Lenny Kravitz has walked the musical line between Black and White America ever since 1989, when he cannily crafted his persona through strands of Prince, Curtis Mayfield, David Bowie, John Lennon, and Jimi Hendrix. Kravitz has never been shy about his colorblindness but the very title of Black and White America suggests that he may finally be getting political, something he’s avoided outside of the occasional free love platitude. Naturally, this isn’t quite the case.
Code Orange is an American hardcore punk band that formed in Pittsburgh, Pennsylvania in 2008. Forever (Roadrunner) throws some interesting surprises that pay off immensely. The majority of the record is solid beat downs and devastating instrumentals. At times the sound is ripping away like a buzz saw, or slowly turning its gears with immense weight. What helps make Forever a solid release though are the odd surprises within it. These surprises take the listener out of that constant crunch and hardcore slam, and present really terrific spins that are way out there. And with everything together, comes one beastly collection of jams.
Dream Theater's 2013 self-titled opus is a masterpiece of ambition, adventure and redefined purpose. Dream Theater heralds an exceptionally energized and profoundly dynamic emergent chapter for the melodic, progressive and consistently heavy masters of hard rock invention. Dream Theater is a name synonymous with the penultimate synthesis of studied expertise and relentless creative passion. It is an album that at once recalls the brilliant hallmarks that have made the band icons to fellow musicians and hard rock fans alike, while simultaneously a bold declaration of a future yet to come.
A 19-track collection of otherwise unavailable live performances from 1966-1968, taken from shows in Melbourne, Stockholm, London, and the '67 Monterey Pop Festival, as well as radio and television broadcasts. Most of this dates from the psychedelic version of the band, which will disappoint those who are primarily interested in the group's rock/R&B prime. It's quite a good relic, though, with rough and ready execution by both Burdon and the band, and some unusual R&B and psychedelic material alongside the versions of hits like "Inside Looking Out," "Monterey," "San Franciscan Nights," and "When I Was Young." Sound ranges from fair to very good.