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{mosimage}Bruce Springsteen’s new album Magic arrived in stores in the U.S. on Tuesday October 2nd, and Bruce and the E-Street Band kicked off their worldtour on the same day in Hartford, Connecticut (155 km from New York City).

This is the first album by Bruce and the E-Street Band since 2002’s The Rising and their first concert since the band wrapped up their historic run at Shea Stadium in New York four years ago.

The first thing that hits you as you listen to Magic is just how damn catchy the songs on the album are. Springsteen went out of his way this time to write an album with a lot of pop elements, and it shows. From You'll BeComin' Down to Livin’ In The Future, the melodies are infectious. It’s easy to picture yourself driving down the road with the top down, singing along tothe CD, watching the Girls in Their Summer Clothes walk by.

Don’t be fooled, however. A dark and unsettling undercurrent runs justbeneath the surface of this album. Neatly packaged and disguised underneath great pop melodies and hooks are feelings of uncertainty, alienation, and malaise.

Springsteen’s album The Rising dealt with the shared loss and grief felt by an America in the weeks and months following the September 11th attacks. Magic describes an America that, in the last six years since September 11th, 2001, has lost its way. The track Long Walk Home tells the tale of someonewho returns to his hometown and finds that the place he once knew isunrecognizable. The very truths and ideals that he thought were shared by everyone are gone.

The unease becomes more apparent on the title track Magic with its ominous lyrics of trickery. The song, as Springsteen mentioned during theshow in Hartford, deals with the ability of politicians and those in power tomake their own reality. Listening to Last to Die, with its blistering chorusof “Who'll be the last to die for a mistake?”, the allusions to the Iraq War arehard to dismiss.

Tuesday’s concert in Hartford centered on a trilogy of songs that thematically summed up the last six years of American history. The Rising (a song about a NYC firefighter rushing into the Twin Towers on September 11th ) segued to Last to Die which then led into Long Walk Home.

As Bruce yelled to the Hartford crowd “It’s your country, don’t let anyone take it from you”, he finished the show with American Land from his Seeger Sessions album. He reminded us all of what we should be fighting for.

{mosimage}Among all the bands in the current Finnish
music scene, Liekki is quite unlike anybody else. On this album, their fourth,
they combine elements of folk pop, progressive rock and even old school heavy
metal, and spice it up with cryptic lyrics and a somewhat nerdy image. If that
isn’t a unique and interesting concept, I don’t know what is.

Liekki
is pretty much the band of Janne Kuusela, the group’s
singer/guitarist/songwriter, although the rest of the four-piece do a very good
job each on their own field. Kuusela’s songs are full of rural mysticism, and
his lyrics, obscure and poetic, complement them beautifully. His singing and
guitar playing has also improved a lot since the early days of the band.

At
over 75 minutes, Kalliot Leikkaa is definitely too long, but then again, being
reasonable has never been one of the progressive bands’ strengths. As a whole,
one big piece of work, it doesn’t really work as well as it should, but there
are plenty of very good individual songs.

Rating 3/5

{mosimage}Jenni Vartiainen’s main claim to fame is
that she was one of the members Gimmel, a girl trio formed as the result of the
first season of the Popstars show. Like so often with winners of music-based
reality TV contests, Gimmel’s music was catchy and kitchy, but not offering any
moments of real emotion. Yes, thousands of people bought their records, but not
many of these people thought they had lost something when Gimmel, after three
albums, split up.

In
this light, it is a huge surprise that Vartiainen’s debut solo album Ihmisten Edessä (“In Front of People” in English) is not only very good, but also quite
an elegant and stylish effort. Together with producer Jukka Immonen, Vartiainen
makes music that could be described as penthouse melancholy – music that is
very cool, modern and urban on the surface level, but that ultimately is very
emotional and fragile. At times almost ambient, at times on the verge of
trip-hop, but always first and foremost pop, the album still never feels like
someone is trying to water down cool and credible styles of music.

