Naked City's most Fun Recording, next to the debut Submitted on: 2008-08-07
Note: This Album is from the The Complete Studio Recordings.
Radio is there second most fun record, in my opinion, one that I can throw on easier. People have described Radio to be kind of like a Radio of different styles. Radio is pretty much that (at least in the first part), and it keeps the styles on each track (aside from the two jump cut styles). You won't find a radical diverse array of genres on this record a la Mr. Bungle, however. Radio is divided into two distinctive sections.
The first section is the most fun out of all of them, and easily the most accessible when it comes to Naked City. Each track has a great variety in style, and this is some of my favorite Naked City Compositions outside of the whole of the debut. Tracks like Asylum and Krazy Kat are all over the map, and while don't exactly follow any format, are entertaining to listen to. They sound like something out of a cartoon, and that's just dynamite (TNT style!). Cartoon music rules. Sunset Surfer is a nostalgic piece that's actually beautiful, and easily one of the best tracks on here. And Tracks 3 through 6 are a blast, the most fun you can have with Naked City. Sex Fiend and Razorwire are all over the place surging with funk and chaotic spidery dynamics, respectfully. Bitter and the Sweet is the albums only ballad, and is a fine showcase for the
band's softer side.
Starting with the Vault, the album heads into a metal sound. This is where the album kind of goes downhill a bit. Some of the parts of these songs sound EXTREMELY dated and one dimensional, such as Bone Orchid. The shimmering part is good, but the metal riffs are total crap. The sick drumming is a different story =). Poisenhead's lame gimmick of a Public Enemy sample won't save it from sucking, and don't be fooled by the awesome guitar riff of shock corrider, the rest of the song is bollocks. The songs that are alright at times, great at others would have to be I Die Screaming and Pistol Whipping. Only four of the songs on here are great or excellently and well done. Metaltov with it's great intro, interlocking drums, and cool intro, is worth listening to. The Vault conjures up a dank place underground where a serial killer is kept locked up (with hilarious theatrics to boot thanks to Eye). Slatekey is punishing and quite catchy. American Psycho, the last song, is another great one. A bunch of parts with moody silence, Zorn and Company pull this one off with ease. There's plenty of great parts (all of them are memorable), my favorite is the one where Eye sounds like he's rapping. That one always makes me laugh.
While the album is hampered a bit, and it isn't as great as some of their other stuff, it's pretty much a great listen. And besides, it's part of the Complete Studio Recordings anyway, so your getting it anyway. Thankfully, your getting something that will hold up with lot's of listens, and probably, once you get into it, you'll never fully loose the grasp, actually, probably find new things every time. Recommended.
8.0/10
Another stunning effort from Naked City. Submitted on: 2006-01-13
"Radio" is yet another about-face in direction for Naked City. At once more accessible and yet more difficult than much of their previous work, "Radio" is a chance for John Zorn, after having honed a new form with "Heretic", to experiment with his musical loves, to reflect his influences (which he enumerates in the liner notes).
Each song is presented in a different style-- much of the material borders on commercially viable (well, by Zorn standards anyway). The amazing part of this album is that the musicians prove remarkably resilient-- everything is performed at a stunningly high level, regardless of style. There's a feeling of looseness and fun with these songs, unlike the self-titled debut, there's not as much jump cut feel to this-- each song holds its style for its length.
Some of my favorites on here are early on the record, almost a Morricone meets Brian Wilson filtered through Zorn-- "Sunset Surfers" and "Tekmani Teepee" are the clearest examples of this, and the opener is a great, wailing free-jazz with wailing sax and guitar piece. Probably most important to note is the presence of Bill Frisell on guitar-- this is really some of the best playing he's ever done-- track by track, any lead he plays is just brilliant (check "Asylum", "Triggerfingers", or "Terkmani Teepee" for good evidence). Its also nice to hear Wayne Horvitz using a clean piano sound for the first seven tracks rather than organ and synth sounds-- this helps with the more open feeling of the album and, I suspect as a result of this choice, a lot of this material swings pretty hard. Even the organ used on "Sex Fiend" gives it a on Big John Patton feel, not a haze that we had on earlier albums, ditto for the Tony Williams Lifetime inspired "Razorwire", which doesn't quite swing, but has that great fusiony feel.
