Lindsey Buck – Devil Inside Me
There’s something that makes you want to test the credibility of the claims made by black metal bands or hardcore artists when they talk about the Devil as someone that they serve, like, or merely want to emulate.
If all that is true, then why does their music sound so ugly, and how could the Devil ever be on board with those kinds of artistic choices? Do you really expect us to believe that The Prince of Darkness wants music that sounds like aggressive static playing on an old television?
If we’re to go by the mythology, to which Lindsey Buck marvelously contributes, the powers of darkness are much more subtle, mysterious and alluring. The Devil never wears rags, never wastes time, and wouldn’t be caught dead spending time with losers.
It’s a classic scene described in countless jazz and blues songs. And it’s nearly always sexy-sounding. Lindsey Buck’s infectious “Devil Inside Me” is about powers beyond control, deals with seduction and works, very effectively, to get audiences hooked. Now, that’s something that The Devil could work with!
John DeNicola – Apocalypse (Moby Grape Cover)
American hippies of the 1960s are, often time, a source of ridicule nowadays. Their optimism seems naive. Their free-flowing attitude towards others seems immoral. And, nobody’s been able to work the tie-dye shirt into modern attire, regardless of efforts.
But if you want to finally find a kinship with the hippies in this potentially grim set of circumstances in which we find ourselves now, take a look at what they were doing, saying and singing come the early 1970s.
John DeNicola a student of hippie downfall wonderfully reconstructs a post-hippie classic from an era where some of the original hippies had moved to Central America obsessing over organic farming, others had made peace with “The Man,” and some were recording music about their disappointment.
The end of the 1960s might be best captured in “Apocalypse,” a song by the legendary Moby Grape, a group that had everything going for it to develop into a hybrid of Grateful Dead and The Band, before fate intervened.
Confidently sung and faithful to the original version, John DeNicola uncovers something of a lost heirloom, delivers a strong performance and reminds us that all visionaries are bound to end up cursing the naivety of their youth eventually.
