A while back, Lillian Axe founder and guitarist Steve Blaze had the idea to put together an intimate acoustic show for a select few friends, family and fans. The concept took on a life of its own, evolving into One Night in the Temple, a three-disc (2CD, 1 DVD/Blu-Ray) chronicle of the band’s first official acoustic performance.
The evening was captured in February 2013 at Sound Landing Studios in Covington, Louisiana, a converted Masonic Temple — hence, the name of the album — in front of a very small crowd of friends, family and a few lucky fans. Over the course of about two hours, the band covers material ranging from their 1988 eponymous debut to 2012’s XI: The Days Before Tomorrow, including a few rarities that, in some cases, have never been played live. Some of the songs are tailor-made for the acoustic approach, others are a bit of a surprise.
Growing up in rural northern Louisiana, I didn’t often get to see my guitar heroes live. Maybe that’s one reason Lillian Axe’s Steve Blaze became one of them. I could be guaranteed to see the New Orleans-based band at least a couple of times a year somewhere, and Blaze’s, well, blazing fretwork was, and still is, impressive.
There was a little dive bar called the Cartoon Lounge tucked away next to a highway overpass in Monroe. It’s long been closed and demolished, but I have fond memories of it. I didn’t go there to drink. I didn’t go there to socialize. I went there for music. You’d often find me by myself, leaned up against one of the poles that ran through the middle of the building, in my own little world, intently studying whatever band was playing. Yeah, I was that guy.
I was thrilled a few years back when Lillian Axe, a live-show staple of my misspent youth, made a strong comeback with a new singer and new record "Waters Rising." So I was excited to get my hands on the follow-up, "Sad Day on Planet Earth." Unfortunately, this record, while still good, doesn't live up to the standard set by "Waters Rising."
In all fairness, the songs on that record were written over the course of many years with some tweaked in numerous live performances. These 15 tracks, on the other hand, are the result of only a couple of years' work. Perhaps its the melancholy tone of much of the record or perhaps it's an often-flat mix, but there just doesn't seem to be as much energy here.
The songs, for the most part, are not bad. But a clearer, more dynamic production could certainly benefit the movements of songs like "Hibernate" or bring out the more atmospheric moments in "Down Below the Ocean" to give the record a little more pop.
As with "Waters Rising," there's a nice mix of the various phases of Lillian Axe. There are heavier, hard-rocking numbers, some pop-oriented moments, shimmery ballad passages and more progressive and experimental material. "Megaslowfade" gets things started on an energetic note and kind of throws a little bit of everything at the wall. Then things get more somber with the powerful "Jesus Wept," but the band doesn't stay there long, following up with a straight-up, old-fashioned hard rocker in "Ignite."
That's when the album is kicking along well, when there's a blend of the heavier-handed numbers that fit with the environmental theme of the record and lighter, more energetic pieces. It's at its best when they get the blend right in the same song. "Cold Day in Hell" is a perfect example, opening with a heavier riff before settling into mid-pace territory and deliving another great chorus melody, a formula that plays well again later in "Kill Me Again." "Blood Raining Down on her Wings" offers an interesting mix of the classic Lillian Axe ballad and a bubble-gum rock riff that's strange for the lyrics. The blending doesn't always work, though. "Within Your Reach" opens with a 1950s sounding melody that's a little strange and reminiscent of a popular song that I can't quite put my finger on.
There are also a few songs on the record that seem to blend together a little. "Nocturnal Symphony" opens with a classical-influenced piece of music that's interesting, but fades. The same with "Divine," which has a nice, gritty groove on the opening, but never seems to go anywhere. Somewhere in between is "Fire, Blood, The Earth and Sea," their epic, over-the-top closing record that, while impressive in moments, just tries to do a little too much.
Those moments are eclipsed by songs like "Grand Scale of Finality," though, which features a catchy, irresistable melody that again seems to be at odds with the darker lyrical content. It reminds me a bit of an early Queen melody.
Overall, I like the record and most of the songs on it, but for some reason, it just doesn't sing to me the way that "Waters Rising," "Psychoschizophrenia" or the band's first two records did. I understand that, for Steve Blaze, each successive Lillian record has been about stretching his musical boundaries, more serious musicianship and more complex compositions. But here, everything seems very heavy-handed. I guess, every now and then, I'd just like to hear the band break out a fun and frivolous three-chorder like "My Number" for old-time's sake. Since they don't even play that tune live anymore, I don't suppose it's going to happen, but it might help break up the gloominess of "Sad Day on Planet Earth." After all, there's no law that says to be a serious musician you have to be serious all the time.
I grew up in Lillian Axe's Louisiana stomping grounds, checking them out regularly at local clubs once I was old enough to get in (and, truth be told, a few times before). So, even though it's been a lot of years since they've released a new record, and even more since they've really been relevant, I still have a soft spot for the band. They were always great live, and still are. I last saw them about four years ago, and there was just as much energy in the room when they launched into the opening riff of "Misery Loves Company" as there was when I was an 18-year-old in the front row in 1990.
I've waited a while on this record. When I interviewed guitarist Steve Blaze in 2003, they were working on it. Later that week, when I saw them live, they played two impressive songs from it, "Waters Rising" and "Become a Monster." I expected to have the new record in hand by the end of the year. Instead, it took four, but for the Lillian Axe fans that are left, it will be worth the wait.
Though the title track has been written since at least 2003, it's a little more meaningful these days in the wake of Hurricane Katrina, as many people in their backyard know what its like to see their lives "slip right through the cracks as I watch it wash away." It makes what was probably already the strongest number on the album from a musical standpoint even more poignant.
