Wednesday 13 ~ Necrophaze: Antidote (album review) ... God thanks your mother for her service!

Style: heavy metal, covers, shock rock
Label: Nuclear Blast
Year: 2021
Home: n/a

Members: Joseph Michael Poole "Wednesday 13" ~ vocals/guitar
Band ~ n/a
Guest: Calico Cooper ~ b. vocals

My immediate reaction was the arrangements, right down to the pounding guitar solos, sound like a less bluesy version of Brookyln's metal trio Tired Wings. Stripped down metal with an almost storyteller quality to the vocals, with music going for groove over flashy solos. It's what I consider to be a New York City type of modern hard rock/metal, as in very punchy & raw compared to the production heavy glam of the West Coast. While the singer growls also much like the frontman of Tired Wings, but without the emotional aspect. That's where the comparison ends, as half the songs on this four song EP are Tired Wings esque-originals with the other two being a covers of INXS & Gary Numan. The later includes guest backing vocalist in Alice Cooper's daughter Calico. The originals have profane lyrics I was kinda expecting, given the name of the opener is "Your Mother Still Sucks Cock In Heaven". Not having been to heaven I can't verify if this is true or not, so I'll take Wednesday 13's opinion for it. Of course, 18 year old boys are going to want to hear this, but as a 43 year old man ... well ... I'm kinda embarrassed to say I actually enjoyed these profane originals on repeated listens. I was expecting over the top metal lyrics of just screamed incoherent blasphemies, but the originals are crude in a witty way & with every lyric clear. I got a chuckle over them. Its worth it to just quote some of the lyrics: "I heard a story just the other day/A story that I could not believe/A story about your mother/How she goes down on her knees" ... "She's down in hell giving slurpies at the 7-11" ... "I know her so well/Cause she's in hell doing what she does best" ... "It was a gift from God/that she does real well" ...  "I'm hearing things/Things that I did not know/That your mother could suck a basketball through a garden hose". Hearing these words my thought was: guys are going 'yeah', while the women are like 'oh, my jaw.' Sorry, not to be crude, but that's the way it is. The other original "Screwdriver 2 - The Return" has the same sound & is just as bonkers lyrically, with the lyrics:"Your head is where I ram it/Can't you see I still don't care/Screwdriver is back/Stick it in your ear" ...  "You're pathetic/So pitiful/Take the screwdriver/Ram it in your skull." Not quite as much fun as talking about your mother, but points for creativity. I can't really say I've ever heard a screwdriver in the head song. Not even the band Skrewdriver did that! Bad pun intended. From here we go into a heavy metal version of the INXS hit "Devil Inside". The heavily distorted guitar plays the melody, with the lyrics growled like Rob Zombie. I'm not going to say they improved upon the song, as it feels too stripped down for me. I feel like the song has an inherent quirkiness that is missing in Wednesday 13's interpretation. While Wednesday 13 doesn't replace that with anything. I might expect them to make the song menacing, but I'm not feeling the devil inside. The problem is Wednesday 13 has a pretty limited musical template. So, while I found this interesting to listen to, I came away feeling the idea of a heavy metal INXS is more interesting than the execution. I found myself wondering how this song would work with a band with more guitars, keyboards & other sounds, i.e. a wider template. There is some hints of this in the chorus with the first keyboard sounds introduced on the album, but I would like to hear more layers throughout more of the song.  Ironically, the closing track of Gary Numan's "Films" as dominating synths that answers my curiosity. Its moody & more than just a driving guitar. Can we take this instrumentation & put it to "Devil Inside"? For the record, Calico Cooper just has a less than exciting backing vocal role. For those reading, it should be obvious that I'm not familiar with Wednesday 13 earlier albums. Thus, I confess I might be doing them a disservice. For those that don't know, this group, Joseph Michael Poole aka Wednesday 13 also fronts the Murderdolls, along with an array of other bands including Maniac Spider Trash, Frankenstein Drag Queens From Planet 13, Bourbon Crow & Gunfire 76. The Murderdolls is likely the most recognizable name. I've actually never heard them, either. For those that say I should listen Murderdolls or earlier Wednesday 13 albums before doing this review, I don't think you should have to listen to other bands/album to get a particular album. No more than you need to look at one painting by Van Gogh to be able to understand another painting by him, or you need to see a Van Gogh in order to understand a Warhol. A work of art should stand on its own.

Rock Star: A Night At The Mayan Theater (Music From The Hit Television Series) (live) (album review) ... Where have all the rock stars gone?

