The Advantage - s/t

This is music for only the nerdliest of nerds. Do you like the soundtrack music from old Nintendo games like Mega Man 2 and Bubble Bobble? Have you ever wished you could own versions of these songs performed by a rock band? Allow me to welcome to the wild world of video game cover bands.

The Advantage (named after the NES Advantage, an arcade-style joystick for the NES) is one of only a handful of bands to devote themselves entirely to the performance of vintage video game music. What kind of market is there for such a thing? Much bigger than you'd expect. I bought it, if that tells you anything.

The downfall of The Advantage, and just about every other video game cover band out there, is neither the band's talent nor their ability to effectively mimic vintage video game tunes. They all just tend to have really poor production values. I don't know if this album was self-produced or just locally produced, but it sounds like it was recorded in someone's living room.

Despite the shortcomings in production, this is still a very enjoyable album, provided you are a huge nerd. I was especially appreciative of the Ghosts n' Goblins and Bubble Bobble covers on this album, but it was fun to not look at the track listing and try to guess which game the song came from. I was right most of the time, which is why I'm in the target market for this kind of music. Anyway, if you're a big ol' nerd, you might find yourself enjoying this album.

Acceptance - Phantoms

Phantoms is Acceptance's major label debut. Although it's still better than your standard pop punk fare, it's still a little disappointing that "Permanent" is still the best song on the album even though it debuted on Black Lines to Battlefields EP. Phantoms is okay, but it isn't the major step ahead one would expect from Acceptance's EP's.

Acceptance - Black Lines to Battlefields EP

Despite having a cover that looks like it was designed for the naked apes from Jersey Shore, Black Lines to Battlefields is an excellent EP.  Acceptance stands well above their pop punk peers because they don't sound like another New Found Glory ripoff (which describes half the bands on Drive-Thru Records). They actually have a bit of a Jimmy Eat World circa Chase This Light, which is a nice touch. "Permanent" is the best song on this EP, but everything else is also fantastic. If you ever want to know what good pop punk sounds like, this is it.

Blackalicious - Blazing Arrow Instrumental Album

This was the first record I owned when I started owning vinyl again. It was given to me as a free promo by Hoodlum's when I picked up my copy of Blazing Arrow. I took it to the show Blackalicious performed on ASU campus and got it signed by The Gift of Gab, Chief Xcel and Lateef the Truthspeaker who was on tour with them as well. I then stuck it in a drawer where it got dinged up and developed a light ring because I didn't really know how to keep records in good condition yet. Anyway, I eventually started buying records and the guys at Eastside's taught me how to take care of it, so I no longer commit crimes against vinyl.

This album is exactly what the name implies: just the instrumentals from Blackalicious' groundbreaking Blazing Arrow (go buy it. It's the greatest hip-hop album I've ever heard). While this double LP set was no doubt intended to be used by DJ's, I listened to it straight through. It was an enlightening experience to dig a little deeper into what makes one of my favorite albums great. I could hear all the little nuanced instrumental bits that were buried underneath a barrage of Gift of Gab lyrics on the original album. I can't say that it's better to listen to this album this way, but it was certainly an interesting experience.

Pat Benatar - Get Nervous

Get Nervous boasts one of the best album covers of the 80's. The back cover might even be better than the front (the back cover features the band pulling on the arms of Pat's straitjacket). Even so, it makes you wonder just what Pat Benatar wanted people to think of her. Her first two album covers showcased her sexuality (she only wore the front half of a shirt on In the Heat of the Night and seems to be checking herself out on Crimes of Passion), her third was 80's cute, and her fourth was crazy/dangerous. It must have been somewhat confusing because people didn't know which crowd to lump Pat Benatar with: the rockers or the pop divas. She's clearly a little bit of both, but she's also her own unique woman.

Regardless of where she fits genre-wise, this is another fine Pat Benatar album. "Shadows of the Night" is clearly the best song on the album, but there's plenty of good in the rest of the album. I was especially impressed with "Looking for a Stranger" and "I'll Do It." If Pat Benatar is your bag, it follows that this album is as well.

