Bill Madden

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411mania.com

by Luke Beach | 02.24.06

Political arguments? Check. Regretful love songs? Check. Thoughtfulness on the meaning of life? Check. Great music? Check.

With the recent mini-resurgence of the singer-songwriter genre, led by Willy Mason and Conor Oberst, a large number of hopeful artists have staked their musical claim, looking to achieve the same mainstream success (though not the same fate) of men like Elliot Smith. Bill Madden’s Gone, though not his first album, is his next chance to achieve such prominence. Whether he’ll achieve it is up to the paying public, not me, but I sincerely hope that this review encourages readers to listen to Gone, because it’s a bloody good album that I enjoyed just as much as Masons Where The Humans Eat (though it doesn’t quite match up to the greatness of I’m Wide Awake, It’s Morning). Thanks to a decent mix of songs with different tempo, and the consistency of Madden’s smooth vocals, Gone is a critical triumph, and certainly the best solo album I’ve heard so far this year.

As the album begins, Madden entices the listener in with ‘Weight of His Words’, a melodious ballad that immediately showcases the vocals and lyrics. Madden’s voice is full of range, and it combines with the variety of instruments throughout the album to produce plenty of melody. On occasions, Madden’s vocals reminded me of the late Jeff Buckley, which can only be a compliment. The clarity and clearness of the vocals lets the lyrical meaning shine through. I won’t pretend to understand the meaning of every one of Madden’s lyrics, some of them are a little obscure, but there’s a general tone that runs through the album, which becomes a little clearer through the lyrics of the second track, ‘Path of the Heart’;

We’re conditioned and programmed
By unwitting moms and dads
Ignorant as the rest of us
And tradition without fail

Bill Madden, Path of the Heart

Madden’s political ideologies become more apparent as Gone progresses, and his liberal views are more explicit in certain songs, such as the title track, ‘Gone’, which appropriately increases the tempo to a far more furious pace, with the prominent presence electric guitar. It’s here that Madden puts across his message, pro-environmentalism and anti-commercialism. It’s a strong message, and though I’m often put off by political message in song, it didn’t really bother me, thanks to the variety of other songs on offer. I’ve got to admit though, that the slower, quieter tracks made a far greater impression on me than the faster tracks. It’s great that Bill Madden’s offering variety, and Gone is a pretty decent, rock ‘n roll hybrid of a song (with vocals that reminded me of Paul Weller), but if you stopped me in the street and asked me how the rhythm went, I’d probably find it difficult to remember. The highlights of the album, in my opinion, are songs like ‘Might Have Been’, which was my personal favourite.

‘Might Have Been’ really shows up the good quality of production, as a slight echo is added to Madden’s slightly distant voice, and it comes across brilliantly with a stripped-down guitar melody and a slow violin. It might not be a coincidence that it’s more of a traditional love song topic, either. The album’s fourth track, ‘Friend’, is a little louder, and a little angrier. Like all good singer-songwriters, Madden makes you feel his pain and anger. If you pay too much attention to the lyrics, it can become a little depressing, as there’s really only one happy song. ‘Mi Vida Es’ (My Life Is) is it’s name, a pleasant Spanish/English tune where Madden counts his blessings in life.

They’re heart-warming sentiments, but they don’t come across as prominently as Madden’s preaching tone. It’s his occasionally excessive downbeat tone that I found to be Gone’s biggest flaw. Though it consists of melodious, harmonic, and occasionally beautiful music, the lyrics generally are either negative or regretful, and so spread this tone throughout the album. People used to listening to guys like Elliot Smith will be used to it, and the music sans lyrics is always pleasant, but Madden does seem to focus on his negative emotions a fair amount. Still, if we’re going to complain about depressing lyrics in music we’ll be here all day.

Of the remaining tracks, I really enjoyed ‘Dangerous Game’, another slower, stripped-down acoustic track, with Madden’s control of his vocals is again a highlight. It’s also an explicitly anti-war in Iraq song without pretentiousness, referring to the ‘black gold’ and my favourite lyric of the album; “How many barrels of blood does it take to fill an SUV?”. Though your appreciation of this song might be based on your own political views, I much preferred it to the energetic title track of Gone, since it’s refreshing nowadays (in the time of System of a Down and Green Day) to hear a controlled political song. ‘Art of Being’ is more of an existentialist take on life, and it too is enjoyable to hear.

The albums final two tracks, ‘Awful Good’ and ‘Everything and That’ don’t really stand out, but similarly don’t disappoint, and wind up the album nicely. Listening to Gone all the way through may not effect your political outlook, but it really should make Bill Madden a more recognised, and highly respected musical name. Gone isn’t without its flaws; namely the often too negative tone, and occasionally oblique lyric (though maybe I’m just stupid), but they’re very much outweighed by the positives. It’s harmonious, melodic, and Bill Madden really has a voice that could melt even the most cynical critic.

The 411: As I said before, Gone is the best solo album I’ve heard yet this year. It’s very pleasant to listen to, isn’t repetitive, and thankfully contains intelligent lyrics that should make the listener think. If the overly political messaging puts you off, you’re missing out.

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Blogcritics.org

by Connie Phillips | 05.16.06

In Gone Bill Madden delivers politically charged social commentary set to what can be best described as a hybrid combination of alternative and folk music. The album is a sounding board for Madden’s deep convictions and they are delivered with a profound passion.

He does bring something unique to his music, his voice. It has a rich quality and a gravelly edge that enhances the songs. Its rough-around-the-edges tone adds to the political protest. Though it would be nearly impossible to think Madden was insincere in his messages, a brief look at his website proves how committed he is to his convictions. He provides a list of links and information on a page labeled activism.

The CD opens with the “Weight of His Words” and the tone for Gone is set. It’s highly charged and politically critical. The song is strong lyrically with a powerful message, but the melody gets a bit monotonous. It is one of those tracks that leans a bit more to the folk side and is reminiscent of traditional ’70s protest song.

The protest theme is universal to the CD as is the strength – Madden’s songwriting. Every song has a message and not one is flawed on that basic level. It is musically where the CD begins to falter at times. A few of the tracks just aren’t as strong as the others and on some, like “Dangerous Game” and “Everything and That,” he unsuccessfully uses special effects in an attempt to enhance the tone. A more simple production of these would have greatly enhanced the end product.

One doesn’t have to look any further then the title track “Gone” to hear Madden’s dissatisfaction with the status quo. The song seems to be taken fresh from the headlines and warns of the consequences of allowing government to continue as it has been. Again the strength is in the message. There is no question that Madden is a poet. On this track, however, he pushes his voice out of its comfort zone, and the endearing quality is lost. While this is distracting, it is still a great track; I just think it would have been more powerful had he let the full quality of his voice shine.

As I previously mentioned, “Dangerous Game” is another track with distractions, this time in the form of an odd motorcycle sound that resonates in the background. I think the attempt was to make the background as eerie as the lyrics, but the effect was lost. Madden delivery of the lyrics is incredible and gives the song a longing feel.

Gone, released [March 21], is a album with powerful political and social commentary. While there are some flaws, overall it is still a good listen if for nothing more then for Madden’s message and his delivery of it. Bill Madden’s website contains lyrics, photos and press as well as links to the causes he supports.