The album starts changing a bit with "Krazy Kat", this one is actually in the jump cut style of the debut album, but it has an almost breezy feel to it, hard to describe really.
After this, the album moves into more of a metal direction-- its not really the sort of hardcore stuff that we saw on the debut, but rather more varied. One standout track ("Metaltov") is eastern European (proto-Masada?) feels layered with electric guitars, a lot of it is pretty noisy and chaotic, but again with a lot more space in the sound and longer idea development, plus concrete melodies. Its definitely a lot more intense and more difficult than the early part of the album but still very digestable. And we still get inspired work from Frisell.
Overall, its a great album-- it may be a better place to start with Naked City, but I don't think its one of their strongest records.
Another stunning effort from Naked City Submitted on: 2005-03-25
"Radio" is yet another about-face in direction for Naked City. At once more accessible and yet more difficult than much of their previous work, "Radio" is a chance for John Zorn, after having honed a new form with "Heretic", to experiment with his musical loves, to reflect his influences (which he enumerates in the liner notes).
Each song is presented in a different style-- much of the material borders on commercially viable (well, by Zorn standards anyway). The amazing part of this album is that the musicians prove remarkably resilient-- everything is performed at a stunningly high level, regardless of style. There's a feeling of looseness and fun with these songs, unlike the self-titled debut, there's not as much jump cut feel to this-- each song holds its style for its length.
Some of my favorites on here are early on the record, almost a Morricone meets Brian Wilson filtered through Zorn-- "Sunset Surfers" and "Tekmani Teepee" are the clearest examples of this, and the opener is a great, wailing free-jazz with wailing sax and guitar piece. Probably most important to note is the presence of Bill Frisell on guitar-- this is really some of the best playing he's ever done-- track by track, any lead he plays is just brilliant (check "Asylum", "Triggerfingers", or "Terkmani Teepee" for good evidence). Its also nice to hear Wayne Horvitz using a clean piano sound for the first seven tracks rather than organ and synth sounds-- this helps with the more open feeling of the album and, I suspect as a result of this choice, a lot of this material swings pretty hard. Even the organ used on "Sex Fiend" gives it a on Big John Patton feel, not a haze that we had on earlier albums, ditto for the Tony Williams Lifetime inspired "Razorwire", which doesn't quite swing, but has that great fusiony feel.
The album starts changing a bit with "Krazy Kat", this one is actually in the jump cut style of the debut album, but it has an almost breezy feel to it, hard to describe really.
After this, the album moves into more of a metal direction-- its not really the sort of hardcore stuff that we saw on the debut, but rather more varied. One standout track ("Metaltov") is eastern European (proto-Masada?) feels layered with electric guitars, a lot of it is pretty noisy and chaotic, but again with a lot more space in the sound and longer idea development, plus concrete melodies. Its definitely a lot more intense and more difficult than the early part of the album but still very digestable. And we still get inspired work from Frisell.
Overall, its a great album-- it may be a better place to start with Naked City, but I don't think its one of their strongest records.
Not as good as the first Naked City, but great Submitted on: 2004-04-27
I've got about 30 Zorn albums, and I'd put this one on the must-have list for anyone who likes the harder side of Zorn, even though it's not of the Grand Guignol/Torture Garden variety. In fact, I think this album is easier to listen to than the first Naked City album.
That being said, the first Naked City album is far better in my opinion--it just hangs together and has many truly unforgettable pieces--in comparison, Radio is great but has many *forgettable* pieces. It doesn't stick in my head when it's not around like the first album.
It Doesn't Get Any Better Than This Submitted on: 2003-03-10
The jazz and the rock n' roll, the surf and the grindcore/metal weirdness....it's all here and presented in such a way that once you start listening you are hooked. If you are new to Naked City I would strongly suggest that you start your collection with either "Radio" or their first self titled release and work your way to their more abstract and hardcore material (e.g. Heretic, Absinthe, Torture Garden/Leng Tch'e). Enjoy the ride.
I thought it was kind of amusing that in the liner notes for "Radio" that Liberace and Conway Twitty were listed among Extreme Noise Terror and Napalm Death as "Inspirations and References". Just goes to show you how diverse these guys are.
Naked City's most Fun Recording, next to the debut
Not as good as the first Naked City, but great