New York natives Living Colour are no strangers to the legendary and as of 2006, deceased NYC CBGB rock club, which supported live acts for 33 years. The band, known for its unique fusion of heavy metal, funk, reggae and other genres and influenced by everyone from Fishbone and Bad Brains to Jimi Hendrix, played at the world’s “most important punk rock club” in the 1980s, when no one knew who they were and then later, at the height of its (Living Colour’s) popularity late in the decade. [A CD from the group’s December 1989 show was released in 2005.] CBGB and its founder Hilly Kristal are no longer in existence, but it’s only fitting that great rock bands of yesteryear that played there, including Living Colour are trying to keep alive the spirit of the club that introduced to the world The Ramones, Blondie and other future legendary rockers. Thus, the release of yet another Living Colour show that took place at CBGB, this one being a benefit meant to try and raise money to save the club from closing. It happened the night of August 19, 2005, and the newly released disc it appears on is titled, in short, CBGB OMFUG Masters (MVD Audio). The show was taped via the CBGB soundboard, and though the mixing on the CD is highly respectable, it’s not quite perfect, as the crowd sounds a bit distant and there’s a half-second pause in sound during one song, “Love Rears Its Ugly Head.” The latter issue may or may not be just limited to my CD copy, but others who bought this CD can feel free to chime in about it in the “comments” section below. The first thing that has to be said about Living Colour circa 2005 is that despite singer Corey Glover’s repeated declarations that “I’m getting old,” the high octane performances from this show would have you believe otherwise. That said, let’s get the few low-lights out of the way. The band stretched out but apparently didn’t nail the ending of its feel-good hit from 1988’s Vivid, “Glamour Boys.” That prompted the band to humorously tell the audience, “Let’s see what we remember!” Also, the crowd wasn’t totally feeling the long, experimental, drum ‘n’ bass-propelled rocker “Sacred Ground.” Other live versions of fan favorites absolutely killed, however. Among the standouts were a fast-paced and raw version of the hard rockin’ Time’s Up (1990 CD) highlight “Type,” complete with its reggae bridge section, along with the slumlord-aimed (lyrically) but CBGB-dedicated “Open Letter To A Landlord,” where Glover really shows off his charm and soulful vocal style. Time’s Up hit “Love Rears Its Ugly Head,” which was introduced with a sweet freestyle, Hendrix-like guitar solo by underrated guitar genius Vernon Reid was another bright spot. Like Page Hamilton of Helmet, Reid has a background in jazz, and it often shows in songs such as this and the adventurous, speedy jazz/funk rock of “Funny Vibe,” another show highlight and song that not only has stood the test of time but probably influenced the likes of early Incubus.

Vindictiv may not be a band name that resonates with many listeners, yet the group boasts some notable credentials. As such, their self-titled debut album, released some months back on the Escape Music label, warrants a closer look. On lead vocals is former Yngwie Malmsteen and Brazon Abbot singer, Goran Edman. This first release from Vindictiv captures Edman, who appeared on Malmsteen’s Eclipse album, in excellent form. This connection is further carried forward by some highly impressive Yngwie-style guitar from Stefan Lindholm. Vindictiv date back to early 2004 when Swedish guitarist Stefan Lindholm joined forces with keyboard maestro Pontus Larsson. After several line up changes, Vindictiv emerged with Edman, bassist Nalle Pahlsson of Treat, drummer Mikael Wikman of Planet Waves, Larsson, and, of course Lindholm. This debut album, Vindictiv, delivers with striking musicianship, powerful vocals, and well-written and arranged tracks. Stefan Lindholm’s guitar work is of the highest quality whilst Edman's vocals are superb throughout, both musicians adding an extra dimension that lifts the band to another level. Breathtaking solos delivered with incredible speed drive the album forward at a relentless pace, which is quite evident on “David’s House” as well as on the opener, “Fool’s Paradise.” There is definitely a lot going on here; so much so, actually, that Vindictiv may require a few listens before its full scope is revealed. The intriguingly named “Caesar’s Commentaries” again has Lindholm leading off on an inspiring solo. He then soars through “The Royal Loo,” “Dreams Of A Demon’s Head,” “A Quiet Life,” and “David’s House” before exploding on the standout track, “Living Colours.” “Hymn To Desdemona” provides a nicely paced breather with some exceptional vocals. “A Second Life” and the memorable “Fata Morgana” — the latter evoking subtle shades of Bowie — again feature dauntingly fast guitar solos as they bring the album to a close. Vindictiv contains some intriguing tracks that attest to the band's distinctiveness while, at the same time, paying homage to some strong influences. As well, Lindholm has found the perfect band with which to showcase his extraordinary guitar skills. All in all, Vindictiv will please those who like their melodic metal with heavy neo-classical touches. At turns compelling, stimulating and breathtaking, it's a remarkable debut album and one worth exploring. Have a listen by visiting the Vindictiv Website or their Myspace page.