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CD Reviews

by Libby Wait | 03.29.06

Take every popular singer-songwriter you can think of. Every single one from Tom Petty to Gavin Degraw to Jeff Buckley. Now, mix them all together. The result? Bill Madden. Madden is one of the newest additions to the singer-songwriter genre, and with all the comparisons that be drawn to famous pioneers of the musical style, he obviously shows a lot of promise. Fans of the singer-songwriter genre will greatly appreciate Madden’s meaningful and passionate music. Others, however, might overlook Gone as just another album by a singer-songwriter that is simply yielding to a formula. While Madden’s songs may not amaze the listener with their originality, they do have to be admired for their beautiful style and strong messages.

Madden opens the album with “Weight of His Words,” the beginning of which features a light guitar part that sounds very much like Cat Stevens’ acoustic style. The music slowly develops with the addition of electric guitar, bass, and drums. This build up, although effective and beautiful, is fairly conventional. Because of this element of predictability, the music is not extremely creative. Thus, Bill Madden’s vocals and lyrics draw the majority of the listener’s attention. This is nothing to complain about, though. From the very first track, Madden displays his natural talent for writing poetic and profound lyrics. On “Weight of His Words,” the lyrics seem almost like a psychological evaluation at times. If one is aware of Madden’s activism in areas such as environmental protection, human rights, and animal rights, it is easy to spot the political undertones of “Weight of His Words.” Madden continually makes subtle references to current political leaders when he proclaims “He sees himself a sage in robes/But I see a fool.”

The upbeat and sunny style that was introduced on the first track is continued with “Path of the Heart.” Madden uses this song to display his negative feelings about conformity and the blind following of tradition. The cheery, driving-on-sunny-days style is lost, however, with the beginning of “Might Have Been.” On this track, Madden’s focus turns to feelings of nostalgia and disappointment. While the lyrics venture worryingly close to the realm of a typical country song, Madden keeps the music quiet and folksy.

As the record progresses, Madden begins to alter his music from the typical singer-songwriter sound that was present during the opening tracks. “Gone,” an overtly politically-charged song, introduces a heavy electric guitar line backing up Madden’s singing which sounds almost eerily similar to the voice of Lenny Kravitz. He includes tracks like the lazy and fluid “Art of Being,” and the percussion-driven anger fest “Everything and That” which add variety in between the quiet acoustic songs.

Overall, Bill Madden fits perfectly into the singer-songwriter genre. The beginning of Gone is pretty, but nothing original. However, Madden begins to develop his own character as the record progresses. This character that Madden acquires is hard to define, though. Madden is incredibly eclectic; during one song he channels the music of Bruce Springsteen and the next song he is comparable to Jack Johnson. While Bill Madden may still be searching for his distinguishing musical style, it is obvious that he takes his music seriously and creates it with a passion that many musicians do not possess.

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Cord Magazine

by Andy Scheffler | 04.22.06

Bill Madden has a voice reminiscent of Peter Gabriel spliced with Rod Stewart, spread over a Springsteeny-country-and-church-organ landscape. Some of the songs are super-strong and great sounding. The power of “Gone” is a huge standout. It’s not easy to say where this fits into the modern musical landscape, but that’s probably a good thing. This one won’t be among my top-of-2006 lists or anything, and I can’t imagine really ever getting the urge to crank this album on the stereo, but it is certainly competent, perhaps more suited to an older crowd. Some self-indulgent wanking through the background of “What in the World.” Indeed.

Song of choice: Like “Friend” mostly for it’s cool mid-song instrumentation.

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Evolution Of Media

by Jacob Richardson | 03.10.06

Floating back and forth from perspectives on his personal life, today’s political climate, the diversion of stardom, and spirituality, Bill Madden speaks volumes without the need to raise his voice. On Gone, Madden’s second release (2004’s Samsara’s Grip was his debut) he arms himself to the teeth with the powerful impact of well delivered acoustic rock ballads, sheathed within a versatile voice.

Not to be pigeonholed into a set genre, Madden routinely adds innovative sounds to each one of his songs that keep his album modern with plenty of vestiges of the past. “Might Have Been” is a soft acoustic song reminiscent of Dylan in both style and voice, but Madden’s ingenuity includes retro strings and resonating drums that create a vacuum that drowns the listener in emotion despite how bare it is. Embracing the momentum of alternate religions, songs like “The Art of Being”, “Path of the Heart” and “Mi Vida Es” (a song primarily in Spanish as homage to his mother and first language) elaborate on the pleasure he’s found in more Zen-based life philosophies. And again, when you would write Madden off as a soft and sensitive crooner, he’ll open up a new side of himself a full on rock song. Despite his obvious Dylan comparisons, on the political diatribe “Gone” Madden rivals the falsetto range of Rivers Cuomo on Weezer’s “Hash Pipe”, with a similar addictive distorted guitar riff to boot, and calmly channels Tom Petty on “Art of Being”. Knowing that all the political crises of this country couldn’t be summed up in just one song, in addition to “Gone” Madden displays his disapproval of our current administration on “What in the World”, “Dangerous Game”, and “Everything and That”. It’s not terribly surprising that these songs all carry a dark undercurrent that give a sense of impending doom.

Produced by Billy Mohler of the Jimmy Chamberlin Complex, this thoughtful and thought-provoking collection of old style acoustic tunes shines with a contemporary glitz without much glamour. The themes are intense and jagged, but all with a sense of hope persevering by the end. Hopeful depression for those looking to have their broken heart, faith, or patriotism massaged back to life.

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File Under (Dutch)

by Ewie | 09.19.06

Stel dat ik op 6-jarige leeftijd wel naar mijn vriendinnetje toe was gegaan, nadat ze zo nodig naar Duitsland moest verhuizen. Stel dat ik op 9-jarige leeftijd wel besloten had om verder te gaan met muzieklessen na de blokfluitlessen. Tja, stel, stel, stel. Ik word daar zo moe van. Als je gaat graven in het verleden dan zijn er vaak redenen om dit te doen, bijvoorbeeld als het leven niet lekker gaat. Dit zou je met een therapeut kunnen, maar ook alleen. Er zijn ook mensen die dit dan publiceren, bijvoorbeeld in songteksten. Bill Madden doet dit op Gone, aangevuld met zijn sombere visie op de wereld. Ik hoop dat het allemaal helpt om zijn weg te vinden. Muzikaal zocht hij in ieder geval niet alleen zijn weg. Hij riep de hulp in van Billy Mohler als producer, maar ook als muzikant. Madden valt in de categorie singer-songwriter, maar na het eerste akoestische nummer gaat hij verder m.b.v. een hele reeks muzikanten waaronder Jimmy Chamberlin (ex-Smashing Pumpkins / Zwan) en zijn begeleidingsband bij de Jimmy Chamberlin Complex waaronder de eerder genoemde Mohler. Eerst dacht ik nog dat hij goed geluisterd had naar de solo-albums van gitaarheld John Frusciante (die van de Red Hot Chili Peppers), maar verderop gaat de muziek meer in de richting van Eels. Belangrijkste man blijft echter Mohler die weet hoe je een plaat opbouwt en hoe de nummers van Madden tot hun recht komen. Een fijn besluit dus dat hij Gone ging maken. Ik hoop verder dat het goed met hem gaat, en ons nog meer moois gaat brengen in de toekomst. Ziet de wereld er in ieder geval weer wat mooier uit. En dat is wat Madden, tevens activist en boeddhist, toch wil.

