side two isn't the hit-packed side one or side four, but it's very good. Spanish Bombs, Clampdown and the call to arms of The Guns of Brixton, "When they kick at your front door, How you gonna come?, With your hands on your head, or on the trigger of your gun". Even the weak side kicks ass.

Then it was side two of Elvis Costello's Trust 1981. I typically think of Imperial Bedroom as my Costello highlight, but I may need to reconsider. With songs like New Lace Sleeves, From A Whisper To A Scream, Different Finger, and White Knuckles, the side just slaps you in the face. The Attractions were such a great band.

Next I pulled out one I hadn't listened to in I don't know how long. Talking Heads Remain In Light 1980, side one with Born Under Punches, Crosseyed and Painless, and The Great Curve. It was listed as a best of the year along side London Calling on every such list. At the time of release, Ken Tucker wrote in Rolling Stone, "Remain in Light yields scary, funny music to which you can dance and think, think and dance, dance and think, ad infinitum." It was a thrill to hear after so long a time.

Side one of Robert Palmer's Pride 1983 followed. This was Palmer's last record before the one-two punch of Power Station's 33 1/3  and Palmer's Riptide, both with Tony Thompson, Andy Taylor and Bernard Edwards and featuring Some Like It Hot and Addicted to Love. But Pride is no slouch, and side one features the title track, Want You More, Dance For Me and You Are In My System.

Finally we get to 1986 and Joe Jackson's three-sided vinyl version of Big World. Side three with Soul Kiss, Tango Atlantico, Home Town, and the snark of The Jet Set, all demonstrating Jackson's gift for skilled and varied composition. Recorded live without any overdubs or sonic trickery, Big World is an outstanding example of a super tight band firing on all cylinders. 

It was a fine, if brief, romp through the stacks, sticking to favorite records by favorite artists with the speakers singing loud and clear.

Wet Leg moisturizer 2025, Haim I Quit 2025

I'm an old guy, and while I try to listen to new music, much of it leaves me cold. The current state of hip-hop doesn't enthuse me any more than older hip-hop did. Most of the stuff on the pop charts seems to be formulaic music produced by programmed machines instead of actual musicians. The spate of trendy heart-on-the-sleeve female artists doesn't connect with me, and yes, I listen to quite a bit of it.

But these two records are both appealing to me. Both feature actual musicians, solid vocals, smart lyrics, hooky songs, and actual hot guitar breaks from time to time. 

I listened to the first Wet Leg record, and I liked it, but it didn't make me want to dive deeper. The singles sure were great. This new one has a little less of a punk sound, although there's still some razor sharp guitars. It feels like the songs are more developed, and guitarist Joshua Mobaraki has more co-writes than on the debut. More hands on deck can't hurt. Slinky opener CPR, angry Catch These Fists, dismissive Mangetout, and the comfortable You and Me At Home all stand out, but there's not a really weak one anywhere. 

I could say the same for I Quit. Again, I listened to and mostly enjoyed previous Haim material, but this one seems like a step forward to me. They continue to benefit from pop wiz Rostam Batmanglij, who's  instincts are impressive, and his production is squeaky clean. 

Lyrics lean on female empowerment. The record kicks off with Gone and All Over Me, a strong start. But the hits keep coming, and Down To Be Wrong, Everybody's Trying To Figure Me Out, Try To Feel My Pain, and Now It's Time are all strong songs. Again, there aren't any real flops. They often sound like Stevie Nick's Fleetwood Mac (without the pretense) or Sheryl Crow, in a good way.

Haim are a bit more pop than Wet Leg, so the longevity points might go Wet Leg's way. But right now I'm liking new music by contemporary artists, and that gives me hope. Old dog, new tricks. 

Van Morrison Remembering Now 2025 ...and Them 1964-1967

Van Morrison's latest is getting mostly excellent press, with several reviewers saying it's his best in three decades. I'm not sure I'd go quite that far, not because it isn't darn good, but because the last thirty years, while inconsistent, have given us several really good ones. How Long Has This Been Going On 1995, What's Wrong With This Picture? 2003, Down The Road 2002, Keep It Simple 2008, and You're Driving Me Crazy 2018 were all good Van Morrison records, and a few others came close. But since 2020, he's given us five records that range from dull to god-awful. His two lock down bitch sessions, a skiffle outing, an oldies covers record, and a back-catalog retread have kept this decade mostly disappointing.

And so Remembering Now is a strong return to form. He's never going to make music like he made in the 1970s again, and that seems an unreasonable expectation from anyone turning 80. But he still sings with soul and verve, and he's written mostly better songs this time around. The band has been around a while, and they are good. He tends to make long records, and if he'd edited out maybe three of them, it might approach perfection. You can read more detailed reviews elsewhere, but suffice it to say that if you gave up on Van Morrison a while back, now might be a good time to check out his new one.

So now lets check out Van in his youth with Them. Them made two LPs with Morrison, and this 3 CD collection The Complete Them 1964-1967 from 2015 includes those LPs, plus singles and b-sides and demos and first takes and pretty much everything that was worthy of release. And somewhat remarkably, almost everything here is worthy of release, and worth your time to hear it. Them was a blues-based rock outfit that most closely resembled The Animals in sound, although Morrison's voice and Eric Burden's are different, Morrison with a higher register than Burden, but both bluesy and soulful. 