Get the party started any time of the year with Delicious Vinyl All-Stars RMXXOLOGY Deluxe Edition, a 30-track double CD that pumps through new remixes, classic cuts, and instrumentals that will make you go mental. Sound like a lot of loaded hype? It isn’t. This is one packed-to-the-rafters double-CD. Taking all the hits from this past summer’s RMXXOLOGY album and jamming it with instrumentals, unreleased remixes, and classics from the Delicious Vinyl vaults, this is one Deluxe Edition that ain’t just blowing smoke. RMXXOLOGY packs a generous helping of remixes of classic rap tracks. Imagine electro –freak Peaches mixing Tone Loc’s “Wild Thing” or Eminem turning the wheels of steel on a remix of the Masta Ace classic “Slaughtahouse” and you’ve got an idea of what awaits on this incredible compilation. The art of the remix can be tricky, even for the best DJs and artists around. Some remixes simply mess with perfection, destroying an original work’s efficacy through sloppy beats and obnoxious turntable showcasing. An effective remix, on the other hand, can boost the relevance of classic tracks and provoke new emotions from old favorites. Such is the case with RMXXOLOGY, as the artists take the best of these rap classics and make them even better. Don Rimini’s take on the Young MC standard “Bust a Move” does just that. It’s a total repackaging of the classic track, with new beats and new shiny surfaces designed to make your ass bounce on the dance floor. Don Rimini’s command over the pulse is impeccable, as we discovered earlier this year with Kick 'N Run. Here, he’s a dynamo, ripping the track up, building it again, and blowing the roof off. Other remixes find similar shit going on. The aforementioned Peaches does her thing all over “Wild Thing,” for instance. The original riff is kept intact, of course, but the electro diva messes with everything else and formulates a slinky, dirty remix. Peaches injects her own vocals, too, making the track a slick duet. Hot Chip takes on The Pharcyde’s “Passin’ Me By” and turns it into a haunting, provocative tune. Also included are remixes by Aaron LaCrate & Debonair Samir, Diplo, and Pink Enemy. The bonus disc features instrumentals of many of the remixes, ideal for pumping solid beats through your stereo system. And Delicious Vinyl cracked open the vaults for originals by Tone Loc, Young MC, Masta Ace, and The Pharcyde. The Delicious Vinyl All-Stars RMXXOLOGY Deluxe Edition is a slammin’ soundtrack to your Saturday night. Whether you’re old school or new school, you’ll find something to groove to on this scrumptious compilation of favorites.