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FolkForum (Dutch)

by Mirjam Adriaans | 09.05.06

Kritische boodschap verpakt in ruige muziek.

Over de Amerikaan Bill Madden is niet veel te vinden op zijn website, behalve een paar foto’s van een man met een gestileerd baardje. Wel heeft hij een button ‘activism’, waaronder allerlei organisaties te vinden zijn die zich bezighouden met mensen- en dierenrechten, of het milieu. Op zijn cd Gone komen die thema’s uitgebreid aan bod.

De stem van Bill Madden heeft zo’n rafelig randje dat hem uitstekend geschikt maakt als singer-songwriter. Hij speelt zelf akoestische steelgitaar, gitaar met nylon snaren en percussie, maar omringt zich daarbij met een complete negenkoppige band. Naast gitaren, drums, diverse toetsen en bas figureren daarin ook nog viool en cello. De eerste twee nummers van zijn cd Gone dringen nog niet meteen door, ach, het is wel een aardig poprockbandje is mijn gedachte. Dan komt “Might Have Been”, dat een stijlbreuk vormt met de wat poppy klinkende voorgangers. Met bekkengeroffel en een stemvervormende microfoon wordt een nummer ingeluid over de vervlogen tijd die niet meer terugkomt.

Daarna volgt het ontspannen “Friend”, over het verraad van een vriend, waarna alle registers opengetrokken worden in “Gone”, het titelstuk. Uithalende gitaren en overstuurde geluiden vormen samen met stuwende drums de omlijsting van een hardrocknummer. In de tekst gaat hij flink tekeer over de schade die wij als mensen al hebben aangericht in deze wereld. Ambitie, hebzucht, winst, vervuiling en oorlog, dat zijn de thema’s, die ook doorgetrokken worden naar “Dangerous Game”, een verstilde rockballad die indringend gespeeld wordt met gitaar en toetsen en lijkt te eindigen in een brand. “What in the World” stelt de vraag wat er eigenlijk aan de hand is tegenwoordig, met diepe tegenstellingen tussen wij en zij, arm en rijk, malversaties in het bedrijfsleven, verlies van banen en een regering die daar niks aan doet, zijn kop in het zand steekt, kortom een politieke oplichtingspraktijk. “Awful Good” is weer een rustmoment, met een sprankelend Tibetaans klokkenspel in de begeleiding. Uiteindelijk sluit Madden af met “Everything and That”, dat niet zou misstaan op een jaren zeventig hardrockplaat. Met de eerste woorden: “Welcome to the crusade/Get ready, here we come/To democratize the world/With shock, awe and bombs” vat hij zijn verhaal meteen mooi samen.

Bill Madden is politiek, maatschappijkritisch, roept op tot nadenken, en giet die boodschap in soms stevig uithalende elektrische gitaren of scheurende toetsen, afgewisseld met ingetogen spel, dat hier en daar zelfs verrassend subtiel is. Daarbij schieten me de volgende (vooral Europese) namen te binnen: Manic Street Preachers, Sex Pistols, Paul Weller, iets van The Beatles of The Cars, Bruce Springsteen, wat glamrock en toch is het geen combinatie van dit alles. Bill Madden heeft zijn eigen unieke geluid, dat nu en dan vervreemdt, af en toe aantrekt maar soms ook afstoot. Met de teksten op Gone bewijst hij dat protest gelukkig nog bestaat in onze samenleving. Dat maakt het toch een interessante plaat, al is het mij muzikaal gezien af en toe wat te heftig na een wat minder overtuigend begin.

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GALLaghERY

by Kelli Gallagher | 04.23.06

the first time i listened, i was in a real funk… i heard the words but they never really sunk in enough for me to comment… it wasn’t a fair shot…. weeks passed and i listened again, and i heard it with different ears…i heard my own voice singing…

i heard the song of the common dreams… the common story, but much more deep… i heard the desire for harmony….. the pain of seeing so much apathy… the search for healing… the gratitude in even all lessons… the quest for the path…. there is but one path… one way… that is peace.

this gone “CD”…. it might not be racing up the charts of the bubble gum machine, but it has much more depth then the glitzy, sugar coated things. more then the mind numbing quests to be sexy and have lots of “bling bling”… gone resonated deeply with me…. and reminded me ever so slighty of the Beatles… and Collective Soul and Dana Lyons all rolled into one, but nothing like any of them and really all his own.

i would recommend this man for his passion, for his insights and for his determination for peace. and it is a good cd… 3 out of 4 stars from me!!! and that is great… cause who is perfect anyways really? and just for not being perfect, another 1/4 star, actually… so make that 3.75 out of 4!

peace

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Halo 17

by Jarrad Brooke | 05.31.06

You have to love those bands and/or singers with the really token voice. John Mellencamp, Dave Matthews, Bono from U2, Chris Martin from Cold Play, Adam Duritz from Counting Crows and that drunk guy in the corner of your local drinking holes are just some bands that you hear one note from the vocalist and instantly know who it is. I believe Bill Madden is onto this formula as he has a very unique sounding voice that changes more than the mood of your girlfriend.

Bill Madden has created an overall amazing debut album titled Gone. While the first half of this album doesn’t sound amazingly original, with the first 4 songs containing your normal singer/songwriter guitar, bass, drum and keyboard backing – there is something about the way Madden constructs and creates the song that is exceptional.

The opener Weight of His Words has a very Cat Stevens sound to it, as Madden throws down the gauntlet with such remarks as “With every prick and insult he spews / His ego blows up like a hot balloon”. It’s a very different twist on a topic that has been repeated time and time again in the music world (sounds like a guy is being a complete prick to his girlfriend) and its lyrics and style like these that make Madden stand out.

Might Had Been is the first let down to the album, with a strange effect added on Maddens vocals that I couldn’t stand. Regardless, the lyrics are quite good as Madden suffers a sense of nostalgia and frustration.

I believe Gone picks up, ironically, from the song Gone as Madden pulls out all stops on this quite politically charged song. This isn’t hard to imagine as Madden has done a lot activism for human rights, the environment and the ethical treatment of animals (like all of that isn’t a cliche with the singer/songwriter field). Gone introduces an electric guitar and thumping drums into the mix, with Madden’s voice sounding strangely similar to that of Lenny Kravitz.

Gone is a positive release for Bill Madden, with a lot of influences, sounds, styles and stories all rolled into one 40 minute release. Sometimes it sounds like Madden is finding his feet, but he has enough of his own character to generally keep it all in place. It wouldn’t hurt to make this album a little bit more memorable, as it didn’t really leave me wanting to come back for more. Overall, Madden has some true talent to showcase and it should be interesting to see where he takes it from here.

