Blue Man

Take equal measures of Gallagher and Kraftwerk, mix in a 15-year supply of blue body paint and shake with a double-shot of modern marketing savvy and you might have something akin to Blue Man Group. This ambitious second album by New York performance artists cum entrepreneurs Matt Goldman, Phil Stanton, and Chris Wink expands their central artistic contradiction–mainstreaming the alternative–with a propulsive cocktail of rhythm, irony, self-invented instrumentation, and bona fide song structures that feature turns from guest stars Dave Matthews (the music hall dirge "Sing Along") and Tracy Bonham ("Up to the Roof," and with Rob Swift, "Shadows Pt.2"). The conceit is vaguely reminiscent of the Tubes' tongue-in-cheek ode to '80s corporate rock, "The Completion Backwards Principle," right down to being so convincing the irony often melts away. Fans of their live performances will appreciate its wall-to-wall rhythmic thrust and quirky textures, while aficionados and newcomers alike should welcome its surprising, seductive melodies and mature songwriting.

THREE is a modern snapshot, capturing a moment in the constantly expanding world of the Blue Man Group. Building upon their previous studio albums, including the gold-certified, Grammy®-nominated Audio (1999), and sophomore concept album The Complex (2003), THREE draws inspiration from 25 years of creative growth and development. The instrumental music features exciting sonic explorations from a wide array of newly developed instruments including the Snorkelbone, a creation that utilizes a plastic hose to produce a whirring, pulsating tone when swung in the air; a PVC pipe take on the traditionally wooden aboriginal instrument, the Didgeridoo; and the Chimeulum, which is best described as "orchestral chimes on steroids"; and many more.

Steve Khan's second release was a self-produced/arranged gem. It was similar in many respects to his prior debut, yet fans will probably recall this release as their all-around favorite from Steve Khan's '70s era recordings. The horn section and solos are still there, but Khan does more conversational soloing with the reed lines. This is especially evident on "An Eye Over Autumn," and its fusion jam-fest.
The Blue Man might seem, overall, tighter, focused, and polished, and Khan's guitar tone more overdriven, more jazz rocking, and intensely penetrating in solos and intricate ostinato embellishment around song themes. The delicate reverb, delay, and crystal-clear tones on his solos are rarely heard done so well these days…