It’s a carefree summer track. It’s no Prince masterpiece, but it’s a decent enough to warrant a few playbacks from fans. This isn’t going to win over any new fans, that’s for sure. The staccato organ hits sound a lot like another Prince penned-track, “Shake!,” which was released by The Time back on the Graffiti Bridge soundtrack in 1990. The backing female vocalist is kind of irritating, and the track really goes nowhere lyrically. It is just an ode to having a hot summer though, so it’s not like it has any ulterior motives. As far as Prince “summer” tracks go, it gets the job done.

Rumors of a new album by Prince have been floating around for a while now but still no real concrete info. Last year’s triple-disc “LotusFlow3r” was decent but still not the kind of work that Prince used to be capable of pumping out. Here’s to hoping that the man releases a new album this summer.

The band was also forced to cancel their headlining appearance at this year’s Glastonbury music festival. I saw the 360 tour last year in Norman, OK and had a great time, so it sucks that some fans will have to wait until next year to see the show.

Paul McGuinness gave the following statement on U2.com,

“Our biggest and I believe best tour has been interrupted and we’re all devastated. For a performer who lives to be on stage, this is more than a blow. He feels robbed of the chance to do what he does best and feels like he has badly let down the band and their audience. Which is of course nonsense. His concerns about more than a million ticket buyers whose plans have been turned upside down, we all share, but the most important thing right now is that Bono make a full recovery. We’re working as fast as we can with Live Nation to reschedule these dates.”

The rescheduled dates haven’t been announced but we will update this post when they are. Here’s to a fast recovery Bono.

Many fans say that their love (okay, like) of STP stops at Purple; Maybe Tiny Music… if you really push it. But in the late 90s and early 00s, STP released No 4. and Shangri-La Dee Da, each showcasing a near complete style change for the group. Gone were the standard issue rock/grunge tracks, replaced by a sort of hard psychedelic rock.

Stone Temple Pilots sits somewhere in the middle. This is more like a band trying to re-create their sound while thinking about the 60s; mixing in a more bluesy tone on the guitars and simplifying what was already one of the most understated rhythm sections in American rock music. There are a number of great cuts on the album, but at the same time a few really abysmal songs. This is not a masterpiece. It isn’t going to win over very many new fans. Stone Temple Pilots is a somewhat flawed, but overall enjoyable new album by a group who’s lead singer wasn’t expected to live past 1998.

Scott Weiland is in top form on the disc. I’ve said it while reviewing their live shows and his last solo album; his voice is different than it used to be. Possibly a side-effect from the drug use, the years of smoking, whatever excuse you want. It’s deeper, more grainy than before, but the change is for the best.

STP jumps all over the place; At times we have 60s-wannabe music (“Bagman”), truly Bowie-esque material (“First Kiss On Mars”), and then on the other hand we have the band attempting to appropriate Aerosmith’s entire vibe (“Huckleberry Crumble”), or the chorus of Nirvana’s “Stay Away” (“Between the Lines”). It’s an odd meshing of styles that doesn’t make for the most cohesive of albums, but it’s certainly entertaining.

There are a handful of incredibly solid tracks, starting with “Hickory Dichotomy.” It’s a bluesy track slightly reminiscent of The Doors, with Weiland moaning about the media (or perhaps his ex-wife’s book). They’ve been playing the track live and luckily it translates well to record. You can almost picture Weiland strutting around on stage, and by the time the chorus hits for the second time you will find yourself singing along. Go ahead, it’s okay; It’s a good song.

“Take A Load Off” is perhaps the most standard STP sounding track on the disc. The thing really shines in the chorus, where the brothers DeLeo almost sound like they are in a race to see who can trip up Weiland first. The vocals are understated by the staccato instrumental work that sounds as if it was made for a live performance. It’s a powerful song, and the band sounds fantastic.

A few songs are just okay: “Cinnamon,” the band’s attempt at new wave, “Hazy Daze,” which suffers from an over-glossed production, and “Fast As I Can” which tries (and ultimately fails) to be yet another Aerosmith attempt.

On the other hand, there’s a string of bad songs in the mix as well. “First Kiss On Mars” sounds like Weiland & Co. raided Bowie’s vault and pulled this track out. At times Scott seriously sounds like Ziggy himself; perhaps he was inspired when he decided to cover “Fame” on his last solo effort, ”Happy” in Galoshes. I’m all about Bowie, but not when I’m supposed to be listening to STP.