Style: cover, live, hard rock
Label: Burnett Records
Year: 2005
Home: n/a

Members: Jordis Unga, Daphna Dove, Dana Robbins, Tara Slone, Jessica Robinson, Heather Luttrell, Deanna Johnston, Suzie McNeil, Marty Casey, Ty Taylor, Neal Carlson, Brandon Calhoon, Wil Seabrook, J.D. Fortune, Mig Ayesa ~ lead vocals
Paul Mirkovich ~ keyboards/b. vocals
Rafael Moreira ~ lead guitar/b. vocals
Jim McCorman ~ guitar/keyboards/b. vocals
Sasha Krivtsov ~ bass
Nate Morton ~ drums

Additional: Robert Cani, Mario De Leon, Shanti Randall, Rudy Stein ~ strings

Some musical projects stink of marketing. It's one thing to bring in a guest artist to boost an album, particularly for an unknown band, but it's another when the band doesn't need a boost & is obviously cashing in on what embers are left in its candle holder before its too late ... it's still another thing when the project revolves around a band whose absent from the product for sale. Regardless of the details it can be painful to watch ... even after you've given up on figuring out if it's more about the music or the media. In May 2005 an audience at the Mayan Theatre was treated to fifteen young vocalists, with an anonymous session band, giving their best interpretations to an array of popular songs young & old. But, this is was more than a talent show, however much it appeared as one, but initiated a new tv series with the goal of finding a new singer for Aussie hitmakers INXS. Yes, one of these young singers would take the frontman role for the band that had tragically lost its sexy & seemingly irreplaceable frontman Michael Hutchence in an accidental suicide in 1997. We've had rock bands formed around tv shows (for example, Rock Star Supernova) & for tv shows (for example, the Monkees) & because of tv shows (for example, the Archies), but how many already chart topping bands have found a singer through a tv talent contest? This might be a first. No, this isn't a documentary of finding a new band member like Metallica did, but is just American Idol with a bigger award. I can only hope it'll be the last as there's nothing more embarrassing, as what comes across is not a search for the best fit but a marketing scheme to get back on tv after years away ... or at least rescue a band's career before it's too late ... not to mention the auditioners themselves with their own eyes on a successful music career, with or without INXS. I'd rather watch the mismatched Paul Rodgers + Queen ... at least that was organic ... let alone everyone involved has similar backgrounds & was in the same age bracket. This live album shares the initial introductory concert to kick off the show. There's no original songs ... a bit odd, considering one expects they'll be asked to write in the band, or maybe its not so odd, but originals mean you see the creativity behind the flash. A great performer doesn't necessarily mean a great writer. Ever heard Elton John's lyrics? Though, what covers are included might be the best thing about the album. It includes a range that goes classic from the Who, Kinks, Blondie to modern with Living Colour, Nirvana, Black Crows. Its nothing particularly obscure, nothing that most folks in the audience won't know who know something about music. Speaking of great performers ... the live setting really is the only way to judge. It lets them pour it all out ... maybe to their detriment as it also can show their rough spots. Really, that's what this show is all about. That's what any of these tv talent shows are about. You as much look forward to the good as the bad moments. But, its also a reminder in this case that no one can replace Michael Hutchence. Not just did he have a decade in little clubs hacking it out that none of these singers have, but his sexy Jim Morrison-esque looks & wiry almost drugged out performance really was the secret to INXS. Honestly, without him they're just another little new wave band. Their early albums are witness to how much they ended up molding themselves around Hutchence charisma. Further, there's no guitar player out front and most people won't know one member from another. It's like asking folks about the rhythm section of AC/DC or trying to pick out one guy in Devo from the next. But, that doesn't matter in this context as INXS are nowhere to be seen. On the show they criticize each performer, but here its just the songs without the banter. It's a shame. That would be fascinating to watch & really shake things up. The house band is a straight ahead rock band with nothing in common with any era of INXS's music, past or potentially present ... unless INXS is planning to reinvent themselves a straight edge rock band. Thus, it seems to make trying to find a new singer even more difficult as here they're in a rock context when in INXS they'll be in something far different. It's like auditioning for a rock band with a reggae band. What's the point? The point is TV entertainment. It doesn't help that in complete opposition to INXS's distinction the house band is a soulless tribe of studio musicians doing Cliff Notes versions of the songs. One can be excused for not wanting any INXS songs in the mix this early in the run. As for the guinea pigs themselves it's not the most painful experiment. Adam Lambert with Queen is far worse. Adam Lambert thinking he has a career of any value is far worse. Most of the singers are either indistinguishable or you can hear that they might be good given different music choices or styles. What they bring to the table may not be what is best for INXS. The girls might be the most difficult to enjoy as anything more than a passing moment of good music as can we truly envisage INXS as a female fronted band? Actually, its a rare band that moves from a male to a female singer. L.A. Guns is the only one that comes to mind & that was all too brief. Bands that make such a change usually do so before they hit chart success & thus nobody notices. Arch Enemy is a case in point. But, at this point in ones career it's too much of a vocal contrast. It's more of a jump than Genesis moving from Peter Gabriel to Phil Collins to the under-rated but completely different Ray Wilson. The sad fact is that J.D. Fortune got the role as he sounds the closest to Hutchence but we all know the result. He did a lackluster album & tour, then was essentially dumped for the band to do what is basically a tribute album to themselves, though their most experimental release, bringing in different singers & musical styles including Fortune for a Hutchence sound-alike track. Fortune returned for the tour but was dumped again. There might be a third dump but at this point most had lost count. But, looking at the bigger picture this shouldn't be a surprise. After Hutchence death in 1997 INXS returned in 2000 with Jon Stevens before he left for a solo career in 2003. The next year Rock Star:INXS was created. Two singers with no success? Hint? No, in 2011 the band announced Irishman Ciaran Gribbon as the newest member. The song released is about as far from the traditional INXS sound as one can get. Sometimes its time to give up. It's time for INXS to do so. A band is more than just who can sing but the clicking of bandmates. This is about the clicking of cameras. After developing the photos in this latest batch they really haven't come out that well ... & photoshop hasn't helped. Maybe there's a way INXS could be successful again with a new singer. Journey has done it & Yes have had some modest success, Trans-Siberian Orchestra has made an art out of it, the Doors reunion with Ian Astbury was amazing before he left & the band changed to the Manzarek Kreiger Band cause they knew the gig was up ... maybe Gribbon will be the winning ticket. It's just too bad the band had to embarrass themselves in the meantime. At least they didn't choose a new singer who was a suicide blonde.

