Morrissey – Kill Uncle

Artist: Morrissey

Genre: Rock
Title: Kill Uncle
Released: 1991
Label: Sire
Format: CD
Musicians: Morrissey – vocals, Mark E. Nevin – guitar, Mark Bedford – bass guitar
Andrew Paresi – percussion, drums, Seamus Beaghen – keyboards, Steven Heart – keyboards, Nawazish Ali Khan – violin, John Deacon – bass guitar (tracks 2, 4 and 8)
Linder Sterling – background vocals
Producer: Alan Winstanley and Clive Langer

Kill Uncle is the second solo studio album by English singer Morrissey. It is generally considered Morrissey’s most unconventional album, probably due to its mature torch song (“There Is a Place in Hell for Me and My Friends”) aspects combined with quirky music and lyrics that range from ironic and tongue-in-cheek to some of his more introspective.

Kill Uncle was recorded when Morrissey was in a transitional phase.

1. “Our Frank” – On “Our Frank”, Morrissey’s lyrics describe “frank and open, deep conversations” that get him nowhere and leave him disheartened.The song features some uncharacteristic production for the singer, with Morrissey’s voice being overdubbed and echoed. The bass line is also interesting.
2. “Asian Rut” – I find this track as one of the worst on the CD. The music itself is disturbing, but it must be pointed out that it was supposed to be. I first thought that it was a quasi racist song, but I found out that while the song does indeed deal with racism, it is actually against racism. It turns out “Asian Rut” is a tale about the murder of an Asian by three English boys in which Morrissey’s vocals are backed only by strings and bass, plus sound effects, lending an eerie quality to the somber narrative. The song continues the tradition of Morrissey examining English racism from a unique angle.
3. “Sing Your Life” – This is one of the better songs on the CD with a subtle rockabilly flavor. The strings from the first two tracks are present in the song as well, and they rise and fall in a fashion similar to “Our Frank”. The song has Morrissey instructing the listener on how to make a song, as he sings, “Walk right up to the microphone and name all the things you love, all the things you loathe.” Ironically enough, a rockabilly version of the song also exists, recorded live at KROQ in Los Angeles.
4. “Mute Witness” – “Mute Witness”, the fourth track, features piano backing composed by Clive Langer. The song is a somewhat farcical tale of an attempt to get information out of a witness who cannot speak at a trial.
5. “King Leer” – The upright acoustic  bass carries this song, which is kind of a silly song with its use of puns.
6. “Found Found Found” Langer – “Found Found Found”, another Langer track, is the only heavy song on the album. I’m all about heavier songs, but this one is not all that good in my opinion especially when you add over-compressed dirty bass.
7. “Driving Your Girlfriend Home” – In this ballad, Morrissey tells of how he’s driving the girlfriend of one of his friend’s home. He reveals that she asks him, “‘How did I end up so deeply involved in the very existence I planned on avoiding?'” and that “She’s laughing to stop herself crying.” These outpourings are interspersed with driving instructions, and Morrissey tells us, “I can’t tell her” what he feels about her and that the ride concludes with them “shaking hands goodnight so politely.” In a surprise twist of fate, I can realistically relate to this song. Too bad the music is somewhat annoying and strange in my opinion.
8. “The Harsh Truth of the Camera Eye” – This often cited as Morrissey’s most misunderstood song ever recorded. I find this song to sound like a track to a horror film about evil clowns (clowns are evil anyway). It turns out that the lyrics are describing the “pain because of the strain of smiling” and the dichotomy between one’s public image and private personality. The music consists of a carnival-like synthesizer and features sound effects like that of a door slamming and a camera lens snapping, along with piano accompaniment.
9. “(I’m) The End of the Family Line” – This song sounds like the same structure as the previous one and just as depressing. The singer rues that he will never have children, an insult into the “fifteen generations … of mine” that produced him.
10. “There’s a Place in Hell for Me and My Friends” – This is just a terrible sounding song in my opinion.
11. “Tony the Pony” – This song is only on the US version of the album. While it is more upbeat, it is equally stupid.


Jethro Tull – Roots To Branches

Artist: Jethro Tull
Genere: Progressive rock, Rock, Folk-rock
Title: Roots To Branches
Label:EMI records
Format: CD
Musicians:Ian Anderson – vocals, concert flute, bamboo flute, acoustic guitar
Martin Barre – electric guitars, Andrew Giddings – keyboards, Doane Perry – drums and percussion, Dave Pegg – bass guitar, Steve Bailey – bass guitar
Producer: Ian Anderson
Engineer: Ian Anderson
Mastering: Chris Blair

Roots to Branches is the 19th studio album by the British band Jethro Tull released in September 1995. It carries characteristics of Tull’s classic 1970s art-rock and folk-rock roots alongside jazz and Arabic and Far Eastern influences. All songs were written by Ian Anderson and recorded at his home studio. In January 2007, a remastered edition of the album was released, but I’m not going to bother with it unless it’s on vinyl. The sound on this CD is not that bad, but it is Jethro Tull and usually I have found JT CDs to be severely lacking in sound quality.

This album was much derived from the visit Ian Anderson made to India. The style of the album could be called as the Indian Songs from the Wood.
About Roots to Branches, Ian Anderson said: “I see Roots To Branches as the 90s version of Stand Up, because it has a lot of the things that I feel represented the key elements of Jethro Tull: there’s lots of flute, lots of riffy guitars and quite a broad palette of influences, from the blues and classical to the Eastern motifs that were apparent on Stand Up “. On the other hand, Anderson also added that “the only thing about it that lets me down is that I made it sound a little too Seventies. I deliberately made the album sound like it was in the context of a live performance, rather than have it sound too ‘studio.’ But looking back on it, I think it should have been a bit more varied”.