The Darkthrone of today are a completely different band than when they started out and redefined the genre of black metal in the early '90s. The strict doctrines of old have long since been left behind, but only out of a natural progression. Darkthrone sound like they do today very simply because their songwriting has evolved. They want to honor true old school music and pay homage to their influences, such as speed metal, “a little bit boring thrash”, as Fenriz would put it, and punk. The last album may have upset many black metal puritans that could not accept the difference and their penchant for humor, but F.O.A.D was a sublime metal album full of sloppy punk and "new wave of British heavy metal" influences. Dark Thrones and Black Flags is steeped in the same style and is just as good as its predecessor. Opener “The Winds They Called the Dungeon Shaker” is one of the best hardcore punk songs of the year and this comes from a black metal band. I will admit that the chorus took me by surprise the first time I heard the song because it’s very uncharacteristic for the band, but after another listen it seemed to fit the rest of the song like custard on apple pie. The same goes for “Hanging Out in Haiger” – definitely different but its fun old school vibe makes it one of the top cuts on the album. The use of cleaner vocals throughout will definitely divide opinions but bypass the cheesy title and what you get is a rough and dirty brew of punk and metal. Second song "Death of All Oaths" is pure mid tempo thrash metal and its chugging and thick opening riff brings to mind legendary Canadian thrashers Slaughter. A quick study in the booklet and you will notice that the duo each have five songs to their credit. Whether this split is intentional or not is irrelevant but the difference is still slightly tangible. The Fenriz-penned songs are prominent in their use of more melodic metal and/ or crust punk influences - "Hiking Metal Punks" is a typical one and its wonderfully guitar melody in the second half is something straight out of an 80's heavy metal album - whereas Nocturno Culto's contributions are coming from the more traditional Darkthrone background. Above mentioned "Death of All Oaths" is one and another example is "Norway in September" that evokes the slower moments of old Celtic Frost and Venom. There is one thing that to me will always feel distinctive for Darkthrone, or at the very least distinguishing for Scandinavian death/black metal bands, no matter how much people complain about the change; and that is the way they write the guitar riffs. Many bands from the north have a very specific guitar sound that makes them uneasy even when melodic. It is difficult to explain but they sound so utterly cold and frostbitten, which to me typifies bands from countries where cold weather signifies everything. The accompanying booklet is, as was the case with the previous record, in a league of its own. If you still value the complete experience of reading the lyrics, liner notes, and studying the pictures then you will find plenty to enjoy here. All you need to do now is get a copy of Dark Thrones and Black Flags and enjoy metal history filtered through the world of two record collecting Norwegian weirdos. A new album from these guys will always be more of a pleasure to listen to than most.

For close to 25 years now, Swedish-born legend Yngwie Malmsteen has awed audiences worldwide with his groundbreaking brand of classical-style heavy metal and distinct approach to guitar playing. Whether it be slick, sweeping arpeggio riffs or lightning-quick shredding (which at times hard rock critics thought was a little overdone at the expense of stronger songwriting), Malmsteen has nonetheless earned irrevocable praise in the world of all things metal and electric guitar. Always a mix of instrumentals and some vocal-led tracks, his mid-‘80s records, Rising Force, Marching Out and Trilogy are among many of hard rock and Malmsteen’s most celebrated and educational releases, as they had guitarists learning not only his highly technical neo-classical structured rock but also rediscovering classical artists that influenced the guitarist’s work, including Bach, Beethoven and 19th-century composer Niccolo Paganini. In this regard, what Deep Purple’s Ritchie Blackmore – another big influence – and Randy Rhoads started before him, Malmsteen took to a new and exciting level. For much of the 1990s, Malmsteen continued to make records, but they were largely ignored by mainstream audiences in the U.S. who got sick of hearing the same old big-haired shred metal and instead embraced a new generation of more pop-oriented hard rock and punk rock. But in this decade, starting with 2002’s Attack!! CD, the guitarist slowly but surely recaptured much of the popularity and praise within the metal world he enjoyed twenty odd years ago. 2008’s speed metal-inspired Perpetual Flame album, just released last month on Rising Force Records, is no exception. It has been considered by many fans and critics to be among Malmsteen’s most aggressive and best albums of his career. Thus, he has been a much sought after musician, both in concert and off-stage. On the afternoon of Saturday, November 8, Yngwie Malmsteen kindly took a few minutes of his time to answer several questions by phone from New York City, NY, about his latest projects and happenings. They include his new album, recent tour, and a new limited edition Malmsteen Tribute “Play Loud” Fender Stratocaster made by the company’s Custom Shop master builder John Cruz. It comes out November 28 and only 100 of those guitars have been made, he repeatedly emphasized to me in the interview. About that guitar? It’s a near exact replica of Yngwie’s famed and much beaten up early ‘70s yellow-and-white “duck” Fender Stratocaster he brought to America from Sweden, complete with his unique, deeply “scalloped” – the carving out of wood between a guitar’s 21 or so frets so you hit all strings without touching anything else – maple fingerboard, a replica of the old axe’s scratches, and his personal signature. The guitar’s neck is a bit different in shape from his old guitar, and the frets and headstock are a bit larger, in a ‘70s-style way. And Malmsteen couldn’t have sounded happier with the finished product, describing the new guitar (which he uses regularly now) as “unbelievable” and basically exactly the way he wanted it – updated and refurbished. page 1 | 2 | 3