“Dare If You Dare” is starts off promising enough, but when it hits the chorus gets a bit to close to Green Day’s “21 Guns” for comfort. It’s not a note-for-note match but it’s close enough that now all I’m thinking about how stupid Bille Joe Armstrong has looked for the last few years.

Perhaps that’s the biggest problem with Stone Temple Pilots. Instead of thinking about STP, the entire record listeners are going to be bombarded with the band attempting to sound like anyone except themselves. We’ve got some of mainstream rock’s best: Nirvana (“Between the Lines”), Aerosmith, Bowie, wannabe-Beatles. Why the band decided to attempt and recreate themselves under this facade I don’t know, but luckily there are enough good tracks to salvage the disc.

It’s certainly not the best album this year, but it’s better than I think most were thinking the band was capable of delivering. That’s saying a lot for a band who barely escaped the 90s. Definitely a purchase for STP fans, but for the rest of you, check out some tracks online and see what you think first.

Rating: 6/10

Check Out: “Hickory Dichotomy,” “Huckleberry Crumble,” “Maver”

Unfortunately, Wendy released a statement a few hours ago announcing the news. Early this morning Dio passed away. Here’s the statement from his wife Wendy, and below that is the original article.

“Today my heart is broken, Ronnie passed away at 7:45 a.m. [on Sunday] 16th May. Many, many friends and family were able to say their private goodbyes before he peacefully passed away. Ronnie knew how much he was loved by all. We so appreciate the love and support that you have all given us. Please give us a few days of privacy to deal with this terrible loss. Please know he loved you all and his music will live on forever.” – Wendy Galaxiola, in a statement to Blabbermouth.net.

Metal god Ronnie James Dio has lost his battle with cancer, according to multiple online sources. The rocker, best known for his work with Black Sabbath, Heaven and Hell, Rainbow, and his own Dio, was originally diagnosed with stomach cancer last fall. Dio’s condition had been worsening at a fairly rapid rate until his passing yesterday.

In November his wife released the following statement, revealing that the rumors of his cancer were in fact true:

“Ronnie has been diagnosed with the early stages of stomach cancer. We are starting treatment immediately at the Mayo Clinic. After he kills this dragon, Ronnie will be back on stage, where he belongs, doing what he loves best, performing for his fans. Long live rock and roll, long live Ronnie James Dio. Thanks to all the friends and fans from all over the world that have sent well wishes. This has really helped to keep his spirit up.”

Then a few months ago in March she released an update about his condition,

“It has been Ronnie’s 7th chemo, another cat scan and another endoscopy, and the results are good – the main tumour has shrunk considerably, and our visits to Houston (cancer clinic in Texas) are now every three weeks instead of every two weeks.”

Things seemed to be on the upturn, but unfortunately things once again began declining in mid-April. Earlier this month, Heaven and Hell canceled all summer dates as a result of Dio’s health. No more statements by the family have been made at this time, but several websites have confirmed the news. It’s a sad day for metal fans.

I don’t know a lot about Dio but I know he’s strongly regarded as one of the best metal vocalists. He was Ozzy’s replacement in Black Sabbath, and also fronted his own band Dio. I also know he’s more than partially responsible for the “devil horns,” which have now become a staple at rock concerts.

My thoughts are with Dio’s friends, family and fans.

I’ve never been much of a Madonna guy. Britney is towards the top of my favorite pop artists. Gaga’s up there too, but each time she performs live she slips a bit more down the list. For as long as I can remember however, Kylie has held the piece of my heart dedicated to pop music. I’m happy to say that the lead single off of her new album Aphrodite is both feel-good happy pop and a bit of a different direction for the Australian singer.

The track is three and a half minutes of pulsating pop; at times the backing track is actually reminiscent of a very happy MGMT track off of their first LP, “Oracular Spectacular,” (at least the synth work is.) It’s electropop, it’s dancey, and it’s the first great pop song of the summer. Kylie has never really caught on here in the United States and while she has a devoted fan base, it would be nice to see her actually gain some market share here. I’m not sure “All the Lovers” will help but it’s definitely radio ready and incredibly catchy. It’s worth of being a hit this summer, but only time will tell.

For fans of pop music, you couldn’t really ask for more. Kylie’s voice is well, Kylie’s voice. She’s not the world’s best singer but in a world of Kesha’s and Britney’s, she’s in a class all of her own. (No hate towards Britney of course, but Kesha needs to go away.) “All the Lovers” is an exciting first release and a great teaser for Aphrodite, which is scheduled for release July 6th here in the States

Here’s the track. What do you all think?