Besides
Vartiainen herself and Immonen, the album’s list of songwriters features such
respected Finnish musicians as Knipi (Egotrippi), Kyösti Salokorpi
(Scandinavian Music Group) and female rapper Mariska. The title track is written
by Teemu Brunila of The Crash fame, and it’s actually better than anything The
Crash have released since their Melodrama album.

Of
course, it is not like anybody is reinventing pop music here, and some of the
songs could use a little more spark in them, but really: Ihmisten Edessä is one
of the most enjoyable (and pleasantly surprising) albums of this autumn.

Rating: 4/5 

{mosimage}After more
than 20 years in the business, The Cult don’t have anything to demonstrate with
their eight album. They have delivered already their top 3 albums and we
shouldn’t expect a masterpiece from them in 2007. However, this does not mean
that they cannot record very good albums. Born into This is a great one.

This new
album is also announced a back-to-basics record for the band of Ian Astbury and
Billy Duffy. Indeed, Born into This is a hard rock album. Nothing less, nothing
more. The experiments of “the goat album” (1994) or the metal sounds of Beyond
Good and Album (2001) are put aside and the band returns to the dirty hard rock
sounds of Electric (1987) and Sonic Temple (1989) with a little bit of the dark
gothic textures of Love (1984). Four-minute songs, guitar riffs

Still, it’s
2007 and fortunately the band does not repeat itself. Always, every new The
Cult album has been different from the previous ones and Born into This is not
an exception. The new songs sound fresh and current, like the single Dirty
Little Rockstar that brings a techno bass line and effects (and a riff similar
to The Rolling Stones’ Undercover of the Night) or Diamonds that uses mild
programming into the mix.

The
production excellent production and it benefits Astbury. Ian really shines and
his voice is strong as usual. Billy Duffy delivers a good amount of typical The
Cult riffs and he even allows himself to rip off the guitar riff of The Who’s
Substitute in Illuminated, which by the way, is one of the best songs of the
set. And of course, the melodies are The Cult 100%.

The only
weak moment is the crooner type of ballad Holy Mountain. It is not an inspired
moment and it breaks the strong rocking pace of the album.

This new
album is also released as a 2-cd edition, named Savage Edition and presented in
a beautiful digipack. The second cd includes two songs not included in the
album, which are outstanding and not leftovers. It also includes the demos of the
songs I Assassin and Sound of Destruction and the extended version of Savages.

Born into
This does not top classic The Cult, but it is worthy and very enjoyable. Recommended.

Rating: 4/5

{mosimage}Although
not as popular as other contemporaries, The Black Crowes have grown up to the
status of a classic rock band. After a 4-year hiatus, brothers Chris and Rich
Robinson got together again in 2005 and offered some of the band’s most
outstanding performances ever. In 2006, besides touring with the Crowes, the
Robinson brothers also offered a few special shows as an acoustic duo .(electric sometimes) The cd / dvd
Brothers of a Feather: Live at the Roxy offers the highlights of a series of
concerts in Los Angeles.

Coming from
artists with a good amount of hits behind, one might expect an unplugged
greatest hits type of album. Not quite right. As a matter of fact, this Live at
the Roxy hardly includes Black Crowes hits or songs. The set is a very
interesting mix of few Black Crowes originals, unreleased songs, b-sides,
covers, songs from the solo albums and even two new songs.

This way the
set remains fresh and new, discovering a new side of the Robinsons’ music. They
dig deep into traditional American folk music. The covers include songs by Gene
Clark (Polly), John Martyn (Over the Hill) or David Wiffin (Driving Wheel), and
a little bit more known are Lowell George’s Roll Um Easy and Bob Dylan’s
Forever Young.

The album
keeps a laid back pace, bringing an intimate and warm feeling. There are not
loud guitar riffs by Rich or screams by Chris, but there’s no need. The music
speaks by itself and it is soulful. Both brothers deliver very good harmonies.
Even the guitarist sings a couple of songs.

If the
rarities and the covers are not enough, the brothers also present two new
songs: Cold Boy Smile and Magic Rooster Blues. These are probably the best
songs both have written together in ten years. There will be a new Black Crowes
album next year. If these new songs can be a hint, one of the best Black Crowes
can be expected.

