| Super Heavy Dreamscape | 1996 |
| Hope | 1997 |
Well, after a years of listening to this band I finally figured who exactly they are. It seems that, contrary to John McFerrin's comment below, Blackball was just a side-project of Precious Death leader Christopher Scott who took his music in a less hardcore and religious direction (though there are hints of Christianity in both albums, most noticeably Hope, which has the Apostle's Creed written right in it) and moved it to a more personal, melodic, and, in the case of Hope, diverse style.
Anyway the band unfortunately had just two albums, which is kind of sad because with another couple of releases like Super Heavy Dreamscape and Hope they could have easily become my favorite nineties band. They started out with an intense and personal hard rock debut masterpiece, which has long been my favorite album of the nineties before moving into a more of a hard funk direction with Hope. Some of Hope, however, does continue in the Super Heavy Dreamscape style too. I underrated it for a long time because I had a hard time adjusting to the often funkier sound, but since then it has really grown on me the point where I can acknowledge it as one of the best and most diverse albums of the late 90s.
Blackball consisted of Christopher Scott (guitars, vocals, lead songwriter), Tom Barber (Bass), Lorenzo Mauro (Drums), and David Bishop (some guitars). David was replaced Rocco something or other in 1997. The only music Blackball has delivered since '97 has been a great cover of The Police's "Message in a Bottle" released on a compilation called The Mother Of All Tribute Albums.
--Robert Grazer
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COMMENTS
[email protected] (John McFerrin)
I did a little digging, and found out why Blackball doesn't seem to exist anymore.
Apparently, lead-man Christopher Scott has become a born-again Christian. He disbanded Blackball and reformed them under the name Precious Death, and they are now classified as "Heavy Christian Modern-rock."
Sorry to break it to y'all.
Blackball was originally intended to be a solo project by Christopher Scott, after his prior band, Precious Death, disbanded. Unfortunately, they only produced two records before drifting into obscurity.
Both Precious Death and Blackball were a part of the "Sanctuary" scene...an LA based "Heavy Metal" church, of which Chris Scott was an elder. While not as preachy as many of their contemporaries, both PD and Blackball were "Christian Bands" in every sense of the word. Christopher is a Las Vegas native, and his father was an evangelist, so his Christian roots run pretty deep.
After moving to LA, Christopher met the other guys who would become Precious Death at a home Bible study. They produced three powerful and original albums...SouthPaw, If You Must, and the self-titled, Precious Death. Chris resurrected himself with Blackball, but unfortunately they only made two albums before going the way of the dinosaur.
The reason they dont exist anymore is really simple: their contract ran out with Metro One, and they never found a subsequent deal that was satisfactory. The theory that Christopher Scott's faith caused a break-up is erroneous, as every member of both PD and Blackball were Christians, their prior label was a Christian label, and many of their producers, including the late Gene Eugene, were Christians. Also, I'm sure that the numerous line-up changes didnt help. Dave Bishop left after Super Heavy Dreamscape, then Rocco left after Hope. The final line up saw two new guitarists, and a keyboard player was added to the band.
Actually, Dave Bishop, the guitarist on the first Blackball album, was the guitarist on all three Precious Death CD's. If anyone is interested, all three PD albums, and the two Blackball albums, are available through Metro One records. In their final swan-song, Blackball released a new MP3 about three years ago, which saw them return to their heavier roots...more Dreamscape and less Hope.
[email protected] (Robert Grazer)
What this last song "Bring It Back"? I found some song of that title on audiogalaxy some time ago, and not being from either album, I took it as a misplaced Precious Death song. I looked through some PD discographies online, and didn't see it there either.
I do plan to eventually review the only PD album I have, the self-titled one. I heard a couple tracks off of the earlier albums and didn't like them as much. But it's great to know that there are someone else who knows about Scott and his work.
BTW, Metro One's website is http://www.metro1music.com/.
(reviewed by Robert Grazer)
HIGH POINTS: Chasing Everyone Away, There Goes the One, Wither, Get Outta Here, Wish I Didn't Know, Super Heavy Dreamscape, If You Were Mine, Doesn't Matter, Heart, Soul, Groove, One More Sucker. LOW POINTS: None.
The 1990s were an interesting decade for music, and looking at what different people call the best album of the 90s can often be amusing. You've got your Nirvana heads who'll side with Nevermind until they die, and you've the critics and audiences agreeing with that as well as your Radiohead and Beck and R.E.M. and such, and sure all of those bands are fine in their own little way. I've personally decided on Blackball’s debut as my own personal pick for the 90s, as well as one of my top three albums ever. And now I’m nearly certain that I’m the only one who feels this way, as well as one of the few people in this world who has actually heard of Blackball, but that’s ok because, if all goes well, maybe you'll decide to hunt down a copy of this to try out for yourself. And even if you don’t you'll at least know of another band that you didn't before, which is always a good thing.