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Hanx (Dutch)

by Wim Boluijt | 04.24.06

Zijn vorige heb ik alleen gezien en dat is voldoende om zeer spoedig tot aanschaf over te gaan. Een jongetje van drie of vier op de cover van Samsara’s Grip. Het is warm. Hij draagt alleen een korte broek waaruit zijn plasser steekt. Vreemd. Niet vies. Wat Madden ermee bedoeld heeft, weet ik nog niet. Maar het is, afgaand op het nieuwe Gone, zijn politiek activisme en liefde voor het Boeddhisme, zeker niet van een bewust onthutsende symboliek, eh, ontbloot. Op Gone een zwartwit foto van zijn ouders. Jong en veelbelovend. Er valt iets te betreuren. Maar wat?

Mother Earth’s a mess from pollution and war
Pillaged like a disposable whore
Environment is a news byte at best
A pile of paper on bureaucrat’s desk
One day we’re gonna wake up
To the damage that we’ve done
One day we’re gonna find everything

Bill Madden, Gone

Aan de zijde van Madden treffen we, naast anderen, de mannen van the Jimmy Chamberlin Complex. Billy Molher en Jimmy Chamberlin (drummer van the Smashing Pumpkins die momenteel weer, naar verluidt zonder James Iha, in de studio zitten!). Molher produceerde en deed dat met vaardige hand. De wat lijzige voordracht die soms aan Lenny Kravitz doet denken, maar toch ook Greg Dulli en soms zelfs Michael de Jong in herinnering roept, krijgt een passende entourage. Een slepende Hammond soms. Of een snerpende gitaar. Bijna alle liedjes kennen een fundament van akoestische gitaar en fijnzinnige keyboards. Buitengewoon mooi is Might Have Been waarin Madden met sterk vervormde stem terugdenkt aan een Jeugdmeisje. Of zingt een van zijn ouders dit, bij wijze van spreken? De Complexjongens zorgen soms voor een Pumpkinsachtige gedrevenheid, maar het merendeel van de liedjes is van het rustig doorstappende soort. Madden weet goed de balans te vinden tussen zijn woede over het wiebelen van de wereld en zijn eigen zoektocht naar zin in dit leven (I was once a stranger, an uninvited guest in my own skin). Duisternis en licht in evenwicht. Je had het van een man van Zen als Madden kunnen verwachten. Dat je het hier kunt horen is echter niet vanzelfsprekend en dus veelzeggend.

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HeathenAngel

by Haydon Spenceley | April 2006

Bill Madden seems to be an interesting character. A new name to these ears, interest is piqued by the presence of Smashing Pumpkins drummer Jimmy Chamberlain on ‘Everything and That’ and producer Billy Mohler of the Jimmy Chamberlain Complex. This is the follow-up to 2004’s ‘Samsara’s Grip’ and finds Madden bristling with passion. Sometimes mournful, others bristling with righteous anger, this is perhaps the latest contender to Dylan’s crown staking his claim. However, the press release says he doesn’t like those comparisons, so we’ll whisper them quietly, and if anyone asks, I never said so, ok?

After a relatively relaxed start, the record comes to life with track 3, ‘Might Have Been’ which calls to mind Nick Drake at his best with its beautifully-picked guitar accompaniment. The raucous ‘Friend’ ups the pace and is a highlight, but it is ‘What in the World’, buried at track 7, which really sticks out here, with the kind of chorus which is made for radio-play, singing in the shower, and screaming out in the middle of a bar (while Madden is playing on the stage, obviously. I don’t scream out random song lyrics in bars, do you?). It is difficult though to pick out a highlight. This is an album in the old sense of the word. Not a collection of radio singles with filler all around. Every song here is vital, and it is the strength of the body of work which is most startling. Unwanted Dylan comparison aside, Bill Madden must be viewed as a serious contender, quality shining through in the over-crowded acoustic scene.

It must be said that Madden doesn’t limit himself to angrily beating his acoustic into submission. There are moments of abrasive guitar rock, and the embellishments provided by instruments unusual to this genre make ‘Gone’ a welcome surprise and Bill Madden’s a name to look out for in the future.

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Heaven (Dutch)

by Eric van Domburg Scipio | 06.13.06

Een ander soort singer-songwriter.

Bill Madden is een Amerikaanse activist, boeddhist en singer-songwriter. Het tekent de liedjes van deze, zijn tweede, cd en verklaart ook mede waarom ze zowel muzikaal als tekstueel zoveel dieper gaan dan de gemiddelde singer-songwriterplaat. Geruggensteund door de band van de voormalige drummer van de Smashing Pumpkins, Jimmy Chamberlin, is het diens rechterhand Billy Mohler, die hier als producer en multi-instrumentalist van wezenlijke invloed op het album is. Het is dan ook waarschijnlijk vooral aan Mohler te danken dat Gone een veel alternatiever en breder geluid laat horen dan je normaliter bij een singer-songwriter verwacht. Het maakt de liedjes natuurlijk niet meteen beter, maar doet ze wel boven het modale uitstijgen, waardoor Gone van een hele aardige tot een behoorlijk interessante cd wordt.

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Indie-Music

by Stephanie Joudrey | 06.03.06

Quote: “Although it is mainly a folk record with a rock twist, and Madden’s voice is very original and hard to miss, every few songs he throws a spin into the music that makes your ears really perk up.”

It doesn’t seem like that long ago that I first heard Bill Madden’s musical styling, so I was surprised when Gone arrived in the mail. I remembered Madden’s political styling from his previous work and was interested to see where he has taken his music this time.

In Gone, Madden has relaxed his grip on harsh political stances. Not to say that there isn’t a message behind the lyrics, but a lot of the album is subtler and feels more personal. Songs such as “Might Have Been,” “Friend,” and “Awful Good” are nice breaks from the larger meaning behind the political songs. In the end, those breaks make you realize the types of things we are fighting for in the world like love and family.

If you are looking for those songs though, you can easily read the lyrics of “Dangerous Game” or “What in the World” to see what that side of Bill Madden’s mind is thinking now. It’s easy to see that although he isn’t calling for action, Madden wants you to look around and see what is happening in the world. Lyrics like “one day we’re gonna wake up to the damage that we’ve done” and “when behind every righteous act someone’s doin’ us wrong what in the world is goin’ on,” are trying to open your eyes to the world we are creating.

I think my favourite thing about this record is that although it is mainly a folk record with a rock twist, and Madden’s voice is very original and hard to miss, every few songs he throws a spin into the music that makes your ears really perk up. I never got too comfortable, because when I thought the album started to get repetitive, it spiced itself up. That is a feat that is hard for many to achieve. “Might Have Been” is a very slow retrospective on that love that you lost, but can’t forget. Whereas “Gone” is dance-y and powerful and a track I can picture being played on top 40 radio. It’s got the type beat you can get addicted to easily. Then four tracks later, “Art of Being” comes in with a rock twist that surprisingly reminds me of some old Lenny Kravitz tunes.

All in all, Bill Madden has created a pretty solid album in Gone. Even if every song isn’t your cup of tea, I think he has created a diverse enough album to please a wide variety to music lovers.

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Inside Pulse

by Shawn M. Smith | 05.08.06

The right-side up is upside down.

