Three for the Ride: Creed, The Heavy, Velvet Revolver

Some days, I take the train to work. Other days, I drive. Either way, I listen to music on the way. I put the iPhone music player on shuffle, and off I go. Calling my collection eclectic would be an understatement. It's often an interesting mix. There are songs though, that I really wish the world could appreciate as much as I do. Songs that make me say, "Ooh, listen to THIS! Isn't it great?!"

Here's what I heard this morning:

Creed: "Faceless Man"
In the summer of 2000, I decided to drive into the desert in a rental car. I left Phoenix on an early Saturday morning after stopping at the K-Mart to buy water, and extra t-shirt, and music for the road. One CD I bought was Creed's Human Clay (1999). I drove to Winslow via the back roads and then west to Cameron, AZ where I spent the night at the trading post there, right on the edge of the Colorado River gorge. I drove he next morning along the east entrance into the Grand Canyon and then back to Phoenix that afternoon. It was a spiritual experience as much as anything else. I love Arizona. So, the connection I have to some of these songs is deeper than casual. This one in particular is pretty special to me. Scott Stapp's lyrics resonate with me on a deep level.



The Heavy: "No Time"
There's not a lot of new music that makes it into my rotation. I'm an old guy and I like old school rock and roll. That said, once in a while something comes along that makes me perk up and on even rarer occasions, some new music makes it into my collection. The House That Dirt Built (2009) is one of those special records that is new, but seriously old school. Their Wikipedia page describes The Heavy as a band from Bath, England, that plays a mix of guitar-heavy, neo-soul and rock with crunchy guitars, funky horns, and raspy James Brown-like vocals. 'Nuff said. Welcome to the collection boys.



Velvet Revolver: "Mary Mary"
Everything I love about Scott Weiland. There it is. His vocals on this are amazing, demonstrating the full range and dynamic of his vocal styles. This song has his writing style stamped all over it and the band is killing it. It's a perfect blend between hard rock and pop, which, when done right, will always win me over. The groove is infections and the harmonies, etc. are chilling. Also, props to Slash, who sounds like a different guitar player with Velvet Revolver than he did with GnR, a band I ever clicked with. He has earned my respect as a worthy player. How often does the super group idea actually work? It certainly does here. From 2007's Libertad...



Until next time...