Pat Benatar - Precious Time

Over the course of her first four albums, Pat Benatar wears more and more shirt. She only wore the front half of a shirt on In the Heat of the Night. She upgraded to a shirt with a back, but no sleeves on Crimes of Passion. By the time she got to Precious Time, she wore a shirt with not only sleeves, but significant shirt tail. Of course there was nowhere to go but crazy on Get Nervous where she rocked a full-on straitjacket. Anyway, it's just a little pattern I noticed, and I don't suppose anyone else will find it remotely interesting.

Precious Time is probably my favorite Pat Benatar album. It starts of with "Promises in the Dark," which, if I remember correctly, is the first Pat Benatar song I ever heard and the reason I became a fan in the first place. "Fire and Ice" really allows Pat to wail, and "Helter Skelter" is an interesting if not necessary Beatles cover. This album just comes together a little better than the others as far as my ears are concerned.

Pat Benatar - Crimes of Passion

Crimes of Passion is a more rock-oriented album than In the Heat of the Night was. Not only does it have the mega-hit "Hit Me With Your Best Shot," which is one of the best songs in the Pat Benatar catalogue, it also has the somewhat confusing "Hell is for Children" (please tell me I'm not the only one who, based on the title alone, thought the song was anti-children rather than pro-children and anti-abuse).

Crimes of Passion really established what it is that Pat Benatar does. She's not quite a pop diva and not quite a rocker. She's somewhere between Madonna and Lita Ford, incorporating elements of both rock and pop into her music. It works well for her, especially when the songwriting is strong. Crimes of Passion has some of the best songs Pat Benatar has ever performed, so it makes for a nice listening experience.

Pat Benatar - In the Heat of the Night

I am a latecomer to the Pat Benatar party, but I'll never be able to explain why. She just flew under the radar for me for way too many years. I rocked out to Tiffany, Belinda Carlisle, The Bangles, The Go-Go's and many other ladies of the 80's (I feel like a creep saying it that way. I think it's because of that Dmitri Martin joke) but somehow missed Pat Benatar who is one of the greatest female artists of her era. Anyway, I made up for lost time by buying Pat Benatar's first four (and four best) records on vinyl, and this is the first of the bunch.

In the Heat of the Night opens with "Heartbreaker." It's an amazing song that still absolutely rocks, but I can't escape the mental image of Steinbrenner from Seinfeld singing it in the episode where George builds a nap space under his desk. "We Live for Love" is the other major hit on the album, but I was most blown away by the awesomeness of "I Need a Lover," but was sad to find out it was a John Cougar Mellencamp song. Anyway, In the Heat of the Night is a great debut for Pat Benatar. She rocks the weird non-shirt on the cover and rocks all the tunes on the album. I like me some Pat Benatar, and this is as nice a slice as any.

AC/DC - Black Ice

While Black Ice is a legitimately rockin' AC/DC album, I always feel like it gets a little bit more credit than it deserves just because of AC/DC's longevity and status as elder statesmen of rock (kind of like Bridges to Babylon for the Rolling Stones, the only differences being that AC/DC is actually a good band and Black Ice is actually a good album. Yeah, I don't like the stones).

I honestly believe that "Rock 'n Roll Train," the album's opener and lead single, came about for two reasons: 1) they all decided Ozzy's "Crazy Train" was a good song and 2) They needed another song they could build an elaborate stage prop for. They already had the giant cannon for "For Those About to Rock (We Salute You)" and the giant bell for "Hells Bells" and they wanted a reason to have their stage crew build another monstrosity. Nothing will convince me otherwise.

Anyway, although Black Ice isn't nearly as good as the other AC/DC album with the word "black" in the title (you know the one I mean) it's still a solid effort. AC/DC sounds like a band that has been doing what they do for a really long time so it's best to just step aside and let them do it. I get the feeling that they can put out albums like this for another couple decades if they feel like it, and heaven help us they just might.

AC/DC - Ballbreaker

Ballbreaker is in every way comparable to The Razor's Edge in both quality and pure rock power. Just when you thought AC/DC didn't have it anymore and couldn't cope in a shifting music landscape, they went Wolverine on you (showing you that they're the best at what they do). This is hard rock for people that love hard rock. It doesn't have a runaway all-time classic (The Razor's Edge had "Thunderstruck") but it does boast an impressive lineup of really good rock songs.