Bill Madden, Art of Being

The Inside Pulse:

The current day incarnation of the singer-songwriter genre allows artists like this to flourish; at a time when many Americans feel forgotten, Bill Madden reminds us of the strength that can be found in one voice. Ripe and raw due to the political and social scandals of the past decade, Madden rallies against the insanity with Gone, an irrepressible, 11-track diatrabe directed at the conservative right. Feeling empowered and seeking justice, Madden tackles difficult themes of loss, love and lamentation set against a stark sociopolitical backdrop. Make no mistake, this is a man that is moved by disillusionment with the world and strives to make sense of elements that are constantly changing and shifting before his very eyes. The old-school, psychedelic rock vibe laid down by producer/instrumentalist Billy Mohler makes this a parcel worth unwrapping. In examining its elements you gain a sense of understanding and acceptance of Madden as a whole, and of the things he is fighting to change one listener at a time.

“Art of Being” encapsulates the frustrating task of making sense of the world today:

Here I sit/Trying to comprehend/
What is it/While all around/
The right-side up is/Upside down/
This irony/Is not lost on me.

Bill Madden, Art of Being

Positives: “Mi Vida Es” (My Life Is) shows that despite all the bitterness he may be filled with, he still has many blessings to count and appreciate. If a song like this fits anywhere, it’s on this album; he wants the listener to understand that music is the vehicle he drives for political and social action, even still, he knows that there is a lot in this world to love and appreciate. This is a love song written to the “powers that be,” a gracious thank-you note for the cosmically inclined.

Negatives: Preaching to the masses is a dangerous game, as if and when the times change, Gone will only remind you of a time we all hope to one day forget. Soon.

Cross-breed: Bill Madden is equal parts Elliot Smith, Ani DiFranco, Leonard Cohen, and Elvis Costello (when he was still young and angry.) His views aren’t going to hurt him with liberal Americans; his time on the soapbox is brief, allowing one to soak in the melodies and the magic of the work.

Reason to buy: You’ve seen Stephen Colbert’s “roast” of President Bush at the White House Press Corps dinner and wish that more people had the audacity and strength to say so many things that need to be said during these times. If you are looking for something different and fresh, written by an artist/activist with integrity, this is for you.

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KindaMuzik (Dutch)

by Maurice Dielemans | 07.26.06

Op de hoes van Gone: een oude vakantiefoto van pa en ma Madden in de Grand Canyon, voordat ze waren getrouwd. Hun zoon Bill is een buitengewoon getalenteerd songwriter, maar ook een Amerikaans activist, boeddhist en prima zanger met een duidelijke hang naar het verleden.

Op dit tweede album van Madden wordt de gastheer vergezeld door de band van drummer Jimmy Chamberlin, die in het rockbandje Smashing Pumpkins speelde, en Billy Mohler. Laatstgenoemde muzikant treedt vooral op als multi-instrumentalist en producer, waardoor het album een tamelijk vol bandgeluid meekrijgt.

Mohler is er niet alleen verantwoordelijk voor dat het behoorlijk ambitieuze Gone anders klinkt dan je zou verwachten van een (onbekende) singer-songwriter, maar bij tijd en wijlen doen de songmelodieen nogal monotoon en licht gedateerd aan. Als er voor heerlijk ouderwetse country of folk was gekozen, dan was Mohlers bijdrage misschien een logische stap.

De sterke songteksten van Madden lijken echter overgoten met een dikke geluidsmuur die geurt naar de jaren ’80. Neemt niet helemaal weg dat er best valt te genieten op de momenten dat Madden naar voren wordt geschoven en hij mijmert over de goede oude tijd, toen alles beter was.

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Luna Kafé

by Anna Maria Stjärnell | 04.13.06

Bill Madden is a socially conscious and straight-talking songwriter. “Weight of His Words” starts his new album, describing an individual with no hope. He’s not all gloom and doom as “Path of the Heart” offers some comfort. Musically he’s usually not prone to big gestures, but he hardly needs them.

“Mother Earth’s a mess from pollution and war / Pillaged like some disposable whore / Environment is a newsbyte at best”. He sings on the title track, admits buzzing guitars. His fury makes me think of Elvis Costello. “What in the World” consumes the theme, Madden’s use of psychedelic touches makes the track somewhat like the Doors. Not that Madden’s some preening lizard-obsessed poet, just musically. Madden’s understandably unhappy with the state of the world, but he offers enough hope for this to be a good listen.

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Music Steak

by Chris Worfolk | 07.27.06

With today’s mass of 3rd wave emo bands such as Fall Out Boy and My Chemical Romance composing the popular rock scene it’s easy to forget that acoustic rock stylings of singer songwriters such as Heather Nova were writing thoughtful and sensitive music while the members of such bands were still at high school (although some of them probably still are).

Bill Madden is one of these people. It’s rare that something without a driving rock beat makes it onto my playlist but I think this album may be one of the rare exceptions. If you want an idea of the sound think Michelle Branch’s Broken Bracelet album, Heather Nova and to a lesser extent Sheryl Crow though influence has been pulled from all over. As “Friend” began playing I had to remind myself I wasn’t listening to R.E.M.

This is followed by “Gone” which features a hint of The Smashing Pumpkins. And so it should – Pumpkins drummer Jimmy Chamberlin features on the track.

The album offers an interesting mix, most of the tracks manage to have a twist on them which creates a different type of sound without playing around with the core style.

All in all it’s a well written and well put together album. It has it’s up points (most notably “Gone”) and it’s down points (some of the tracks are too slow moving) which averages out to be a soulful album that still has enough bass to cause my sub woofer to shake my floorboards as much as most of my rock collection can.

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NeuFutur

by James McQuiston | 03.16.06

“Weight of His Words” is a track that is dominated by the acoustic guitar, and Madden taking the style of Tom Petty to heart. In this track, Madden attempts to fuse two distinct styles; mid-nineties alternative rock with the aforementioned style of Tom Petty. The beauty about “Gone” is that the compositions present all are airy while still having a great deal of clutter to them.

For example, “Path of the Heart” clatters along with a full band, of which individuals can easily hear the bass, drums and acoustic at all parts of the track. “Might Have Been” uses the guitar work of an individual like Clapton and couch it in a very open atmosphere. “Friend” is the shortest track on “Gone”, and this is a tremendously sad fact that individuals have to get used to; this is one of the most catchy tracks that Madden has ever came up with. The presence of the synthesizer in this track adding a mild psychedelic sound is a welcome addition to Madden’s style. It is only a few more seconds after the end of “Friend” that Madden comes back just as strong with “Gone”. In what has to be one of the most chaotic tracks during the disc, “Gone” throws in a shrill guitar riff among an already-pounding track, allowing listeners to ride on a wave of elation until the track ends. “Dangerous Game” is a morose track that paints the absolute opposite to the uptempo of the previous few tracks on “Gone”. A nice middle ground is created during “What in the World”, a track that is largely controlled by Madden’s vocals.

This diatribe against the government is enough of an aural sneer to break from the general, slower sound of the track. It is in fact the slower style of “What in the World” that dominates the later section of the disc; even with this more cautious approach to things, there is still a driving force to Madden’s music that never fails to interest. The epic stylings of “Art of Being” are made all the better with the inclusion of yet another soulful guitar solo that does not show off quite as much an ego of the guitarist but eir skill. This is an album that will give more of itself to listeners with each subsequent listen; “Gone” is yet another step to Madden’s completion as an artist.

