We all know what Maynard is capable of vocally with all the projects he has. I’m sure most of you have heard him on some of the below songs he has guested on. There are a couple out there that are surprising though.
Rage Against The Machine: Know Your Enemy
Tori Amos- Muhammed My Friend
Deftones: Passenger
Replicants: Silly Love Songs
30 Seconds To Mars: Fallen
Jubilee: I Don’t Have An Excuse, I Just Need A Little Help
David Bowie: Bring Me The Disco King
During the year 2000 the world was presented with A Perfect Circle. Their debut album Mer De Noms was released to great fanfare and critical acclaim. Mer De Noms also featured a rebirth of sorts to what had been missing for quite sometime, making a cohesive album. Songs such as “Judith,” “The Hollow,” “Magdalena,” “3 Libras,” “Rose,” and “Thinking Of You” all were such standout tracks that left a lasting impact. There were a couple songs (“Thomas” and “Over”) that were out of place on their own but in the context of the album as a whole they fit. The first half of the album really shines but tends to drift and fall away towards the end. Production wise it is above superb.
In 2003 A Perfect Circle released Thirteenth Step. This album marked a growth and departure from the more polished sound of their previous album. It seemed that Maynard’s time back in Tool in between albums gave him new perspective on the direction on which to write for A Perfect Circle. The thematic tone of the album provided quite a distinctive backdrop for how the music sounded, was produced and how the songs were placed in the album. Songs such as “Weak and Powerless,” The Noose (my personal favorite),” “Blue,” “The Outsider,” and “Pet” again can stand out on their own, but really hit home more in the album as a whole. Production wise there is a more raw feel to it. It almost helps get under your skin faster and sink in.
Both records are totally different but all the while great in their own right. I lean more towards Thirteenth Step.
Where do you stand?
By: Brian Lacy
Tool is one of the most artistic, innovative and creative bands to come out in the past 25 years. Each of their albums have left a mark with rabid fans eating up everything that they do. Tool’s catalog though short is very deep. The subject matter of lyrics and the depths that the music creates is not for the weak. You can tell the amount of time they band spent working on the songs is worth every second. Maynard’s vocal approach is undeniable his own. Many have tried to copy him but don’t come close. Adam Jones has one of the more intriguing guitar tones and styles. Danny Carey’s drumming is said to be created by seances and summoning sprits, to which is very believable especially with the odd time signatures. Originally on bass Paul D’amour created a bass tone that ripped through the songs with such ferocity that it became the driving force of quite a few songs. Now Justin Chancellor has taken that sound and progressed it to an etherial place. A lot can be said for what their masterpiece is. Some will debate that it is Aenima or Lateralus, Undertow is an unsung Masterpiece. Songs like Intolerance, Crawl Away, Bottom, Flood, and of course Sober all have such a well of emotion and insight into the inner workings of Tool. A bit of history about the album, Undertow was recorded between October and December 1992 at Sound City Studios, and at Grandmaster Recorders, Hollywood, California, by Sylvia Massy. Some of the songs featured on the album are songs that the band decided to not release on Opiate. Henry Rollins makes a guest vocal appearance on the song “Bottom.”
Take a listen again and see what you’ve missed out the first few times you listened to Undertow.
Undertow:
By: Brian Lacy
AUDIOECLECTICA 