In truth, not much has changed with Lillian Axe over the years. The songs are a bit darker, a bit more serious here than songs like "Misery" or "My Number" from their first couple of albums. This one falls somewhere between the sound of Love and War and the heavier, more progressive Psychoschizophrenia, arguably the band's strongest effort. While you can still look for the catchy hooks like the aggressive chorus of "Waters Rising" and the bouncing "Become a Monster," there are also more numbers here like "Antarctica" that go for an epic, story-telling feel.
The biggest change that fans will note is the absence of long-time vocalist Ron Taylor. Taking over the vocal duties on this record is newcomer Derrick LeFevre, who admittedly sounds more than a little like Taylor, but fans who have been with the band since the early days will still likely miss the voice of Lillian Axe. That said, LeFevre does an admirable job on this record, and I have no doubt that he can do justice to the older material live. The focus, of course, has always been on the fretwork of Blaze, and that's as good here as its ever been, as evidenced on the instrumental closer "5" which finds him plying those trademark lightning licks.
As on Psychoschizophrenia, Blaze and co. attempt to stretch their boundaries without breaking from the sound that fans know and love. You'll find little flourishes like the almost reggae-ish opening of "Quarantine" and the cello sounds that begin "Fields of Yesterday." The very dark turns on this record, including "The 2nd of May" and "Deep in the Black," will rank among the band's best work. "The 2nd of May" features a mocking, fairy-tale like lilt in the melody that still manages to be sinister, and "Deep in the Black" is probably the grittiest tune the band has ever done, very brooding but with some nice classical undertones in the heavier parts.
There are of course, a few ballads here, which are hit and miss. "I Have to Die, Goodbye," doesn't quite reach the sense of hopelessness it should, but "Fields of Yesterday" has some interesting melodic elements that raise it above the average ballad. Semi-ballads like "Until the End of the World" are very reminiscent of numbers like "World Stopped Turning" from the band's early years and may take you back a bit.
In all, fans of the band should be pleased with this new, more grown-up version of Lillian Axe. While I don't mind waiting for a quality record like this one, here's hoping we don't have to wait another eight years for a new studio album.
Second opinion: This is a great comeback record from a favorite of my misspent youth. Some of the songs that I didn't care for the first time through, like "I Have to Die, Goodbye," have grown on me the more I listen to it. Great record.
I grew up in Lillian Axe's Louisiana stomping grounds, checking them out regularly at local clubs once I was old enough to get in (and, truth be told, a few times before). So, even though it's been a lot of years since they've released a new record, and even more since they've really been relevant, I still have a soft spot for the band. They were always great live, and still are. I last saw them about four years ago, and there was just as much energy in the room when they launched into the opening riff of "Misery Loves Company" as there was when I was an 18-year-old in the front row in 1990.
I've waited a while on this record. When I interviewed guitarist Steve Blaze in 2003, they were working on it. Later that week, when I saw them live, they played two impressive songs from it, "Waters Rising" and "Become a Monster." I expected to have the new record in hand by the end of the year. Instead, it took four, but for the Lillian Axe fans that are left, it will be worth the wait.
Though the title track has been written since at least 2003, it's a little more meaningful these days in the wake of Hurricane Katrina, as many people in their backyard know what its like to see their lives "slip right through the cracks as I watch it wash away." It makes what was probably already the strongest number on the album from a musical standpoint even more poignant.
In truth, not much has changed with Lillian Axe over the years. The songs are a bit darker, a bit more serious here than songs like "Misery" or "My Number" from their first couple of albums. This one falls somewhere between the sound of Love and War and the heavier, more progressive Psychoschizophrenia, arguably the band's strongest effort. While you can still look for the catchy hooks like the aggressive chorus of "Waters Rising" and the bouncing "Become a Monster," there are also more numbers here like "Antarctica" that go for an epic, story-telling feel.
The biggest change that fans will note is the absence of long-time vocalist Ron Taylor. Taking over the vocal duties on this record is newcomer Derrick LeFevre, who admittedly sounds more than a little like Taylor, but fans who have been with the band since the early days will still likely miss the voice of Lillian Axe. That said, LeFevre does an admirable job on this record, and I have no doubt that he can do justice to the older material live. The focus, of course, has always been on the fretwork of Blaze, and that's as good here as its ever been, as evidenced on the instrumental closer "5" which finds him plying those trademark lightning licks.
As on Psychoschizophrenia, Blaze and co. attempt to stretch their boundaries without breaking from the sound that fans know and love. You'll find little flourishes like the almost reggae-ish opening of "Quarantine" and the cello sounds that begin "Fields of Yesterday." The very dark turns on this record, including "The 2nd of May" and "Deep in the Black," will rank among the band's best work. "The 2nd of May" features a mocking, fairy-tale like lilt in the melody that still manages to be sinister, and "Deep in the Black" is probably the grittiest tune the band has ever done, very brooding but with some nice classical undertones in the heavier parts.
There are of course, a few ballads here, which are hit and miss. "I Have to Die, Goodbye," doesn't quite reach the sense of hopelessness it should, but "Fields of Yesterday" has some interesting melodic elements that raise it above the average ballad. Semi-ballads like "Until the End of the World" are very reminiscent of numbers like "World Stopped Turning" from the band's early years and may take you back a bit.
In all, fans of the band should be pleased with this new, more grown-up version of Lillian Axe. While I don't mind waiting for a quality record like this one, here's hoping we don't have to wait another eight years for a new studio album.
A while back, Lillian Axe founder and guitarist Steve Blaze had the idea to put together an intimate acoustic show for a select few friends, family and fans. The concept took on a life of its own, evolving into One Night in the Temple, a three-disc (2CD, 1 DVD/Blu-Ray) chronicle of the band’s first official acoustic performance. 