INXS ~ Original Sin (album review) ... Original songs re-visited!

Style: tribute, hard rock, experimental
Label: Petrol
Year: 2010
Home: Australia

Members: Gary Gary Beers ~ bass
Andrew Farriss ~ guitar/keyboards/vocals
Jon Farriss ~ drums
Tim Farriss ~ guitar
Kirk Pengilly ~ guitar/saxophone/vocals
JD Fortune ~ vocals

Guests: Tricky, Rob Thomas, Ben Harper, Mylene Farmer, Pat Monahan, Deborah de Corral, Dan Sultan, Loane, Kav Temperley, Nikka Costa ~ vocals 

DJ Yaleidy ~ electronics

This is one of the more creative comeback albums I've seen, albeit it's not really a comeback as INXS already came back from the death of Michael Hutchence with replacement singer J.D. Fortuna on 2005's Switch, but to relegate him to two tracks & do an album that brings in a different singer for new arrangements of many of the band's hits is a quasi-comeback ... take two. Though, it's actually more akin to a tribute album, plus as the band has openly confessed this is how they perceive the album. But, a self-tribute? Normally that would be the most egotistical thing you can do ... normally ... but, in this case it's just sad that this is the state of their career. On one hand I'm glad to see the band still making music sans Hutchence & pushing boundaries, this release being musically farther than they've ever gone, but on the other hand if their newest material is but re-hashed hits, not even with their new singer, that's not a good sign ... & considering the new arrangements pale compare to the originals ... well, we all knew that INXS was essentially over when Hutchence died, though their career had already begun to decline following X. I know they got the memo, too, but obviously chose not to read it & thus while the previous Switch had a little hope in it, even if new face J.D. Fortune does sound too much like Hutchence but without the charisma, this just ends up being sad. The problem essentially is that it sounds like a typical tribute album, which means this sounds like 14 different bands. So much of the INXS sound was in the voice of Hutchence as the band went through numerous musical periods without really cementing any one recognizable style. Further, none of the members are really known on their own. I don't know how much the guest musicians were allowed to contribute to the arrangements but more than a few songs have taken on a heavy electronica sound, which INXS always had but it was under a rock sheen, ranging from dance floor electronica (i.e. "Original Sin" with Rob Thomas) to almost experimental (i.e. "Mystify" done in French by Loane & "Don't Change" with no guest). After opening with an odd electronic instrumental ("Drum Opera"), the one new song, it goes to the hit "Mediate" with Tricky turning it into a quasi-hip-hop. But, hip-hop has a gritty edge & so did the original with Hutchence's dead-pan delivery, but this is a strong dance mix a la Black Eyed Peas that just drags once you hit the guitar solo. But, for a moment you imagine the rest of the album is going to be like this, as it's definitely musically interesting & you predict what's coming next, but by the next track you realize you're in for a challenging listen & then the album just slowly falls apart ... without ever breaking a sweat or even really rocking out until a bonus track with Fortune ("Love Is (What I Say)"). There are two highlights on the album: "Never Tear Us Apart" with Ben Harper & Mylene Farmer singing in French & an acoustic version of "Beautiful Girl" with Pat Monahan of Train that's one of the most haunting ballads INX has ever done. These two tracks I'd recommend downloading on their own, which I tend not to do as I believe in supporting an entire album. The band pulls out the acoustic guitars again for "New Sensations" with Deborah de Corral but it comes off as something from a Mary Chapin Carpenter album, which is not what you want to hear when listening to INXS ... maybe if it sounded like the Indigo Girls that would be better. A third acoustic song ("Don't Change") makes you realize INXS is not an acoustic band & the