AC/DC - The Razor's Edge

As AC/DC transitioned from the 80's to the 90's, they made one significant change that allowed them to survive: they went back to their roots. They got a little lost in the shuffle in the 80's when they were no longer the most dangerous or hardest-rocking band in the land. They righted the ship when they decided to do what they do regardless of what else is happening in music at the time. It's this simple change in perspective that has allowed them to put out quality rock and roll a full four decades after the group formed. As they now stand, they should be able to keep going for as long as Angus is able to duck walk.

Anyway, Razor's Edge is the much-needed long-sought-after return to form that longtime AC/DC fans were looking for. It has the first truly spectacular AC/DC tune in a nearly a decade in "Thunderstruck." Songs like "Moneytalks," "Are You Ready" and the title track are great - if not all-time-great - rockers as well. The only song on the album I didn't really care for was "Mistress for Christmas," but that's only because I don't like Christmas songs on non-Christmas albums. This is a solid album by AC/DC and it marked a big step back toward greatness.

AC/DC - Blow Up Your Video

While Blow Up Your Video is hardly a return to AC/DC's top-of-the-world 1970's hard rock form, it's significantly better than the two albums that preceded it, which happen to be AC/DC's very worst.

AC/DC songs are like jokes in that you have to buy into the premise in order for there to be a payoff. If you don't buy the fact that a rabbi, a horse, and Obi-Wan Kenobi walked into a bar, chances are you won't laugh at whatever hilarious thing the bartender says. If you don't buy into AC/DC's metaphors for hard rocking or sex, chances are you won't enjoy the song. Case in point: "Brain Shake" from Flip the Switch. It's a stupid premise and therefore a stupid song.

Blow Up Your Video is a bit of a mixed bag. While there are legitimate rockers like "Heatseeker" and "That's the Way I Wanna Rock and Roll," there are also duds like "Go Zone" and "Kissin' Dynamite." The songs that work on this album work very well. The ones that don't just fall flat. Taken as a whole, Blow Up Your Video is a better album than Flick the Switch or Fly on the Wall, but it's still a far cry from Highway to Hell.

AC/DC - Fly on the Wall

And this is where the bottom fell out. Don't be fooled by how good "Shake Your Foundation" is. It's the lone marshmallow in a sea of blandly disgusting puffed grains. Fly on the Wall is the absolute worst AC/DC is capable of. I don't know what happened, but I would guess that they were beginning to feel threatened by the metal bands on the Sunset Strip and this is their attempt to out-metal the metalheads. The problem is that AC/DC is not now nor have they ever been a metal band. They're a hard rock group, and yes, there is a difference.

Aside from the lone good moment on this album in "Shake Your Foundation," this album is filled with subpar music. On songs like "First Blood" and "Stand Up," I had to look at my iPod because I couldn't for the life of me figure out what Brian Johnson was shouting. "Sink the Pink" is an embarrassing non-innuendo (it can't be innuendo when you just come out and say exactly what's on your dirty mind) worthy of Spinal Tap. The same could be said of "Playing With Girls." AC/DC is better than this and everyone knows it.

AC/DC - '74 Jailbreak

Between 1983's disappointing Flick of the Switch and 1985's abysmal Fly on the Wall, AC/DC decided to release some of the unreleased material from the Bon Scott era. Even though '74 Jailbreak only has 5 tracks, it still eclipses Flick of the Switch and Fly on the Wall in terms of quality. If you ask me, this EP is responsible for a good deal of the "Bon Scott is way better than Brian Johnson" discussion.

Anyway, all 5 songs on this EP are great, especially the classic "Soul Stripper" and the look inside the life of a rock star in "Show Business." '74 Jailbreak was a timely and necessary release in 1984, but it stands very well on its own today.

AC/DC - Flick of the Switch

Flick of the Switch sounds like an album by a band that was getting tired of itself. It has all the appearance and sound of a really rockin' album, but somehow feels a bit empty on this inside. There are a couple decent songs, but "Brain Shake" is one of the dumbest songs AC/DC has ever written.