Of course the few hits they had (Baby Please Don't Go, Here Comes The Night, Mystic Eyes) are here, and so is Gloria (a hit for The Shadows of Knight in the US). But there's a lot of fine performances, both from Morrison's pen as well as blues chestnuts Stormy Monday, Route 66, Turn On Your Lovelight, and I Put A Spell On You. The third disc is not essential, with it's demos and alternate takes, but there's six live tracks from BBC radio that are pretty cool. They had a good reputation as a live act. It could have been an excellent 2 CD set, but you really can't blame them for collecting it all in one place, and Van Morrison completists are surely happy. There's a detailed review at Everybody's Dummy here.

I also recently realized that in my quest to review all of Van Morrison's work, I skipped the work he did for Bang Records after Them and before Astral Weeks. Originally released as Blowin' Your Mind 1967, and later as T.B. Sheets and under several different names and with different song selections, I'll be brief. You can get Brown-Eyed Girl lots of other places, and unless you just have to have everything, the rest of the songs are unimportant and inferior to the work he would start to do immediately thereafter. 

Live Shows Part 2: 1980-2025

Talking Heads 1983 Blossom Music Center. The show they made the movie of, one of my all time favorites. 

The Neville Brothers/Dirty Dozen Brass Band Tipitina's 1980s. This one should be on my top ten list for sure. I always loved them, and they were amazing. Another show I didn't realize was happening in advance. Super hot on a steaming New Orleans night, well into the wee hours.

Various 80s/90s shows: 

Robert Palmer x2 at Nautica, and the Odeon. Great showman and singer. Dony Wynn, drummer extraordinaire kept time with great precision no matter who else was in the band. 

Bob Dylan/Del Amitri Nautica (I got into Del Amitri later, and only realized that I'd seen them live in retrospect). 

Santana at Nautica, Lindsey Buckingham at Peabody's Down Under (in a bar!), The Subdudes Peabody's Down Under, James Brown/Wilson Pickett at The Front Row (they were both fabulous). Peter Tosh Front Row, Bruce Cockburn, Joe Jackson/Todd Rundgren, Moody Blues, Melissa Etheridge x2 Nautica (quite the entertainer, she really rocked).

David Bowie The Coliseum, Michael Jackson The Coliseum, The Grateful Dead The Coliseum (they were terrible), Bob Dylan The Colliseum (The Budokon show, and I liked it a lot), Bob Dylan Akron Civic during his Christian phase, and he and the band were very good. 

Dwight Yoakam Blossom Music Center. k. d lang Music Hall, and again later at Cain Park.

Don Dixon and Marti Jones at least five times at Beachland, Music Box, The Empire (funky room, great show, a top ten entry). They were always excellent, especially when they had Jaime Hoover and Jim Brock with them.

Glass Harp reunion Akron Civic Theatre 1997.

Marsha Ball, Erma Thomas, Tracy Nelson 1999 on the Sing It! tour. They were wonderful. To get to see Tracey do Down So Low live took my breath away.

Lucinda Williams x2 The Odeon 2001, Nautica 2004? Smoking hot both times. 

Marti Jones/Amy Rigby as The Cynical Girls Beachland Ballroom, Cheryl Wheeler Beachland, Matthew Sweet Beachland, Marshall Crenshaw Beachland, Marsha Ball Beachland, The Proclaimers Beachland, Nick Lowe solo show Beachland.

Wilco/John Doe 2008 Lakewood Civic Auditorium. One of the loudest shows I ever heard. Fortunately I had hearing protection, but when the opener is super loud, you know you're in trouble. Wilco was great even if unnecessarily loud.

John Hiatt The Empire, rocking out with a full band. John Hiatt, Lyle Lovett, Guy Clark, Joe Ely 2007 State Theatre, John Hiatt and Lyle Lovett 2011 Akron Civic. Those last two were songwriter acoustic shows.

Fiona Apple Cain Park 2012. Oliver Mtukudzi, Cleveland Museum of Art, 2013. Pink Flamingo State Theatre. Trisha Yearwood Music Hall.

Jazz category: 

Ahmad Jamal x2 Purple Onion Toronto 1990, Jazz Alley Seattle 2006. One of my very favorite jazz artists.

Bill Frisell Jenny Scheinman, Greg Leisz 2007 Winchester. Wow. I'm so glad I got to see them in a small bar with an appreciative audience.

Pete Fountain Pete Fountain's Club 1980s, Allen Toussaint/Preservation Hall Jazz Band Music Box 2014, Preservation Hall Jazz Band Severance Hall 2000s, Diana Krall State Theatre 2012, Monty Alexander Nighttown 2010s.

The Cleveland Orchestra, Severance Hall 1995-2025, I've seen the orchestra at least 60 times. I subscribed to 4-6 concerts a year for at least ten years. Around my birthday in February each year they would have "stretch" concerts featuring new or neglected works, and things that were generally challenging. Some were good, others were pretty bad, but the good ones opened my ears to new and unique experiences. But I love Mozart, too. My most memorable series was seeing Mitsuko Uchida play and conduct Mozart piano concertos during the early-mid 2000s. Then the series was repeated from 2008-2015 and recorded for Decca. We saw the shows that were recorded, and of course I bought the CDs as they came out. Uchida's Mozart is beautiful, and her style suits the fluidity of the Cleveland Orchestra perfectly.

I know I have forgotten a lot. See also Live Shows Part 1 1966-1980.