Ray Luzier of Korn

I interview Korn’s newest member, Ray Luzier, Weds night on Icon Fetch.  He’s had a pretty interesting career.  He was a part of David Lee Roth’s band for almost ten years.  He was also in the alternative supergroup Army of Anyone with the DeLeo brothers of Stone Temple Pilots.  Now his monster drumming can be heard on Korn’s brand new album, Korn III: Remember Who You Are. Luzier talks about the unique way the band approached recording the new disc, plus what it’s like playing in such a high energy band.  He also tells us what it was like growing up on a farm near Pittsburgh.

Concert Review – Kiss – Riverbend – 7/30

Kiss hasn’t done a great deal of touring over the last decade.  Instead, they’ve spent more time on other ventures, like the Kiss Kasket, Kiss Coffeehouse and Gene Simmons’ reality show Family Jewels.  They still bill themselves as the “Hottest Band in the World,” but with the founding members getting up there in age (Gene Simmons is nearing 61 and Paul Stanley is 58), there was some doubt that they could still deliver the goods.  The show opened with an ear-splitting explosion, followed by “Modern Day Delilah,” one of three new songs they played that night.  Right away, you could feel the energy coming off the stage

, and any doubt was soon gone.  Through an amazing 22-song set, lasting almost 2 ½ hours, Kiss showed that they could still put on a balls out spectacle.  All the elements of a classic Kiss show were present:  they arrived on an elevated pedestal that lowered the band to the stage, Simmons breathed fire and spit blood, Stanley smashed his guitar, and at one point rode a guywire to the middle of the audience and played on a small stage.  Kiss also seemed more like a band than they have in a long time.  Tommy Thayer and Eric Singer, the permanent replacements for Ace Frehley, and Peter Criss, respectively, seemed no more than hired guns on previous tours.  Here, they were not only recognized, but were also given their own spotlights; Thayer sang Ace’s “Shock Me,” while Singer did Peter’s ballad “Beth.”  The band touched on every album from their debut to 1979’s Dynasty, with the discofied “I Was Made For Lovin’ You.”  Not surprisingly, their first record got the most notice, with five songs played.  One difference in this tour is the acknowledgement of the non-makeup years, with songs like “Lick it Up,” “God Gave Rock n’ Roll to You” and, most surprisingly, “Crazy Crazy Nights.”  Yes, they played standards like “Detroit Rock City,” “Shout it Out Loud,” and “Rock n’ Roll All Nite.”  The fact is, most bands of their age are getting by with playing slightly over an hour each night, while Kiss played for double that.  Stanley’s voice did sound a little hoarse, yet the band never had to do a song in another key just to fit his vocal range (something most older bands are doing).  Kiss has certainly merchandised themselves to death, and they’ve gone on without two of their original members, yet they proved that theirs is still the benchmark for all other bands wanting to put on a rock n’ roll spectacle.

Beatles – Stereo Remasters (CD review)

Beatles – Stereo remasters (Apple) – CD review

Over the last 20 years, the Beatles’ camp has done a great job of getting us to buy things that we really don’t need.  Take for example the Anthology series; a total of six CD’s were released over three volumes, when the best material could’ve easily fit on a single disc.  Or, how about the Yellow Submarine Songtrack?  Or Let It Be…Naked? – all released with great fanfare, and now collecting dust on CD shelves worldwide.

Now comes the remastered individual Beatles albums, something fans have been clamoring for for years.

Once again, the publicity machine lauded these as being “revolutionary, like hearing Beatles music for the first time.”  Truth is, after a great deal of side by side comparison, I can’t tell a significant difference between these and their 1987 originals.  And, I dare anyone with an audio system under $2,000 to do the same.  The reason these “sound so good,” as many reviewers have noted, is that they didn’t sound bad in the first place! Unlike discs by the Rolling Stones, the Doors and the Who, whose albums were rushed out on CD to meet public demand, and therefore sounded terrible, the Beatles catalog was one of the last to come out on compact disc because great care was taken in the mastering process.

In defense of the studio guys, there’s really not much that could be done with these, except for maybe using noise reduction and hiss elimination.  They were using the original album masters. To explain here, when a band is done adding all the instruments to a song, they “blend” them into a master tape.  The reason it’s called a master, is that this is what the song will sound like from now on.  All records, tapes, CDs, and mp3s will be made from it.  Imagine that you and three of your buddies sang into your Iphone.  You can’t bring up or lower one of your voices after you’ve recorded it, right? Same goes for this, which means you can’t bring up the vocals or lower the drums and guitars; that sort of thing requires the session tapes, which were not used in this series.  So, you basically get what you get here.

