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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Fishbone - Still Showing Us Where It's At!, August 19, 2002
By A Customer
Over the last decade or so, it has been often said by reviewers, fans and live punters alike that the most energetic and mind-blowing live experience is that performed by the band known as Fishbone.Unfortunately, the last 8 years have not been kind to Fishbone, (losing 4 members, parting company with a major record label, bad publicity and zero airplay) they have all but disappeared from the public eye, leaving most people thinking the band is defunct. Well, their demise is a myth and over the last few years they have produced 2 studio albums, 1 EP and now their awesome and uncensored latest release, 'Live At The Temple Bar & More - Fishbone'. This latest live album displays a level of musicianship, energy and originality that is unrivaled by any of the band's fellow contemporaries and contains "THAT" sound which is specifically unique to Fishbone. Fishbone are still the the masters of mixing musical styles and successfully marry funk with metal, punk with soul, rock with ska and everything in between as if each style is their selected forte. If you love killer horn sections, soulful yet frantic vocals, fat intricate bass lines, tight grooves, complex rhythms and momentary thrash crunching guitar that jumps to clean slinky wah, you will love 'Live At The Temple Bar & More'. It is undoubtably their best release since their pinnacle years between 1991's "The Reality Of My Surroundings" and 1993's 'Give A Monkey A Brain.....' which in my opinion are bands finest moments. My summary is that it is a mix of these two gems combined with the often criticised 1996 independent release 'Chim Chim's Bad Ass Revenge'. 'Live At The Temple Bar & More' is 'Nutt-meg' music at it's best and truest, with a broad selection of funk, metal, ska, contemporary jazz and rock presented in 8 brand new, unreleased original tracks all performed live.
The album's strength lies in two areas:
1. It's exceptional production as all instruments and vocals are perfectly balanced in the mix. For a live album, it would have to have one of the most clear recordings I have ever heard which contains an impressively powerful and dominating bass presence. Every note played by bassist John Norwood Fisher is audible and cuts through unlike most live recordings which lose the bass. He is indeed a fundamental backbone of the bands sound so it is only right to have him in the forefront of the mix. Being a live album, concessions have to be made as some of the guitar tones are a little thin at times and the occasional flat note on vocals but for the most part, the precise tightness of the band would often deceive the listener in to thinking they were hearing a studio album.
2. The intensity of the new material is so strong and potent which is rare for a band that has operated with such longevity. Most artist slow down and commercialise their sound as they "mature" but not Fishbone. This heaviness and intensity may deter the ska and funk diehards who may want an album of 'Party At Ground Zero's' or 'Everyday Sunshine's' but this album is perfect for the listener with an appetite for a broad spectrum of music, which includes some bite. It skanks but also cranks. 'Live At The Temple Bar & More' is not for the faint hearted or those who require soothing or conservative music. The low end guitar crunch is defiantly at home here on stage with Fishbone. The band has certainly avoided the trap of mellowing with age with songs such as 'Last Dayz, Critical Times' and 'Demon In Here' either dropping the tuning down to low B or displaying the brutally fast down picking technique with such speed that would leave most hard-core trash fans drooling. This is all thanks to guitarist Spacey.T who can move from extremes of heaviness to beautifully gentle and melodic clean playing with faultless transition. All songs are refreshingly different making this an album you can play from start to finish without your attention drifting. Being around 56 minutes of music and comical banter between songs, 'Live At The Temple Bar & More' is a decent length yet it seems to be over far too quickly, leaving you wanting more. The most surprising element of the Fishbone's (seemingly stable) current line-up is the drummer John Steward who joined the band after the legendary Fish (a founding member and brother of bassist Norwood) left their ranks in 1998. Steward's speed, feel and rhythmic colouring is so impressive. Filling Fish's boots would be an immensely daunting task considering he is one of the world's great drummers yet John Steward masters all rolls, fills and tightly executes intricate time changes and complex arrangements with such precision that no Fishbone fan mourning the loss of Fish could complain about his percussive abilities. Anyone who knows Fishbone is a aware that the band maintains a comical approach to their music which often does not sit well with some people. 'Live At The Temple Bar & More' is full of eccentric extremes which make's you smile. This separates the band from the mainstream as most artist seem to take themselves and their music far too seriously, Fishbone just have fun while still presenting politically and socially aware statements. For the Fishbone fan who has been disappointed with the more recent releases over the last few such as 'Chim Chim's Bad Ass Revenge' (which suffered a hiding for it's woeful production, aggressive sound and absence of radio friendly song writting) and the censored, watered down restraint of the 2000 release 'The Friends Psychotic Nuttwerx', 'Live At The Temple Bar & More' is Fishbone in it's true and natural form.