Top Tracks: Friend, Gone

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Nude as the News

by Mark Donohue | 09.01.06

I somehow managed to miss out on Bill Madden’s well-received 2004 album Samsara’s Grip, but I will be correcting that immediately. Because he’s a sharp lyricist without a traditionally beautiful singing voice, Madden can’t avoid Bob Dylan comparisons, but to my ears the deeply spiritual songwriter recalls a blend of solo George Harrison and Soul Asylum’s Dave Pirner (and I don’t mean that in at all a negative way). The most famous person involved in the Gone sessions was drummer Jimmy Chamberlin, late of the Smashing Pumpkins, but there’s nothing at all alt-rock about this acoustic guitar-driven collection. The arrangments and instrumentation indeed scream high-1970s, which suits the material fine. Madden’s vocals are right up in front in the mix and he delivers his lyrics, which tackle serious themes, with conviction. It’s one thing to preach to the converted, and it’s another thing entirely to sing a political song that will impress even those on the opposite side of the spectrum — the title track in particular is marvelous. Indeed there’s not a bad apple in the bunch. Madden sounds particularly strong when he strips things down, as on “Might Have Been” and “Awful Good,” but the Americana-flavored full band tracks are nifty too. This is a really good record.

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Orange County Register

by Robert Kinsler | 04.21.06

The much-discussed forthcoming Neil Young project (“Living With War”) targeting President Bush is receiving its share of attention, and its likely lyrical themes are explored with a similar directness on Bill Madden’s newly issued “Gone.” “Weight of His Words” offers a particularly strong take on the war in Iraq. Elsewhere on the disc, such as on “Path of the Heart” and “Friend,” Madden (whose voice often mirrors the sound of the late George Harrison) effectively tackles personal issues such as love and betrayal.

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Pittsburgh City Paper

by Matt Stroud | 04.20.06

Stylistically, Bill Madden’s musical approach may wear on those not strictly inspired by the singer/songwriter motif (think Gavin DeGraw, Tom Petty, Lenny Kravitz, John Mayer and, to an extent, Toad the Wet Sprocket). But let’s not dismiss Madden completely. His music is refreshingly straightforward, and with Gone, he discusses political issues without sounding irrelevant or preachy.

In fact, since Madden’s orchestrations aren’t groundbreaking, it could be argued that politics are his strong point. Here’s a lyric: “Mother Earth’s a mess from pollution and war / Pillaged like a disposable whore / Environment is a news byte at best / A pile of paper on a bureaucrat’s desk.”

Powerful suggestions. But these words raise some questions Madden might not’ve intended: First, how relevant are politics in new rock releases? Secondly, what does Madden hope to accomplish? However eloquently Madden presents concepts, the issues he addresses are widely available in different mediums, such as books, movies, blogs, podcasts and talk radio. These mediums, unlike rock, allow the flow of information to be more in-depth, more roundly considered. I suppose you could say political rock is really base-level discourse: meant to initiate thought, rather than focus it.

I suppose it comes down to what’s convenient for the listener, what’s personally important, and what inspires emotion. But it also comes down to progress. Bob Dylan is no longer at an apex. Ditto for Jello Biafra. John Lennon is dead. Bono is (forgive me) irritating. And among Rage Against the Machine’s final performances were an appearance on the Godzilla soundtrack and an interview on MTV’s TRL (where Tom Morello eschewed politics in favor of a funny guitar-noise lesson with screeching 14-year-olds).

I don’t mean to detract from any rock musician’s attempt to discuss politics. Instead, I mean to illustrate my own confusion: Where do politics fit in rock? Is Saul Williams our only respite? In a nation so politically divided, is a politically frustrated singer/songwriter like Bill Madden relevant? Discuss.

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PopMatters

by Jason MacNeil | 07.20.06

With some help from musicians like Billy Mohler from the Jimmy Chamberlin Complex (and Mr. Chamberlin himself), Bill Madden moulds a rich string of warm, roots-y, singer-songwriter pop. This is indicative on the shining opener “Weight of His Words” that is a mid-tempo, adult contemporary gem. Madden outdoes himself with the adorable, cuddly “Path of the Heart” or the winding, ambling and trippy “What in the World” that brings to mind Tom Petty circa Wildflowers. Even the starker “Might Have Been” has a dreary tone with Madden at times speaking the lines more than singing them. There’s an earnestness or honesty in the singer’s voice that makes “Friend” glide along almost too nicely. Think of Dylan at an earlier time and you would get the gist of this nugget. “Gone” has him channeling Lenny Kravitz though and “Art of Being” is a quirky, spacey bit of pop rock that misses the mark. But the folksy, haunting “Awful Good” atones for those less-than-great moments.

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RootsHighway (Italian)

by Fabio Cerbone | 06.07.06

Una vecchia foto in bianco e nero dei genitori di Bill Madden sembra evocare ricordi e nostalgia, accompagnati magari da un tappeto sonoro in un rigoroso stile da folksinger, cosi come frettolosamente e stato catalogato questo giovane autore californiano. Al contrario l’impianto sonoro di Gone, secondo lavoro dopo l’esordio del 2004 Samsara’s Grip, ha tutto l’aspetto di un folk rock “modernista” e lontano dagli sterotipi dell’acustico ad oltranza o persino di una vaga parentela con il linguaggio roots oggi in voga nella provincia americana. E dunque un disco che ricerca, forse con un certo manierismo, le atmosfere piu adatte alla voce brillante del protagonista, spesso molto somigliante a quella di Peter Himmelman, sposando l’anima antica dello storyteller con il sound rotondo del pop e le asperita delle chitarre.

Si riscontra una buona dose di classe in questa sequenza di ballate, sebbene non tutto il tragitto si dimostri fluido, a tratti troppo caricato dalla produzione di Billy Mohler. Quest’ultimo si impone come il vero factotum della situazione, imbracciando basso, chitarre, ma soprattutto fender rhodes, wurlitzer, mellotron, strumentazione vintage che regala un alone di rock d’autore “settantesco” all’intero Gone, beneficiato infine dalle presenze di Jimmy Chamberlin (ex Smashing Pumpkins) dietro i tamburi e Sean Woolstenhulme alle chitarre elettriche. Madden mette a disposizione la sua chitarra acustica e i suoi testi sensibili all’analisi sociale e all’invettiva politica, dai piu espliciti e polemici tra cui la stessa Gone (un giorno ci accorgeremo del danno che abbiamo fatto / un giorno scopriremo che tutto se ne e andato) una dichiarata Dangerous Game, Black Gold e la conclusiva Everything and That, rock’n’roll allucinato e dal taglio british, a quelli di natura piu introspettiva, e nondimeno intelligenti (Path of the Heart, Friend, Awful Good). E questa qualita letteraria la carta vincente di un songwriter peraltro non particolarmente orginale sotto l’aspetto musicale, ma in grado di distendere le emozioni delle liriche su eleganti costruzioni melodiche.

L’apertura di Weight of His Words e in tal senso una delle migliori testimonianze del suo potenziale pop rock, accresciuto e ribadito in Friend, acuito dai feedback delle chitarre in Gone e reso infine piu soffice nei sussurri folk minimalisti di Might Have Been e Awful Good o in quelli leggermente elettrificati di Path of the Heart.

