George Harrison’s All Things Must Pass is a hard-edged and intense track that flitters with a hint of goth; the overwhelming fuzz that is interspersed in this introductory effort bolsters Steve’s vocals, which come forth with a heavy dollop of Neil Young. Iron Maiden’s Run To The Hills is a fairly on-point cover of the classic with a little bit of electronic styles buzzing about with splashy drums and instrumental interludes that take over at points.
River Deep Mountain High is a transformation from the original Tina Turner track Continue reading “Steve Lieberman – Return of the Jewish Pirate v.2”
We’ve been reviewing your releases for quite a few years, but do not know much of your backstory.
Jethro Tull, especially 1972’s Thick as a Brick. I started playing bass in September 1971 and wasn’t very good by 1972.I played bass and double bass for junior high jazz band. Some kids made fun of me behind my back for lack of ability I really practiced and joined my first rock band in 1973-then Chicago was all our favorite group.
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The Beat of the Funeral Drum has a complex tempo that works well with the UK 82 punk trappings that Steve has placed into the track. The drumming present here add complexity to the track, while the swirling guitars present at pieces make for a fulfilling cut. My Spleen Is a Beastmachine is a six-plus minute track that utilizes Lieberman’s trademark flute in a fun fashion; there is a tribal feeling to the track that seems influenced by hints of disco and dance. Cancer Ward #3: The Phlebotomy is a spiritual successor to The Ramones’ Teenage Lobotomy, albeit with just enough of Lieberman’s indefinable quality to make it purely his own. Continue reading “Steve Lieberman Cancer Ward CD Review”