Brothers of
a Feather is released a in cd/dvd combo. The film brings even a more intimate
feeling. Maybe it’s the bare stage in small theater, with just rack next to the
brothers to places the hat and the coat. Of course, they feel like home on
stage. The dvd includes six more songs. Some of them feature the guest
appearance of sax player Dave Ellis, who adds some nice extra sounds to the
mix. So the female backing vocalists do. They add the extra “black sound” that
The Black Crowes music needs.

Most likely
this set will not sell much, apart of the regular fan base. In spite of their
early success, the Robinson brothers have alienated themselves too much from
wide audiences. However, Brothers of a Feather is a testimony of two of the most talented rock artists to come up in the last
20 years in their most intimate space. Two grown up artists, with many shows behind and a deep love and
knowledge about music. Not just another live album, but a unique collection of songs. Superb.

Rating 5/5 

{mosimage}Do you remember the eighties? And how the glam scene was dominating the
charts?

American bands coming mostly from the sleazy Los Angeles scene like Dokken,
Poison, Mötley Crüe, or Faster Pussycat,
with tons of make-up, an androgynous image and a lot ease on stage that was
able to turn male and female audiences crazy. And RATT was one of the
sexiest bands of that era; straight guitar riffs from the excellent Warren
DeMartini mixed with excellent lyrics that made them have a place in the
heart of millions of listeners.

For those of you who were too young to enjoy the “glammy” movement, now
you have the chance to rediscover the band, or just to jump a couple of decades
back in time with this greatest hits edited by Atlantic. 20 featured
tracks, material gathered mostly from their first and most successful four
albums although you can find also a couple of songs at the end from the latest
90s: Steel
River and Way Cool
Jr. from their MTV Unplugged).

Listen again to the catchy chorus
of Round and Round, the powerful lyrics in I want a Woman, the
killer opening riff in You are in Love or the sultry Nobody rides for
Free.  RATT continues alive nowadays
in 2007, but only two original members are left after continuous formation
changes over the last years and the death of the guitarist Robin Crosby
in 2002.

If you already had the 91 RATT´s compilation called Ratt ´n Roll 8191,
probably this album is not going to add much to your collection, since the
material is quite similar, but for fans and new incomers, this is an excellent
chance to get some taste from the fabulous eighties.

Rating 4/5

{mosimage}Finally Nightwish´s
new album, featuring their new singer, the Swedish Anette Olzon, is out
in the streets. Worse or better than in the old era?

Nightwish´s Dark
Passion Play has been finally released, and the comparisons between the new
singer, Anette Olzon, and the previous one, the charismatic Tarja Turunen,
are impossible to avoid. Is the new singer better? Is she worse? Is the change
going to affect the quality of Nightwish?

Well, obviously
the first feeling when you listen to the album is that Anette´s voice is not
the same than Tarja´s voice. Anette sings with passion and sweetness, but in a
different register, while Turunen´s opera background made her one of a kind. Tuomas
Holopainen´s songwriting reaches here his best, clean and emotive lyrics
that really transport you to a new and fantasy world. The record is exquisitely
produced; the design of the cover and inside booklet is one of the best I have
seen so far during last year, and the option in the special edition of
listening in the CD 2 only the instrumental version of the full album is great.
The first track: The Poet and the Pendulum is one of my favorite ones,
together with Cadence of her Last Breath and Eva, where Nightwish
knows how to explode greatly the more intimate tone of their ballads. The
background vocals also acquired a bigger and better importance here than in
previous albums. But, and there is always one “but”… I cannot avoid missing Tarja´s
voice. It is almost impossible to forget the sound of (maybe together with Liv
Kristine) the best female voice in hard rock and heavy metal worldwide
scene. Some few bands achieved successfully the change of main singer (like ACDC
or Black Sabbath) but many others were never the same until they came
back to their roots (look at Iron Maiden, who remembers today Blaze
Bayley?).

For those who come
to listen to Dark Passion Play without prejudices and with an open mind,
undoubtedly this is a good metal album with strokes of quality all over it. But
for the others who were used to the old singer, maybe they can feel a bit
disappointed after the comparison. Time and more albums will tell if Nightwish
will be able to skip the shadow of Turunen´s voice that hangs over the band.