Una certa dose di stravaganza (Mi Vida Es, Art of Being) impedisce forse a Bill Madden di rendere piu omogeneo il suo sforzo musicale, ma c’e una sostanza d’autore in Gone che potrebbe presto dare buoni frutti.

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SceneandHeard.ca

by Mark Carcasole | 06.09.06

Bill Madden has a lot to say, and he wants you to hear it!

After one listen, it becomes obvious that much of the material found on Gone, Madden’s sophomore, was a chance for him to vent. Flipping through the lyric booklet, it’s all here: political frustration, nostalgic sorrow over long lost friends and lovers, and a general feeling of disenchantment with the state of the world today. But despite the dark undertones on the majority of the tracks, Madden manages to keep the music light and avoids whining.

One of the more emotional cuts is ‘Might Have Been’, where Madden narrates a story about the one that got away over the distant, trippy sound of the backing instruments. The listener can almost envision the sad tale. Madden gets mean on the title track, using a sonic arsenal of screeching guitars and gritty bass as he warns the greedy, cutthroat modern world that what goes around comes around.

For the most part, the album’s pace alternates between mid and down-tempo, led by acoustic guitars and atmospheric keyboards. You’ll even hear a string section join the party every now and then. It culminates in an angry, bass and organ-driven straight-up rock tune called ‘Everything and That’, featuring former Smashing Pumpkins drummer Jimmy Chamberlin hammering away on the skins.

Bill Madden gets deep without getting depressing on this album, making Gone the perfect album for the socially and politically aware music lover to listen to during a warm summer night.

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Smother Magazine

by J-Sin | March 2006

I reviewed Bill Madden’s “Samsara’s Grip” a while back. He returns with a follow-up called “Gone”. Produced by Billy Mohler of the Jimmy Chamberlin Complex, the album is engaging pop-rock that is light on the ear but heavy on the heart. His lyrics are still very topical with a song about the evils of lobbyists that rings true in our nation’s ears that are still stung by the Jack Abramoff scandal.

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Subba-Cultcha

by Jeremy Chick | 03.14.06

With the raspy soulfulness of Bruce Springsteen or Gregg Dulli (Afghan Whigs) and the wavering delivery of Bob Dylan, Bill Madden sits nicely in the role of Singer-Songwriter. Giving his songs a laid-back fragility he allows the listener to become totally immersed in his broken hearted world, the subtle melodies created by guitar and organ adding great depth to his down-trodden musing. The album does suffer slightly from an unchanging pace throughout, but if a moments heart break appeals to you, then Madden definitely provides you with something special…

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Technician Online

by Dan Strobel | 04.18.06

North Carolina State University

Bill Madden is back with Gone, a follow up to his 2004 release of Samsara’s Grip, which “established him as a powerful, independent, independent sociopolitical voice for our time,” according to his record label, Madmuse, and earned him comparison to Bob Dylan. So is Madden’s new album even in the same league as one of the most powerful songwriters and poets of the past four decades? Not quite, but it’s still pretty good.

Like Dylan, Madden uses a variety of instruments and musical styles on Gone. Keyboards, a small string section and buzzing guitars appear on the album, all over lyrics filled with blazing political commentary, tales of lost love and friendship and musings on religion from Madden. His main strength is writing simple, heartfelt songs, and on Gone, Madden excels.

“Weight of His Words” kicks off the album with a cautionary tale regarding self-righteousness, “He criticizes just for kicks / With every prick and insult he spews /His ego blows up like a hot balloon.” Heartbreak and realization of the true nature of a supposed friend are lamented on “Might Have Been” and “Friend.”

The current administration’s environmental policies are the next items on the list for Madden with “Gone,” “Mother Earth’s a mess from pollution and war / Pillaged like a disposable whore / Environment is a news byte at best.” The tunes “Dangerous Game,” “How many barrels of blood does it take to fill an SUV” and “What in the World,” “Big government likes it this way / It’s an us versus them, no-win situation” complete a consecutive trifecta of Bush-bashing songs.

“Mi Vida Es” has Madden crooning in Spanish and English interchangeably about his love in life “Everyday I am thankful / Humbled to be so blessed / I can’t imagine a better life” over soft drums and twinkling pianos. Madden philosophizes on the meaning of life and God’s wonder on “Art of Being,” which finishes with him shouting “It’s the art of being” over a guitar solo and an elegant string arrangement.

The album’s finale “Everything and That,” the album’s most upbeat and probably best track, is a rousing call to arms for mindless Americans to realize that their “Righteous politicians / Evangelical in zeal / Strippin’ away our rights” are slowly taking over the world and soon we will be “Living Orwell’s vision of suspicion, cloak and veil / In a world without borders.” Madden’s description of our country as an Orwellian society without choice or democracy leaves room for skepticism, but he does raise valid points regarding the debatable forcing of our culture on other countries.

Though Madden is reluctant to accept the comparisons to Dylan, the similarities in terms of instrumentation and lyrical matter are there. He doesn’t and may never have the popularity or recognition that Dylan got, but his newest album Gone, has him going in the right direction.

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TheCelebrityCafe.com

by Erika Ellis | 2006

Well Bill’s voice is not strong and sometimes a little dulling. The music is good, the guitars and the drumming. Bill writes his own music and his lyrics are rather poetic, and I think he should sell his songs to other artists rather then sing them all himself. He does resemble Johnny Cash with his raspy baritone, somewhat boring but catchy because it is different. Bill is a looker and the ladies will love him, especially with those dreamy doe like eyes. He is very talented and artistic, involved in many activist activities. He has heart and sings with it, which will make his CD a hit. His music has meaning and lyrics have poignant messages. Overall good quality music.

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The Daily Vault

by Benjamin Ray | 03.10.06

Damn John Mayer. I mean no ill will toward the guy, who is a lot more talented than his radio hits would have one believe. But because he is popular, his sensitive male singer/songwriter genre has been resurrected. Think Howie Day, Jason Mraz, Gavin McGraw and groups like Maroon 5, and you’ll know what I mean.

Now if you’re into this sort of thing, then Bill Madden will appeal to you automatically, because at heart he is yet another sensitive male singer/songwriter. But for those fans of rock that’s a bit different, for something with more substance than Maroon 5, check out Madden. He has two things going for him that separate him from his mainstream counterparts — former Smashing Pumpkins drummer Jimmy Chamberlin and a wide range of left-for-dead instruments.

Madden is content to get his sensitive stuff out of the way early, with nothing really exciting in the way of music but the occasional biting lyrics, as on “Weight of His Words,” a snap at the Al Frankens and Bill O’Reillys of the world: “His ego blows up like a hot balloon / He speaks of things he thinks he knows / In syncopated measured tones / He sees himself a sage in robes / But I see a fool.” The Mark Knopfler influence is prevalent on “Might Have Been,” which is too slow but features a decent string section.

But once Madden and Chamberlin (and the rest of the band) start branching out, things get a lot better. “Gone” is probably the best song I’ve heard from 2006 so far, with a guitar crunch and stop/start drums underneath Madden’s Rivers Cuomo-type voice (think “Hash Pipe”), and while the song has a slight early-Pumpkins-meets-Weezer feel, it’s definitely not a copycat of either band. “One day we’re going to wake up to the damage done,” Madden sings, and I found myself scrambling for the repeat button when the brief three minutes were up.