So, if the discs don’t sound any better, is there a reason to buy these?  Well, for one, each disc comes with a nice booklet filled with unreleased photos and an essay about the recording history of each LP.  Every album also contains a short mini documentary on the making of that record, something you’ll probably watch once and put away.  Each disc is housed in a paper sleeve that faithfully replicates the front and back of each original album.  While that might be a nice touch, they are done with paper material, which means you’ve got to be ultra-careful not to get these wet or dirty.  Also, the paper cases are poorly designed and sometimes scratch the discs while taking them in and out of the cases.

Another complaint with this series is that many of the discs, especially the early ones, barely clock in at 30 minutes, yet you pay the full price for every album.  There was plenty of room to put the complete stereo AND mono versions of each album, especially in the early ones.  Instead, for those interested in hearing the mono mixes, you’ll have to buy “The Mono Masters” box set, a pricey collection, that’s nonetheless worth every penny (see separate review).

In conclusion, it’s great that these Beatles albums are back in the public eye again.  With this remastering series, the entire Beatles catalog is again plentiful in every place that sells music around the country.  That’s indeed a good thing.  However, I do not enjoy being duped into buying something that is no better than what I already currently own. –Tony Peters

Interesting Article on the State of CDs

CNN published an interesting article on the state of the music industry.  You can read it here.  Of course, I’m an old school record guy, so I’d hate to see the CD phased out.  Although I download music, it’s just not the same as owning a physical copy of it, be it CD, record or whatever.  With a download, you rarely get the artwork either.

What do you think?

Marc Cohn – Listening Booth: 1970 (CD review)

Marc Cohn – Listening Booth: 1970 (Saguaro Road) – CD review

When an artist does an entire album of covers, it’s usually a sign that they’ve run out of ideas.  But when it’s done in such earnest, as is Listening Booth: 1970, you have to take notice.  Every big music fan has a particular time in their life when the world was exploding musically.  For me, it was 1978, with LP’s by ELO, Todd Rundgren, and the Cars.  For Marc Cohn, that time was 1970 and he’s put together an album of twelve tracks that were released that year.

Typically, when an artist does an album like this, they either stay faithful to the original or attempt to drastically reinvent each song.  Cohn actually does neither, instead he filters these songs through his own musical skin.  So, they’re not note for note copies, but they all manage to sound comfortable.  There’s no “oh sheesh” moment where you realize how he’s reworked something.  Take the opener, “Wild World,” originally done by Cat Stevens.  Here, he gives it a marching beat, which is a novel idea, yet it’s accompanied by acoustic instruments and great harmonies, as was the original.

The cheesy Bread number “Make it With You” sounds like an Al Green outtake, with it’s slinky guitar and Rhodes piano.   “After Midnight” is fairly faithful to the JJ Cale original, yet there’s room for a little lick from Clapton’s “Layla,” and some swamp guitar accents.  And, the Badfinger power pop classic, “No Matter What,” is slowed down and twanged up, with a guest vocal from Aimee Mann.  While all of this might seem blasphemous on paper, once you hear the tracks, you realize how much love and respect went into this project.  For once, a covers album that doesn’t make you want to go listen to the originals; instead you want to hit the repeat button. –Tony Peters

Classic Album – Fleetwood Mac – Tusk (CD review)

Fleetwood Mac – Tusk (1979) – CD review –

Trying to follow up the biggest-selling album of all time is impossible.  If that record, Rumours, was a window into the band’s failing relationships, then Tusk shows us what happened next; how they handled the over-blown success.  Where Rumours was a slick, cohesive affair, Tusk is wildly erratic and many of the tracks sound unfinished.

The album opens with the muted, Christine McVie song, “Over and Over,” an odd choice to start the record; no doubt used to signal that this is not “Rumours II.” That’s followed by “The Ledge,” with distorted guitars and cavernous percussion played at double-speed; it sounds like nothing Fleetwood Mac has ever done.  And, that’s the point.  After the runaway success of the previous record, leader Lindsey Buckingham tried very hard to sabotage the album.  His tracks are full of bile and fury.  This is not to say that Tusk doesn’t have its moments.  Christine McVie turns in the closest thing to a hit single in “Think About Me,” and the transcendent “Brown Eyes,” a song that’s barely there, but stark and beautiful.

