"Cosmic Egg"

A line-up change due to "irreconcilable personal and musical differences", usually doesn't bode well for a bands future. Especially not after only a single album release. More often than not, what was once a promising new prospect, will end up as a "what could have been" or just simply forgotten.

Since their debut in 2005 Wolfmother has walked down this path. When bassist & keyboardist Chris Ross and drummer Myles Heskett left the band in August 2008, we were left only with Andrew Stockdale's vow to keep the band's name going. After staying more or less below the radar for six months, Stockdale emerged from the darkness under the alias "White Feather" with his new line up in February '09. With new attention gained and expectations rising again, Stockdale and new members Ian Peres (bass, keyboards), Aidan Nemeth (guitar) and Dave Atkins (drummer), have spent the last nine months in and out of the spotlight. Releasing new information and a few singles a long the way, all leading up to their new album release entitled "Cosmic Egg" which is available in stores this week.

Contrary to what one might think, the loss of two founding members and the band evolving into a quartet with three new members, has not changed the bands musical core. Clenching tightly to the formula that earned the original trio's self-titled debut much praise and critical acclaim. Wolfmother still takes most of their inspiration from the giants of the late 60's and early 70's, and throws just a little bit of modern touch on it, but do so without trying to hide where their inspiration comes from. Sadly this is not really to their own benefit, as it will leave fans of classic rock split down the middle. One half will claim that Wolfmother are too dependent on the old giants, not creative enough of their own and do not manage to get to the same level as those they are trying to replicate. Others will say that while they are not as good as, say Zeppelin or Sabbath, especially lyrically, the music still rocks, and brings back a kind of rock sound that is very much sought after in today's music business. Another thought is that if Wolfmother had released their albums in 1974 and 1978, they would probably be highly regarded today. All of these points are probably somewhat true, but if you can embrace what they are, rather than what they are not, put yourself into a 70s state of mind and just float along with the surrealistic lyrics, then you might just come to enjoy this record for what it is.

Keeping this album more straight edge rock than the free running debut, "Cosmic Egg" hatches with one of the albums better tracks coming out first, the roaring "California Queen". Wolfmother picks up right where they left off on their debut, with Stockdale soaring through the vocal specter of both Ozzy Osbourne and Robert Plant already on the first song, with his new compatriots wailing on with guitar and drum play obviously inspired by both Black Sabbath and Red Hot Chili Peppers.
"New Moon Rising", which was released as a single in late august, is the next track on the list. While maybe not the highpoint of the album it is reminiscent of "Dimension" and is definitely the crowd catcher of the album. Few tracks down "Sundial" and "10,000 Feet" appear and both are good thumping tracks where you'll find the guitars grinding thick with all their might. For the title track; think "Roundhouse Blues" crossed with classic power metal, that description is pretty much spot on. As a change of pace "Far Away" is bound to be a young travelers/backpackers mp3 player favorite, a ballad that will have the listener thinking back on lost love and good times.
At the very end you have "In The Castle" and "Violence of The Sun" the albums two most epic tracks, filled with mysticism, fantastic guitar licks and dramatic bass and drum-play.

While this album certainly rocks and fills a certain need in today's music industry, Wolfmother probably could try to be just a little bit more original. Other than that the flaws are few and far between and the album in general is well built, there isn't really a dull moment anywhere, the main disappointment would be that "Caroline" is only found on the deluxe version. This ballad should have been on the main album, and this song alone makes the deluxe version worthwhile.

Only Built 4 Cuban Linx... Pt II

When "Only Built For Cuban Linx..." was released in 1995, the Wu had already established themselves as a force to be reckoned with within the rapgame. Their group effort "Enter the Wu-Tang (36 Chambers)" had put them all on the map and solo efforts were being released with great reviews, "Only Built For Cuban Linx..." was no different. Taking inspiration from almost every gangster and mofiso movie that he could find Raekwon created an epic Cosa Nostra tale that would perfect Mafioso-Rap and would serve as inspiration for everyone that came after him.
Fourteen years and two solo album let downs later, Raekwon finally goes back to his original blueprint and delivers the long awaited sequel to his magnificent debut album. It doesn't disappoint.

Like the original, the guest list is long. Wu members, affiliates and other guests, all participate at the top of their game. After a refreshing intro from Popa Wu (which continues where Pt I ended), Inspectah Deck starts throwing his darts with cunning brilliance on "House of Flying Daggers" a track fueled by a marvelous production from the late J Dilla. Once Deck's opening frenzy ends, Raekwon himself then takes the reins with his profound lyricism and clever rhymes. Ghost follows with equal excellence and Method Man then ends the 5 star opener with a sincere and perfected "Man, ya niggas ain't shit to us" as the start of the final verse. Leaving you with little doubt that this might just be what you have been waiting for for so long.

The rest of the album is lit up with more amazing grimy production, RZA is back on board, more J Dilla follows, Pete Rock, Dr. Dre and The Alchemist are on the list, Allah Mathematics and Ice Water Productions also come up with some of the albums finest production. However, despite the heavyweight guest list and big names that help shape this record into what it is, Raekwon seems eager to prove that this is still his album and that he is the man in the high seat. With his raw but intelligent narrating, this crime cinema-esque tale shows his fineness with relative ease, and the Chef once again proves that his name should be up there right at the top with the other great MC's and storytellers of his era.

How this album was burdened with so many expectations and a flood of doubt, only to prevail with such excellence is quite and amazing achievement. A modern classic in making, leaving Wu fans wanting more.