But I’m not even sure who I'd recommend this album to. After all it’s not exactly going to convince some of those classic rock buffs that rock is still alive since Super Heavy Dreamscape really isn't a very original work at all, and it won't make people call up radio stations at all hours of the night requesting tracks from it, but that’s not what it’s here for. No, the purpose of Super Heavy Dreamscape is to offer a personal and emotional experience for anyone who decides to put it on. I’m sure you could reject it’s offer, since the other reviews I've read of it (and yes after searching for a long time I did manage to find a few reviews of it on the web) don’t seem to see it the same way I do. But I still feel that every time I listen the offer is made to me, and without fail I'll accept and allow the music to move me in away that few artists can dream of doing. As such I suppose I could whip out some corny line about Super Heavy Dreamscape being ‘more than an album,’ and I doubt that a statement like that would be far from the truth.
To put it one way, Super Heavy Dreamscape is one man, Christopher Scott, pouring his heart and soul out into twelve tracks in a way that maybe he always wanted to do in Precious Death (I can heard this sort of songwriting on that band’s last album), but for some reason couldn't before this. Blackball gave him a freedom that he couldn't have before, and he uses that freedom to release his full potential, as a songwriter, singer, and lyricist. It doesn't take long that the music he writes is more than just your average alternative band with sappy ballads and silly rockers. These are heartfelt songs, and it’s quite obvious that what Scott is saying means a great deal to him, something I don’t see in so much music out there. And that’s what makes this album special to me.
That and the actual songs. While I'll admit only a couple give the feeling of a true emotional high on the first few listens, a few more prove that in their own little way every track on here is. It’s not really an album that hits you strongly on the first listen. I know that I've had this since it came out in ’96, and have only truly discovered what it really is just a couple years ago. Don’t get me wrong, I always liked it, but it was in a much different way. I’m not exactly sure what it is that happened, but something in me finally clicked and since that moment in time this had never fallen out of my personal top five albums.
I guess it’s time to get to actual specifics. The album opens with a simple guitar riff kicking off “Doesn't Matter” with a burst of energy, drums driving Scott’s vocals on the verses right through the incredibly melodic chorus. It’s accessible and catchy enough to be a huge radio hit, though of course Blackball just didn't have the money to make that happen. So all they could do was include it on their humble little album to kick things off. In some ways it doesn't really seem like it’s an album opener, actually, since it’s not really an overture or ‘mood setter,’ like most other album openers are, but I don’t really mind. It works well as the beginning to the album, but only really hinting at the beauty only a couple of tracks away. It’s rather short, and if you're not listening to the whole album the effect isn't nearly as strong (so maybe I shouldn't have listed it as a high point above, but it’s far enough down on the list that I think I can get away with it) but it’s still a fine little song.
Following that is the bass driven “One More Sucker” to continue the album with a little bit of a groove, the bass line having a funky sound to it. The actual lyrics of the song are about a force (the media I think) that has a hold over people, who will mindlessly obey its commands (I sure hope I got that right). While it may seem like a tired subject by the time this was released, Scott breathes a new life into it, telling it in a refreshing and interesting way, and that’s really all I ask for.
And then there’s the turning point in the album, a mere three tracks in, when it finally breaks free of being your average great alternative album and everyone in the band, not just Scott (though admittedly his is the most important role) is capable of. It starts with one of my favorite riffs ever in “Get Outta Here,” which perhaps could seem a little bad-ass with the little ‘outta’ in the middle, and usually I on’t go in for that sort of thing. But this is different. The lyrics are excellent, displaying the frustratdion of the song incredibly well, but not without a hint of hope included so the song doesn't become too overwhelming. After all, there’s always time for that later on.
Then comes the first taste of intensity. But we're not talking intensity like really fast Slayer music or something. That’s crap. The only talent you need to do that is the ability to roll and shred, and come on, Don’t we have enough bands that do that already? No, “Wither” is a completely different sort of intensity. A more powerful, more emotional intensity, resulting in a truly moving song. The crashing guitar chords during the chorus and solo are incredible, up and down and up and down, causing a strong feeling of sadness and fear to flow through the listener as Scott sings about sorrow and pain so sincerely that it brings the song to a true state of perfection.
So perhaps “Everything Is Good” wasn't the best choice to follow that up with it’s much more upbeat melody and drastic change of mood, but think about it, after a song like “Wither” you really need something a bit more upbeat, and even if it does disrupt the flow somewhat, I won't complain. It’s based around a 7/8 beat that ends up becoming catchy as hell, Christopher Scott’s nearly rapping vocals a times. But it’s all ok with me. His ‘rapping’ style is actually quite entertaining, and greatly adds to the music at times. When I look at the song I think to myself that I wouldn't have it any other way, even if it is my least favorite track on the album. But one of them has to be that, right?