I was late to the Horehound party last year. I had yet to be swayed by Jack White so I kind of avoided the band thinking it was just going to be another project that I wouldn’t have any interest in. When I heard that the group was going on tour again this past spring my ears kind of perked up a bit. I started hearing more buzz about the band and finally decided to check out their first album. Long story short, Horehound is one of the strongest debut albums I’ve ever heard.

So after seeing the band last month and hearing a bit of the material from Sea of Cowards, I was thoroughly excited for the new LP. Now that it’s finally out — I can say without a doubt that 2010 has another big contender for album of the year.

I’ve listened to the thing about 5 or 6 times so far, and each time I find another favorite track. The latest? “The Difference Between Us,” which sounds like Jack White and Co. interpolating Depeche Mode synth work with early 90s grunge. Lyrically it seems to be about some kinky, hardcore sex; “You can cry like a baby / Just let me do what I need to / It might be to me or to you / Just let me do what I need to.” Yes Alison, whatever you say. It’s quickly becoming my favorite Dead Weather track, and judging from what I’ve read online, I’m not the only one who loves the song. Alas, it’s only one highlight from what may be Jack White’s first true masterpiece.

To call it solely Jack White’s masterpiece would be a disservice to the rest of the band, however. Alison Mosshart is the real reason I keep listening. With one killer vocal performance after another, it’s hard not to stay interested in the band. The fact that the guys are all amazing at what they do doesn’t hurt either. Jack’s a weird drummer, not exactly amazing or groundbreaking, but he’s got some unique patterns going on and his style fits incredibly well with the band. Obviously fans go nuts when he steps up to the plate on guitar, and they should; he’s unique and brings his blues stylings with him everywhere he goes.

Dean Fertita is a bit understated as lead guitarist. When he does decide to really show what he can do, he’s a fantastic face-melter. He’s also an ace on the creepy organ that is present on this album, which is a major tool in creating the now signature Dead Weather “atmosphere.” Jack Lawrence is responsible for the other half of the rhythm section and he doesn’t disappoint. This band is a cohesive unit, make no mistake about it; each member’s contributions are what make this band. Jack White may have been the original draw to the band, but at this point the group is better than anyone could have predicted.

Other highlights include the organ-heavy “Gasoline,” album opener “Blue Blood Blues” and the ultra-fuzzed out closing combo of “Jawbreaker” and “Old Mary.” “Gasoline” leaked a few weeks back and is driven by the aforementioned organ, mixing in what is probably my favorite performance by Mosshart on the disc. She sounds out of her mind crazy, and it really works in the song’s favor.

“Blue Blood Blues” is a firecracker of a song, and is an incredibly effective opening track. It’s engaging, and for some reason hearing Jack White sing “And all the white girls trip when I / sing a Sunday service” causes me to smile every time. I don’t really know what the song is about, but it sounds good, damn it.

“Jawbreaker” is another track driven by Dean’s organ, with the fuzz distortion turned all the way up. It’s an odd-sounding song but the organ coupled with Jack’s pounding drum beat and Alison’s ferocious vocals makes for one hell of a track, before slowly changing into “Old Mary.”

“Old Mary” was the b-side to lead single “Die by the Drop,” and out of the context of the album sounded incredibly strange. On Sea of Cowards it still sounds weird, but doesn’t sound out of place. It starts with a bit of feedback, and the chorus given as a spoken passage by Jack White. Alison slowly joins in alongside the instrumentation, which sounds like an old western soundtrack with a fresh coat of grime over it. It’s a haunting track and serves as a very effective way to close the album. A minute and a half in there’s some weird squeaking that may very well be Jack White making a balloon animal, or maybe more appropriately a balloon top hat. Then things slow down before the album comes to a close.

35 minutes after the album starts, and things end. Not to worry; restart the CD, hit repeat on your iPod or flip the vinyl back over. Sea of Cowards not only trumps Horehound, but manages to prove that the band is more than just another Jack White side project. Coming from these four musicians, Sea of Cowards may be the most impressive album of the year, if not the most vital.

Rating: 9/10

Check Out: Everything. Buy the record. Best track? “The Difference Between Us.” It’s that simple. But the whole thing is fantastic.

So last night Atlantic Records emailed me and told me I could post the “Between the Lines” video if I wanted. Geez, it’s been out since last week and now they are telling me to post it. I know I’ve been posting about STP a lot, Atlantic, but that doesn’t mean I’m just going to post everything that comes along. Actually it does. But I was already planning on posting about the video today, thanks guys.