This album also has more of a prog rock bend to it while also having what I feel is an other worldly sound. In my opinion, this is not only one of the best albums  I’ve ever heard from Jethro Tull, but it makes it to my top 20 list of best albums overall. Listening to this album is like reading a really good book you just can’t put down, you want to keep reading to see what happens.

1. “Roots to Branches” = Obviously the title track. This is one of my favorites on the album, it has a slight Mediterranean feel to it underneath. I also like all the changes it goes through.

2. “Rare and Precious Chain” = This track has an interesting feel to it, it’s like hard rock meets world music.

3. “Out of the Noise” = This track is just a good rock-jazz song that the band is seasoned at doing.

4. “This Free Will” = Track number four and we have not let up or fallen yet! This album just doesn’t stop. This track has a middle-Eastern flavor with a mid-east flute called a Ney in the background. The tune also has a slight Deep Purple flavor I think.

5. “Valley” = This tune opens with a flute solo and acoustic guitar for the first verse, then the keyboards, drums, etc. join in. This is a great Tull song.

6. “Dangerous Veils” = This is an incredible song, it has a rather sophisticated style and the drumming is stupendous. This is a must listen.

7. “Beside Myself” = This song starts with an acoustic guitar solo and goes into a more sophisticated style like the song before. Another great one from Tull.

8. “Wounded, Old and Treacherous” = This is more art-rock/jazz. The song has a strong jazz foundation while the verses are spoken word. This is very different from the rest of the album and yes, it’s good. Interestingly enough the ending is more in the rock style.

9. “At Last, Forever” = This song once again provides that great acoustic Jethro Tull sound for the first verse and as the rest of the band joins in it still keeps that signature Tull sound.

10. “Stuck in the August Rain” = I thought this one might be just a standard “nothing to write home about” type song, but it’s pretty ok. If I had to have a least favorite on this album, this song is the only one that might qualify.

11. “Another Harry’s Bar” = Listen close and you will hear a slight Mark Knopfler style to this closing tune.

MUSIC:5_Star_Rating_System_5_stars “all the way”!

Roots To Branches =


U.K. – In The Dead Of Night

Artist: U.K.
Genre: Progressive Rock
Title: In The Dead Of Night
Label: Polydor
Format: Vinyl
Musicians: Allan Holdsworth – guitar, Eddie Jobson – keyboards, electric violin, electronics, John Wetton – bass, lead and backing vocals, Bill Bruford – drums, percussion
Engineer: Stephen W Tayler
Mixing Engineer:Stephen W Tayler

U.K. were a British progressive rock supergroup originally active from 1977 until 1980. The band was composed of singer/bassist John Wetton (formerly of King Crimson, Roxy Music, Bryan Ferry’s band and Uriah Heep), keyboardist/electric violinist Eddie Jobson (formerly of Curved Air, Roxy Music and Frank Zappa’s band), guitarist Allan Holdsworth (formerly of Tempest, Soft Machine, The New Tony Williams Lifetime and Gong) and drummer Bill Bruford (formerly a full member of Yes and King Crimson, and a tour drummer for Genesis), who was later replaced by drummer Terry Bozzio (formerly of Frank Zappa’s band). UK reformed with John Wetton, Eddie Jobson and Terry Bozzio for a world tour in 2012.

Throughout their brief existence, U.K.’s music was characterised by skilled musicianship, jazzy harmonies, close harmony vocals, odd-numbered time signatures, mixed meters, electric violin solos, and unusually varied synthesiser (Yamaha CS-80) sonorities. Relative to specific styles, the band spans various genres ranging from progressive rock to jazz fusion. *Editor’s  note: In my opinion, what is off to me is the claim of close vocal harmonies of which there was none and the claimed “various genre range of Prog Rock to Jazz Fuzion”. This was a Prog Rock band with Classical based styling, there was no “range”. What is also surprising to me is that I thought this LP would be better than it turned out to be in a musical sense in my opinion.

U.K. is the self-titled debut album by the progressive rock supergroup U.K., released in May 1978 through E.G. Records and Polydor Records.

Side 1
1. “In The Dead of Night” – This is the title track. This song introduces terrible lead vocals that stay throughout the LP. This song is somewhat avant-garde Prog Rock. It fades with synth into track 2.
2. “By The Light of Day” – This song not only has uninspired lyrics, but the song on the whole sounds uninspired, like it is just there to take up space.
3. “Presto Vivace and Reprise” – This sounds like a continuation of track 2 and is really awful except for the drums.
4. “Thirty Years” – Here is where we get into “prog rock length tunes” clocking in around 8 minutes. This song starts out with keyboards and acoustic guitar in classical form, but after the first four measures it is ruined by bad vocals. I question what made this guy think he could sing. About a quarter way into the song the drums kick in, but don’t improve things much. There are some interesting time signature changes going into more of a Jazz influence.

Side 2
1. “Alaska” Jobson – This track starts with a synth solo and at about the half-way mark the band kicks in. This song has a jazz influenced prog sound. It is mostly an instrumental and got me thinking “good, something I can listen to”, but towards the end the lead singer comes in and ruins it.
2. “Time To Kill” Jobson, Wetton, Bruford – This comes in as a segue from the first track on this side. This song has good instrumentation and an interesting bridge to it too.
3. “Nevermore” Allan Holdsworth, Jobson, Wetton – This song starts with a solo acoustic jazz guitar as keyboards come in and then drums a few measures later, but once again it is ruined by terrible vocals.
4. “Mental Medication” – The title of this track says how I feel. The vocals sound like a really bad lounge singer.

The sonics on this LP are quite good and I give them 
However, the music is another story earning  and that includes credit for instrumentation. This LP was a disappointment for me.