Stephen Coates had a pair of bizarre dreams. In them, he was visited by film actress Tuesday Weld and 1930s British jazz singer Al Bowlly. From the mysterious reverie, Coates decided that he would donate his life to music and would submerge himself in another time in order to come up with a unique, gratifying sound. With keenness and a magic trunk full of tricks, Coates became The Real Tuesday Weld and the rest… well, that’s history, isn’t it? Describing the quintessence of The Real Tuesday Weld can be a bit of a pickle, although there is something about Coates that seems from another time. It is as though Bowlly inhabited his soul that night during the dream and never let go. Coates’ music is infused with a sense of jazz theatre, with touches of Tin Pan Alley cheek thrown in for kicks. With Coates’ latest release, The London Book of the Dead, he takes his whimsy, his moxie, and his gee-golly-goodness to a whole new level. Evocative, intricate, layered, immersive, riveting, forceful, affecting, tart, passionate, and sinister, The London Book of the Dead reads, at times, like the score to a silent movie and, at other times, like something wholly modern and wholly dreamlike. Coates is narrator, ringleader, conductor, and carny barker. He is the consummate showman and we are his spectators. And you can bet he has our attention. The title references Bardo Thodol (the Tibetan Book of the Dead) and carries the theme of the passage of a soul from one life to another. In effect, Coates’ record is about the course of the spiritual to the new. It is about change, yet he isn’t hesitant to mete out a dark sense of humour on the whole thing. Transferring the thoughtful Tibetan spirituality of Bardo Thodol to the locale of London, Coates can’t help but find the process comical. “I thought it would be funny if there were a book like that for the English,” he says. “The album felt like that to me – a way of moving from one state to another and all set against the backdrop of this city.” Discussing topics like religion, love, death, drugs, life, and disease is risky business, particularly within a musical milieu that sounds as though it was influenced by a hotchpotch of Tim Burton, pantomime, bowler hats, and musical theatre. Yet Coates does it marvelously, invoking a sense of earnestness and shade in conjunction with his dry smartness. Perhaps the most compelling facet of The Real Tuesday Weld is how rapidly and naturally he moves from realism to surrealism in a musical context. A track like “Dorothy Parker Blue” is emotional, gentle, and stirring. Smoothly, Coates slips into a hopping-mad spectacle of a ditty in “Cloud Cuckooland” and rolls deliciously into the “jazz hands” pace of “Kix.” The transitions flow like a dream, stylishly. In the end, that’s really what The London Book of the Dead is about. Deconstructing this bit into a selection of songs degrades the process, I think. Instead, listen for the transitions, the mood changes, the enthusiasm, the euphoria, the fashion, and the dark edges. The Real Tuesday Weld has put together a piece of art that is pensive without being insufferable and dark without being disheartening. It is an exciting, imaginative album.

Last week Mitch Mitchell, best known as the drummer behind guitar legend Jimi Hendrix, was found dead in a Portland hotel room. He had spent his last month celebrating Hendrix’s musical legend on the 2008 Experience Hendrix Tour of the States. Mitch was 61 and reportedly died from natural causes in his sleep. Mitch was the last surviving member of the Experience. Hendrix died back in 1970 and bass player Noel Redding, another Brit, died in 2003 in County Cork, Ireland at the age of 57. John ‘Mitch’ Mitchell was born on July 9, 1947, in Ealing, West London. He played with several notable bands including Georgie Fame and The Blue Flames and was also a busy session drummer. His background was mainly jazz influenced. In 1966 he joined the then largely unknown American guitarist Jimi Hendrix, and along with Redding became part of the Experience. This was true of course in more ways than one. It was to be the gig of a lifetime. Mitch stayed with Hendrix for four highly eventful years, playing at both the legendary Monterey and Woodstock Festivals in 1967 and 1969 respectively. Hit singles were the norm for Jimi Hendrix and included, “Hey Joe”, “Purple Haze”, “The Wind Cries Mary”, and “All Along The Watchtower”. It was Mitch’s powerful and distinctive drumming, his instinctive understanding of both Hendrix’s improvisational style, alongside his partnership with Noel Redding that helped propel the Experience towards legendary status. When Jimi Hendrix arrived he simply stunned the world with not only his guitar playing but his live act and his appearance. Mitch and Noel also adopted the Hendrix ‘look’ with afro hair styles. It was often the underrated backing of The Experience that kept things on course through increasingly lengthy improvisations as Jimi brilliantly pushed the boundaries further and further. Always recognising they were in the presence of a genius their own contributions were sometimes overlooked or at least understated.