The video is simple. Performance scenes spliced with a first-person handycam view. Driving, riding a bike, singing, fighting with a woman. It’s all there. Maybe this is what day to day life is like for Scott Weiland? Pretty boring when there isn’t any heroin involved. Just kidding Scott, I got your back. The band looks and sounds great, and the video does a pretty good job of capturing the feel of their live show, even if they are stuck in a tiny room in some house during the video shoot. Scott’s still got his weird dancing, but he’s still one of the most engaging frontmen out there. The track is doing better than I had thought it would on the charts, maybe the video will really push the song as far as it’s gonna go. Only time will tell.

As mentioned in the review for the song, this track and video are not the best thing STP has done but they are a promising step in the right direction. The new album is out May 25th. Check out the band’s website for full tracklisting, tour dates and whatever else you can find.

Here’s the video, what do you all think?

Perhaps the best stuff floating around is a show that Prince performed all the way back in 1983, pre-Purple Rain. Anyone who’s a hardcore fan has seen the video time and time again, but everyday casual fans have been left out of the loop.

The 1983 concert took place at First Avenue in Minneapolis. A year later when the club was featured in Purple Rain, the venue would be changed forever. In 1983 however, it was perfect for hosting a newly minted Prince & The Revolution. Prince had been performing with some of the band members for a while, but the show was the debut of guitarist Wendy Melvoin who would continue with the band until their dissolution in 1986.

But back on track — the 1983 show (August 3rd, to be more exact) was the first live performance of Prince & The Revolution. The concert was a benefit for the Minnesota Dance Theater Company. It was also the first time the band would perform several of what would become their signature tracks, most importantly Purple Rain.

Everyone knows the song. Play the first few chords and you’ll have everyone around you singing along. But in 1983 that wasn’t the case. Instead you had a capacity crowd silenced by the song’s first performance. This is one of only a handful of bootlegs of this track that does not have the crowd going nuts; instead they listen to the song and literally see history in the making. Obviously they can’t sing along, the song is new. So instead they listen; Seeing Prince at his absolute rawest in a tiny club with bad sound, sweating his ass off for the Minnesota Dance Theater Company. And melting off faces with one of his best guitar solos.

This live show made up the basis for several Purple Rain tracks, including the title track, I Would Die 4 U and Baby I’m A Star. Prince’s vocals are spot on with how you know them — because they were recorded from a mobile truck outside of First Avenue. Add in a few overdubs and there you have it, one of the best selling albums of the 80s.

Regardless of how you view Prince now, back then one thing was clear — his name was Prince, his favorite color was purple, and he was a bad motherfucker. And here’s the proof.

I’ve got the track below for you all to hear. What do you guys think? It isn’t truly bad, but it is boring and definitely drags on for much, much too long. And there’s a weird instrumental break with some truly bad digital horn-work going on. That part isn’t any good. It <em>is</em> good to hear some “new” music from Reznor, but at this point I wonder if he just dug up some unused NIN material and added his wife’s voice. Luckily her voice isn’t bad by any means; It’s soft, almost seductive, and with the right backing track the “band” could produce some impressive material. It’s too soon to tell, but the full six-song EP will be out this summer.

I’ll definitely keep you posted, but here’s the first track, entitled “A Drowning.” What do you all think?

Something about it just doesn’t click for me. Scott sounds okay and the band sounds great, but the track just comes across as filler. It’s not bad but it’s far from great, it’s just kind of “there” and doesn’t do anything to grab one’s attention. Scott’s vocal mix is kind of odd as well; This may be due to the fact that he recorded himself separately and sent it to the brothers DeLeo for final production. Hopefully this is among the weakest material on the album and things will end up sounding a little more “Hickory Dichotomy” and a little less 60s/90s rehash (“Bagman,” for the slow ones.)

Here’s a streaming version of the track for you all as well. Depending on how strong (or weak) the next track is, I may not bother posting it here. Only time will tell, but I can promise a full review of the album towards the end of this month.

Disclaimer: The Musictionary’s “The Leak” is intended only to give you a look at material that artists/bands may not deem good enough for release, live recordings or may be actual leaked tracks from a new release. We are not attempting to sell this music or make any profit whatsoever, only helping to spread great music to fans of these artists. These posts are not necessarily new “leaked” songs, and may be several years old.