Monahan success is just luck. After this odd collection I now understand why fans have requested the band change it's name or become INXS v2. This is almost as bad as when the Doors followed Jim Morrison's death with two albums as a trio, albeit their reunion was stellar. What's worse is that the songs are almost unrecognizable at times, even vocally, & I've heard most of the INXS collection. It's hard to say if this is a successful experiment at reinterpretation or just a band sadly past its prime ... particularly since half way through the album I found it lacking in energy & for someone who used to listen to INXS for hours was bored & waiting for the end. Though, I will say the singing was all great, but the arrangements just don't offer a lot to work with. "The Stairs" with J.D. Fortune sounds the closest to anything from the past as its given a minimal workout, but it only makes you wish for the past more. The one good thing about this album is the eclectic mix of guests, including many known in Australia but not America. After recent star heavy albums by Santana & Slash it's nice having names I don't recognize for a change. & I'm sure DJ's will find some interesting tracks to pull a beat or phrase from.

INXS ~ The Greatest Hits (hits comp) (album review) ... New wave never sounded so sexy!

Style: new wave, rock
Label: Universal
Year: 1994
Home: Australia

Members: Garry Gary Beers ~ bass
Andrew Farriss ~ keyboards/guitar
Jon Farriss ~ drums/keyboards
Tim Farriss ~ lead guitar
Michael Hutchence ~ vocals
Kirk Pengilly ~ guitar/sax/backing vocals

Guest: Charlie Musselwhite ~ harmonica

   I remember moving across the country as a boy with my parents. I'd selected a few favorite cassettes to carry in the front of the U-Haul for the week's journey. INXS's X (featuring the then hits 'Suicide Blonde' & 'Disappear') was one of chosen. I didn't tire of it that week & it's infectious sound still sends shivers down my spine. That's one of those albums where every song is great - MTV chart-topper or not. I've since bought many of their earlier albums with pleasure. Sadly, I consider X the peak of their career as nothing they did later interested me - chart sales show that I wasn't the only fan with this change of heart - & with the senseless & tragic death of singer Hutchence INXS ceased to exist for me as a viable band. I no longer pay attention to their career as they struggle through singers & try to avoid the nostalgia circuit or splitting up. Now, I don't want to say that INXS isn't a great band without Hutchence's voice. They remain a group of talented guys whoever is in the front, but he made them a greater band with a timelessness to what is essentially the New Wave end of rock with a dancefloor beat that is badly dated. Further, Hutchance drooled with sex with every word with the same flame that spurred the sexually-charged charisma of Jim Morrison & Janis Joplin or Bono. Reflecting the later part of their career, this collection is a mixed bag. It spans their career, but being out of chronological order sounds like a compilation of a couple bands, as INXS was a band whose sound progressed with every album from modest garage band to MTV-branded pop & beyond to self-destruction, but out of order the progression is hard to listen to. Also, the album aims to grab equally from most of their albums - something many greatest hits collections don't do instead choosing to pull most of the album from a select few albums & largely ignore the rest - but that means there's a few weak tracks here & some good tracks left off. The weak songs really hurt the flow of the album, particularly when you go from a song that you love to a song that you don't want to be reminded of. Albeit, the hits do remind you why this band is so great. If you want an introduction to INXS pick up X, Kick & Listen Like Thieves & call it a day. That's the heart of their legacy & between those three albums you'll get all the hits, see a band showing growth & walk away believing they are a better band then the rest of their career sadly reflects.