Rating 3/5

{mosimage}The charismatic
ex-leader and guitar player of Dire Straits, owner of an almost
unpronounceable surname, is back with his fifth solo album. 

We are not going
to discover at this point the great musical and composing skills of Mark
Knopfler, a man whose legend as creator of melodies for Dire Straits
as well as scoring music for classic soundtracks such as The Princess Bride,
Last Exit to Brooklyn or Call is
undeniable and has turned him into one of a kind.

Now, with his
fifth solo studio album, Kill to get Crimson, Knopfler achieves
his maybe more cohesive album. A record with fascinating lyrics and immaculate
guitar playing starting from the first couple of songs and spreading all over
the album. Good start with the more commercial True Love Will never Fade and
excellent guitar skills in The Scaffolder´s Wife. You will find again
excellent songwriting showing that Knopfler knows how to explore all the
greatness and miseries of humankind, turning them into simple beautiful
melodies with a touch of melancholy; perfect songs to listen in a dark corner
of a pub with a pint of beer in your hand or while relaxing in your favorite
sofa at home.

Here and there you
can perceive some glimpses to and old timely Celtic spirit in compositions
accompanied by accordions and fiddles. English pub rhythms mixed with waltzes
like In Heart Full of Holes or in Secondary Waltz, and catchy
chorus that will be part of your heart almost instantly once you listen to them.
And a tune with the exact dose of mischief that could perfectly have been
written during the Dire Straits times: Punish the monkey. Great stuff
from an unique composer and guitar player.

Rating: 5/5

{mosimage}Re-release
in DVD in Finland of the classic show offered by Yes in Amsterdam during
their tour in 2001, when they fulfilled their dream of playing together with an
orchestra.

It seems
that symphonic rock is living a new golden era with new generations and old
fans rediscovering the mega bands that reached fame at the end of the 70s and
beginnings of the 80s. Recently we saw the appearance of a new DVD of Asia
featuring his old masterful guitarist Steve Howe, who stars again in
this re-release of the concert offered by Yes in Amsterdam during the 2001 tour: Yes
Symphonic Live.

This time
they enjoy the company on stage of the European Festival Orchestra, directed by
Wilhelm Keitel. Young and talented musicians who give a fresh note
backing the old monsters of rock. They provide dynamic introductions for the
songs, a lot of smiles and a good spirit that creates an excellent feeling on
stage and with the audience.

I must admit
that I have never been a fan of rock concerts where you have to seat in front
of the stage. For me rock is often associated with sweating, standing, clapping
hands, jumping and forgetting yourself for a couple of hours, but nevertheless
here you can really see the audience, composed by old and young people quite
equally, quite excited standing continuously and cheering up the band. The
vocalist Jon Anderson looks a bit forced in his speeches to the public
(sometimes he is funny, sometimes he pretends to be) but the quality of his
voice is undeniable. My favourite parts of the show are at the beginning with Close
to the Edge, and later with the classics Gates of Delirium and Starship
Trooper. The new song Don´t go from Magnification album
released that same year also sounds excellent and harmonious with the
older hits. Roundabout puts the big end to the show with the orchestra
standing by the band, and although it was never one of my favourites, it is
still highly appreciated by the fans.

All in all,
what can you expect of a symphonic rock band accompanied by a symphonic
orchestra? Well, an overdose of symphonic music. The show sometimes feels
excessive, and although I am sure that many Yes fans will enjoy every
minute of it, I found myself a bit bored during some instrumental parts. Maybe
157 minutes of symphonic rock can turn to be too much if you don’t make pauses
or have a couple of bottles of wine while watching the show. The sound quality
is nevertheless excellent and the replacement keyboard player, the young Tom
Brislin connects perfectly with the rest of the band.

For many old
fans and unconditional followers of Yes, this could be probably the definite
DVD to be purchased. In my opinion, although with some brilliant parts, it
turns to be a bit too much excessive.

Rating 3/5