Fishbone Is Still Red Hot!
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Fishbone - The Best "NUTT" in years!, August 3, 2002
It has been said by reviewers and Fishbone fans for years that the only 'REAL' way to experience Fishbone is LIVE! Since their split with SONY - (Columbia) some time between 1993-94, (a short time after the brilliant yet mixed reviewed album 'Give A Monkey A Brain...', Fishbone has been a recluse in the eyes of the music industry and the mainstream music scene. Most people who had heard of Fishbone back in the early 90's (the closest time they came to breaking into commercial market with songs such as 'Everyday Sunshine', 'Sunless Saturday and 'Fight The Youth' off the acclaimed 1991 record 'The Reality Of My Surroundings') have long thought the band had disappeared and disbanded. ANYONE WHO HAS THOUGHT THIS, YOU HAVE BEEN MISLEAD! YOU HAVEN'T HAD YOUR EAR ON THE UNDERGROUND! After one listern to this lastest release, 'Live at The Temple Bar & More - Fishbone', it is apparent that they are still musical pioneers breaking new ground, continuing to break the type casts associated with "Race" and the alotted music that a certain "Race" is "expected" to play. Fishbone ain't "R & B" and ain't "Hip Hop" but the only all African American band to mix and marry metal with funk, punk with ska, rock with soul and do like they are masters of all musical styles.
Fishbone - Live at The Temple Bar & More is a display of awesome musicianship, character and energy. A set of 8 brand new unreleased tracks all performed live rather than in a studio format. It is a bold move to say the least but this band that has shat in the face of advercity too many times to care whether the commercial implications maybe not too favourable.
Unlike the bands that kicked around with Fishbone in the early 80's such as 'The Red Hot Chili Peppers' who have moved in an alusive 'mature' direction and mellowed, Fishbone have continued to grow heavier and harder yet still stay true to their roots of ska and funk. 'Last Dayz, Critical Times' Track 6, is an example of this with it's opening being a blisteringly chunky dropped B tuned guitar chug (Nu-Metal - KORN like) layered with horns of biblical proportions which breaks into a double time ska groove verse. For the old skool funk feel and probably the most "user friendly" tune, 'Are You Wit It' lays a groove and bassline that would get a corpse dancin'. Another stroke of musical genius is 'Demon In Here' with guitarist Spacey T displaying trash rhythm using a down picking technic that Kirk Hammet from Metallica would have died for during the recording of 'Master of Puppets'. 'Demon In Here' moves to a pre verse which takes the listerner back to the best musical moments of 'Reality of My Surrounding' and 'Give a Monkey a Brain...' with saxophne and pocket trumpet bowing out an intricate and catchy melody backed with meldic yet heavy guitar chords, slicky slap bass and John Steward working the kit to perfection. Talking of drummer John Steward, he is incredably impressive on this album, executing rolls and fills perfectly and using lightningly quick double kick which would make ex -Fishbone drummer 'Fish' proud.
The production of this album is exceptional for a live recording, all instruments and vocals are clear in the mix; bass in your face is my Utopia. Enough of of this rant! If you like energy, soul, funk, ska, metal, groove, punk and comedy mixed with great lyrics, awesome horn arrangements, killer vocals and African American flavour, just do yourself a favour and purchase this album. Something for everyone! As the crowd chants at the end of the album "FISHBONE IS RED HOT!"
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
LIVE AT THE TEMPLE BAR AND MORE (2002), March 5, 2005
This is essentially the last recorded material by Fishbone with half of its original lineup still intact. After this album, original member Walter Kibby II leaves, along with newer recruit Spacey T. for pastures greener. Part of the complaint may have been about lack of studio time, or effective management, or constantly touring to eek out a living. Whatever the complaint, this Live album recorded at 3 different venues debuts original material. It's sound quality is good, and the Henhouse Sessions DVD (...)documents that many of these songs did get the studio treatment. It would have made a brilliant album, with no signs of Fishbone creativity on the wane, despite their personal fortune or visibility. Word has it there will be new studio material in 2005, which is good news for many.