Stevie Nicks delivers a couple of her most grandiose statements, in “Sara” and “Sisters of the Moon.”  Even Buckingham has his moments, in the sinister “Tusk,” and the ethereal “That’s All For Everyone.”  The real problem with Tusk is that it’s just too long (originally released as a 20-track, double LP).  Pull off, say eight of the tracks, and you’ve got yourself a much better and focused album.  Instead, Tusk lies somewhere between a masterpiece and an all out mess. –Tony Peters


#18 – Ray Luzier – Korn III: Remember Who You Are

Ray Luzier

Drummer Ray Luzier joined Korn in 2008 and did two massive worldwide tours with the band.  Now, Korn has released their ninth album, Korn III: Remember Who You Are, and Luzier’s monster drumming is all over it.  The band is currently out on the road with Rob Zombie in the Mayhem Festival.  Icon Fetch talks with Korn’s newest member.  As an added bonus, we also talk with Rob Zombie’s bassist Piggy D.  Click below for the Ray Luzier of Korn and the Piggy D of Rob Zombie interview.


#17 – Delbert McClinton – Acquired Taste

Delbert McClinton

Delbert McClinton has been playing his own mix of blues, country and rock n’ roll for almost 50 years with no sign of slowing down.  His latest release, Acquired Taste, was a gritty collection of songs and another triumph.  He talks with Icon Fetch about where he still gets inspiration for his songs (he co-wrote almost every song on the album), plus his upcoming Sandy Beaches 17, a cruise vacation that he started that’s in it’s, that’s right, seventeenth year.  In addition, he sets to rest the rumor that he taught a young John Lennon how to play harmonica.  Click below for the Delbert McClinton interview.

Guy Sebastian – Like It Like That (CD review)

Guy Sebastian – Like It Like That (Sony) – CD review –

Great soul music is still out there, you just gotta hunt for it.  In this case, that means going halfway around the world.  Don’t let his Australian Idol credentials fool you (he won the inaugural season in 2003), Guy Sebastian is the real deal. What sets him apart from his American Idol counterparts is that he not only can sing, he does it with real SOUL.

His last offering in his native land was the great “Memphis Album,” which featured Sebastian, backed by old soul guys like Steve Cropper. Now, with his first Stateside release, Like It Like That, he’s proven that he can actually write great soul songs on his own.  “All To Myself” and “Attention” both have that classic Motown stompin’ feel that makes you move your feet, while “Bring Yourself” has conversational lyrics akin to Stevie Wonder’s best work.   Sebastian had a hand in composing the entire album, and he doesn’t  just re-write classic soul songs.  He’s obviously immersed himself in the genre and can truly add to it. And, since the US Top 40-buying public wouldn’t know good soul music if it hit them over the head, there’s a handful of straight-ahead pop tunes as well.

“Like it Like That” and “Art of Love” (featuring Idol winner Jordin Sparks) both show that Sebastian can hang with what’s on the charts.  “Never Hold You Down” is perhaps the best mix of both worlds; soulful with an incredibly catchy chorus.  A far cry from cookie-cutter, Like it Like That shows that Guy Sebastian should be taken seriously. — Tony Peters

Classic Album – Ace Frehley (CD review)

Ace Frehley – (1978) – CD review –

It sounded like a good idea in 1978: each member of Kiss release a solo album at the same time.  Problem is, the band’s fan base didn’t have the disposable cash to purchase all four records at once, so the gimmick backfired.  Gene Simmons’ LP, although wildly erratic, charted the highest; while Paul Stanley’s lacked the punch of Kiss, and Peter Criss’ outing showed that, left to his own devises, he had no freakin’ clue.  Then, there was lead guitarist Ace, probably voted the least likely to succeed.

Yet, he not only turns in the finest of the four records, he managed to put together a pretty damn good album in it’s own right.  The tracks on Ace Frehley are closer to straight-ahead rock than the heavy-metal posturing of his parent group.  And, missing from this album are the typical groupie and road songs that Kiss loved to write.  Instead, Frehley gets pretty honest on his personal problems in “Wiped Out,” “Snowblind,” and “Ozone.”  His soloing is spirited; some of the best he’s ever put on record.

Also of note is drummer Anton Fig, who flat-out blows away Peter Criss (for proof, just check out “Rip It Out”).  Although all four members of Kiss sang, Frehley’s voice had never graced a hit of theirs.  That’s why his “New York Groove” was such a triumph, climbing all the way to #13 in early 1979.  Frehley would eventually succumb to the vices mentioned on this record.  But, for one shining moment, Ace is king. –Tony Peters

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