In fact, much of the album is politically charged, albeit in a more confessional way than American Idiot. “Dangerous Game” warns against the current administration’s foreign policy (“It’s easy to rationalize when it’s someone else’s life,” Madden whines), set to a sorrowful acoustic guitar and some well-placed keyboard effects not found in modern music anymore (is that a Wurlitzer?) Billy Mohler is responsible for most of these odd instruments (a toy piano, a Mellotron (!) and Tibetan bells, among others).

“What in the World” is a slow dirge with an ominous minor-chord build in the chorus and some sparse guitar fills, a bit like King Crimson circa Red but without the weirdness. Only Madden’s whiny voice ruins an otherwise excellent song, but he redeems himself on “Art of Being,” which is very Crimson-esque with drawn-out Mellotron notes and spare drums setting the mood. Again, something not found in modern music, and Madden deserves an audience simply for being able to step outside the norm and remind us that singer/songwriters can be pioneers too.

Madden has been compared to Bob Dylan, which is evident on the mediocre “Awful Good,” but I put him somewhere between Adrian Belew and Rivers Cuomo. Although on the final track, he manages to sound like Lenny Kravitz and Scott Weiland — that song, “Everything and That,” has rather simple hippie lyrics in the chorus but works because of Chamberlin’s relentless pounding, something I didn’t know he could do. The thing is carried off with a Beatles-esque feel, but despite the influences there’s something original about it.

In fact, much of the album is strikingly inventive. Madden and his guys have taken disparate influences, imbued them with politically-angry lyrics and turned it into a style all their own. For the first time in a long time with a new release, when this disc ended (at a whopping 39:49), I wanted to turn it back to fifth track and start again.

Despite a slow beginning, Gone is one of the most original and interesting releases of 2006. Had Madden toned down his sensitive singer/songwriter streak and written more songs like “Gone” and “Everything and That,” this would be nearly perfect; but even with those songs this is still a great release, worth seeking out by those who thought original rock music was all but dead in the new millennium. I could be a Madden convert eventually.

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The Hurricane Online

by Joanna Davila | 04.11.06

The Student Newspaper of the University of Miami

Tune your iPod into these new, alternative sounds

A deep breathy voice serenades listeners about self-examination and love, while accompanied by classic guitar strumming and simple melodies. The first few songs start slow and simple, like a train that has just started up the tracks. There’s a soothing sound that resonates through the music and is reminiscent of a mix of soft rock and folk.

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The Muse’s Muse

by Jane Eamon | 04.12.06

Rhyme, rhyme, rhyme, rhyme…do we as songwriters have to rhyme? It’s a hotly debated topic around my kitchen table and my short answer is…most of the time. I don’t know, I think our brains are conditioned to hear songs with some sort of logical rhyming scheme. So…I had a wee bit of trouble with Bill Madden’s CD, Gone.

Don’t get me wrong; I’m not saying I didn’t like it. The production is quite unique, like an old Moody Blues record with Madden’s interesting vocals. The poetry of his words is all over the CD; he is most definitely a poet. But….

It was cool for the first few tracks, then the sameness of the production wore thin. I was tired of the uniqueness. It lost me. It seemed to take a long time for Madden to get to the point. And titles were buried deep in the lyrics. That’s a whole other discussion. Why do we call songs certain things? What’s the purpose of the title? Is it just a title and need have nothing to do with the song? I think titles are everything. They set up the listener for what’s to come…the anticipation.

Madden has lots to say. His press materials call him…”a powerful independent socio-political voice.” That’s quite a moniker. Madden certainly takes on subjects like profit and greed, corrupt governments, killing for oil…big topics. But…I don’t know, maybe it’s just me. I wanted to be drawn into the pathos of the human condition without the unusual production values. Give me a stripped down Bob Dylan political satire any day. He was a master of poetical songwriting.

Madden is released by MadMuse. He’s an interesting songwriter. The CD is unique. You may like it, you may not.

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UK-Americana

by Paul Kerr | 03.21.06

Political and spiritual musings from California songwriter.

With equal weight given to Madden’s righteous anger concerning USA politics and his interest in eastern philosophies this album is a bit of a curate’s egg. With his vocals occasionally straining to keep on top of things he tends to end up sounding like Eric Clapton’s early attempts to front on voice, recognisable but with no real authority. That said some of the music is quite muscular with strong guitar at times and on the title track a furious clatter. His political targets include Iraq (Dangerous Game), big government and corporate muscle (What in the World) and political greed (Gone). On the more mystical side he promotes gurus (Path of the Heart) and Zen (Art of Being). The latter has an interesting late Beatles sound with prominent mellotron and a guitar driven “freak out” at the end and is a highlight. “Everything and That” continues the Beatles comparison with a mantralike chorus over pounding drums and Hammond organ that sounds like it was recorded in 1969 and would have been a massive crowd pleaser at Woodstock. The title song “Gone” is worthy of Steve Wynn’s last album with similar piledriving drums and guitar lines slashing through the fabric of the chorus. An excellent song. According to his website a portion of each sale from Gone goes to The Global Fund to help in the fight against AIDS, tuberculosis and malaria.

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Valley Scene Magazine

by Janie Franz | 04.24.06

Singer-songwriter and activist, Bill Madden’s sophomore album, Gone, showcases his strong lyrics without a lot of production frills. Using naked arrangements for the most part, the vocals all up front so that the words are easily understood. What embellishments are there produce the desired effect. For example, the title cut, “Gone,” is a heavy rocker with a fuzzed electric guitar, heavy drum beat, and special effects that presents a surreal musical landscape for his lyrics about what we’re doing to the environment. “Dangerous Game,” in contrast, paints a moody canvas about our addiction to oil. “How many barrels of blood does it take to fill an SUV?” he writes. And “Everything and That” is social commentary at its best because it not only points to our problems but shows us that we are all connected and that’s the real key to our salvation.

But it is the first cut on the album, “Weight of His Words” that is his masterpiece. It is a sensitive portrait of a bitter soul. Next to that is the deceptively light tune, “Path of the Heart,” that speaks of the struggle for enlightenment. And “Awful Good” is just a tender love song, reminiscent of early Springsteen.

Madden’s vocals are varied throughout the album, ranging from the gruffness of the Boss to the late Jeff Buckley to Cat Stevens.

Madden is supported on this album by Billy Mohler on bass, keys, organ, electric and acoustic guitars, and hand percussion. Sean Woolstenhulme plays electric guitar, and Charlie Paxson and Jimmy Chamberlin share duties on drums. In addition, Ludvig Girdland guests on violin and Cameron Stone on cello.

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WYCE Music Journal

Rock by WYCE | 04.19.06

Liberal singer-songwriter Bill Madden uses catchy pop-rock that is light on the ears but heavy on the heart as he touches on lost love and political failures on his disc Gone. Madden juggles acoustic musings, angrier rock tunes, and cultural commentary throughout the album. Tracks of interest include the soulful #2 “Path of the Heart”, the Spanish-English mix #8 “Mi Vida Es”, and the political power rocker #5 “Gone”.

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