Fishbone is really a band that needs to be witnessed live, and captured in the studio. I've seen this band many, many times, and any recording of them and the energy they produce as a live band is worthy of purchase, especially if it's new material. But I would personally love to hear studio versions of this material, as the Henhouse DVD acknowledges there is. Particularly `In The Heat of Angrrr'.
The 2002 Temple Fishbone were: Angelo Moore (Vocals / Sax / Theremin), Walter Kibby II (Vocals / Trumpet), Tracey `Spacey T' Singleton (Guitar - before Fishbone he was with Sound Barrier), John Steward (Drums), and Norwood Fisher (Bass / Vocals). All songs were credited to Fishbone as a group. Singleton was the original guitarist of the first Black heavy metal band to be signed to a major label. By odd coincidence (for me as a reviewer), Neftali Santiago of MANDRILL (who a few days ago got reviewed by me for their 1973 `Composite Truth' album!) produced the 4 song demo that landed them a contract with MCA Records in 1980. Synchronicity and small circles.
Skank n' Go Nutts -
Angelo asks everyone if they're ready. Science Fiction Ska is what they're about to hear should they be ready, which switches from outer space to heavy metal thrash ground level. With the departure of guitarist John Bigham and drummer Phil `Fish' Fisher, the first concern is if Fishbone can still be `good'. By this first song, I don't hear that they've lost as much as people like to think they have. `Skank' is as good as anything that has appeared on any of their previous studio albums. The recording quality of this material is very good as stated before, especially for a live gig.
Are U Wit It -
Cool laid back funk is the style for this next song, driven by Norwood's heavily compressed slap bass, and Spacey T's wah wah pedalled guitar, which goes into a pretty incredible out of this world guitar solo. That's why I would love to have heard this guy on a studio recording of the same material. His use of effects changes nearly every section of this song. Moore uses the Theremin like a hip hop scratch record.
Premadawnutt -
The trademark Fishbone Horns dominate this song, which is very hard to describe. It comes across like a thrash metal version of Toni Basil's `Oh Mickey'. But before it can stay there long enough to be familiar, it drifts into Reggae, and then a secton that sounds like you're running and hitting a wall over and over again. This song is like Looney Tunes on Acid. It then becomes this frenetic 200 mph race back to the opening horn section, and subsequent free-form sax solo.
Demon In Here -
The story behind this one is actually true, as the Henhouse Sessions reveal. As Moore describes the protagonist, Singleton plays acoustic guitar runs. But what this song becomes is something totally different. Could be classic Fishbone if you listen to it, easily placed alongside something from `The Reality of My Surroundings' or `Give A Monkey A Brain ...'. The Theremin adds a slightly Looney Tunes quality to this song which sounds like a drummer's nightmare, but Steward handles this whole song with ease. Goes from total heavy metal crunch into Hang `Em High territory.
(Burning) In The Heat of Angrrr -
Could easily sit alongside the first Fishbone E.P.(1985) or `In Your Face' (1986). Anyone who wondered what happened to `classic' Fishbone, look no further. It still exists in this song. One of the best songs of the new material, first it's rock, then quickfire, but laid back soul. The ending is like a horror movie.
Last Dayz, Critical Times -
Grunged out, severely heavy rock, which all of a sudden becomes reggae. The warnings of Armageddon set to music. The Theremin, heavily echoed, practically screams. This song makes me lament the loss of Walter Kibby II, he adds so much to their songs.
Git Out Of The City -
Swing it. Which then swings right into Reggae. Which then jumps into the deranged Delta Blues. Passes from one musical genre to the next like it's the easiest thing to do.
Down Boy -
Quick Ska which turns into some sort of easy breezy psychedelic song, back into ska, then into Hendrix territory for a bar or two. Then into heavy metal Jazz. The album closes with fans singing over and over again, `Fishbone is Red Hot'.
All of this material is easily some of Fishbone's best. I see no signs that this band should stop, because creatively they still have it, and sound like no other band out there. This album stands as a document and diary of one of America's most important bands, who mixed almost 100 years of African-American musical culture into one form, called Fishbone. Purchase the album just to say `I own a Fishbone album'.
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