As a long-time jazz fan, it gets my attention whenever I see Live At Newport in the title of an album, because it evokes memories of Ellington, Brubeck, and other legendary jazz performers who have appeared at the festival through the years. Of course, it also creates expectations — and that can sometimes be the tricky part. But I'm happy to report that Grammy-nominated trumpeter Christian Scott's new release on the Concord Jazz label is a very enjoyable two disc (CD/DVD) album. The DVD not only contains many of the extra features you'd imagine, but also a full video of Scott's appearance at the 2008 festival, complete with Dolby sound. It marks an event that was especially meaningful to Scott because his inspiration, Miles Davis, appeared at the festival exactly fifty years ago, issuing his own landmark album. Scott's style differs from that of Davis in his heyday but he seems to be a kindred spirit, and one thing is certain — the young New Orleans native does have a jazz pedigree. He's the nephew of jazz saxophonist Donald Harrison and he also grew up in a city that has a long tradition in jazz. And even though he's still relatively young, this album and his previous releases - along with exciting performances such as that at Newport - have helped establish him as one of today's rising jazz stars. In preparation for his appearance, Scott enlisted the aid of some talented musicians, including pianist Aaron Parks, drummer Jamire Williams, bassist Joe Sanders, and guitarist Matt Stevens. On most of the pieces he also was supported by tenor saxman Walter Smith III. It's pretty much the same group that he used on his last album, 2007's Anthem. The new collection also borrows a little from that album and its predecessor, 2006's Rewind That, by reprising a few of the pieces for the live audience at Newport. Both of the title songs from the two earlier albums, along with "Litany Against Fear," are included here. The latter is especially nice, setting a smooth and dreamy mood that allows Scott to soar. Most of the eight tracks are similarly paced, with Scott's slow and moody horn play occasionally punctuated by some explosive percussion. A good example is a song Scott wrote to commemorate the death of a friend, "Died In Love." (Complimentary download via artist's website.) My favorite here was something a little livelier, "James Crow Jr., Esq." The piece's post-bop bounce and some nice guitar licks from Stevens help frame Scott's trumpet, which seems to pick up a little more retro sound too. Good stuff, as is the entire album — recommended.

Industrial rockers Nine Inch Nails continue US/Canada 2008 tour, and have 19 dates remained in their concert itinerary up to the middle of December. The band will visit Minneapolis (MN), Saskatoon (Saskatchewan), Victoria (British Columbia), Portland (OR), Sacramento (CA), Las Vegas (NV), and some other markets. Latest Nine Inch Nails’ album is ‘Ghosts I–IV’ also known as ‘Halo 26′ was released in March. Current live-band members are Trent Reznor, Alessandro Cortini, Robin Finck, Justin Meldal-Johnsen, and Ilan Rubin. Nine Inch Nails 2008 Tour Dates 11/20/2008 - Cedar Rapids, IA - US Cellular Center 11/21/2008 - Columbia, MO - Mizzou Arena 11/22/2008 - Tulsa, OK - BOK Center 11/25/2008 - Minneapolis, MN - Target Center 11/26/2008 - Council Bluffs, IA - Mid-America Center 11/28/2008 - Rapid City, SD - Rushmore Plaza Civic Center Arena 11/29/2008 - Billings, MT - MetraPark Arena 12/1/2008 - Saskatoon, Saskatchewan - Credit Union Centre 12/4/2008 - Kelowna, British Columbia - Prospera Place 12/5/2008 - Victoria, British Columbia - Save On Foods Memorial Centre 12/7/2008 - Portland, OR - Rose Garden Arena 12/8/2008 - Nampa, ID - Idaho Center 12/9/2008 - Missoula, MT - Adams Center 12/12/2008 - Sacramento, CA - Arco Arena 12/13/2008 - Las Vegas, NV - Planet Hollywood Resort & Casino

Take That have written a new song, ‘How Did It Come To This’, which fans are speculating is about the plight of Amy Winehouse. The song, set to feature on the band’s new album, ‘The Circus’, features lyrics that seem to allude to the life of the troubles singer, described as “a girl in Camden Town”. According to The Sun the lyrics include the lines, “Slightly schizophrenic… slightly OCD.” Other lyrics include, “All this noise and all these lights, All this talking through the night, All this expectation now it’s making me neurotic, Tall me have I seen your fave before? How did it come to this?” ‘The Circus’ is set to be released on December 1.