Another change in mood follows with “Not The Way I Want It To Be,” probably the heaviest song on the album. Sure it’s not nearly as heavy as some of the stuff Scott used to do with Precious Death, but then again this isn't a metal album at all. Anyway the song is based around a simple but powerful riff and desperate lyrics, trying to hold on, but not able to do so. It’s a struggle with disappointment and discouragement, once again with the personal and emotional touch thrown in. This is how all hard rock songs should be done. Or at least more of them.
And finally to wrap up side one is one of my absolute favorites on the album, which really says something considering how great every sings song here is, in “There Goes The One,” which has got to be one of the best crafted songs I've heard come out of the decade. The music starts out simple, a clean guitar repeating a few times, but it isn't long before every instrument is being played to the best of the musicians’ abilities, from the strumming of the guitars to the simple drum beat, it’s quite obvious that every band member is just as moved by he song as we are. As a soft guitar solo at the end closes off the song I always find myself sad and broken, but somehow compelled to flip the tape over, still knowing that the most powerful moment is still to come.
But not yet. “If You Were Mine” again provides a contrast just like before, and does slightly rebuild the spirit shattered by the previous song. In fact for awhile it was my favorite song on the album, but those were back in my old silly days when I didn't even think that this album was perfect. I still think it’s a great song, you see, but I see it in a completely different way than I did before. Before I was just amused by the lyrics (which I still do love) and the catch melody, now I see it as the continuation of the perfection that has already begun. By itself it’s a great song, but as the second side opener to this album it becomes something even more interesting and exciting. It’s the calm before the storm, so to speak, the preparation for the actual climax of the album.
And that’s a climax that actually comes in two parts: a smaller and larger part. The smaller half would be the title track, which in style revisits “Wither” with the crashing guitars and even some lyrical similarities. Another all out hard rocker, the last on the album, actually, since there seem to be more important things to do for the last few tracks. But I still always look forward to the title track of the album every time I put Super Heavy Dreamscape on. It may be the lesser of two climaxes, but it’s still an intense journey for all of it’s short length. But not too short. Indeed when an artist knows how to make his songs just the right length, he’s established himself as a better songwriter than most others.
Speaking of song lengths the second of the climaxes is also the longest (and best) song on the album, and even at just five and a half minutes it manages to sound amazingly epic. “Chasing Everyone Away” is, undoubtedly one of the most moving songs that I've ever come across. It’s almost impossible for me to describe, since in several ways a simple description would make it seem like some of the other songs on this album, which it isn't at all. The entire feel of the song is so incredibly different and so much more intense than before. One moment that strikes me as being particularly amazing is the final fade out, a simple drum beat to at least begin to calm down the mood a little. It repeats over and over, but I’m glad for it. I don’t want to hear anything else at that moment. There could have been no better way to end this song.
But of course the best part of the song is Christopher Scott’s powerful performance, the longing and truth in his voice exceeding everything that he had done before or would ever do again. The feeling in his voice is immeasurable, singing lyrics that he truly believes in, and that no one could stop him from saying. To me this song seems like one of the reasons he formed Blackball after Precious Death broke up. He could never have gotten away with this track with them. No, this was too personal to have been on any album other than his own, even if it doesn't bear his own name on it. This is Scott’s album and Scott’s song. Rarely has anyone in the world been able to express themselves so well through music.
Afterwards, just to prove that the band can do a great track without depending on Christopher Scott’s vocals, “Heart, Soul, Groove” is an all-instrumental entry to pick up the pace where “Chasing Everyone Away” left off with the slow fadeout. I guess this time the drastic change of mood is the only thing you could call a real flaw on this album (though I wouldn't), since this was not the time and place for them to put this song in, but it only takes a minute to get used to, and if you listen to it the right way it can serve as sort of a quick escape from the depression of the music. It let’s the overwhelming intensity down for a moment, which may disrupt the flow, but by this point in the album I'd be lying if I said I didn't need a little bit of break. It’s a great little tune, a solid entry, even if it seems slightly out of place.
“Wish I Didn't Know,” on the other hand, is just as depressing as anything to finish off the album, a very, very slow song, Scott’s vocals low and mumbling, the guitar and bass just slowly moving along, creating a hopeless, broken atmosphere, as powerful at at the same time as subtle as can be. I used to hate it for a long time, but I was dumb. Now it ranks close to my favorite track on this album. Slow, peaceful and hopeful, but at the same time haunting and depressing. It’s the way you close off a work as powerful as this one, a work that few artists could even begin to dream of creating.
But just to truly finish on a note that isn't too dark and depressing, the band goes back for a reprise of “Everything Is Good,” which isn't even listed as a real track, plays the song though again, but toward the end instead of letting the drums fadeout some guy in the background sits down and tries to figure out what exactly the song means. He cannot, and soon walks away, leaving Lorenzo, the drummer just playing the complex beat over and over as the other band members yell at him to quit, since the song is over. Honestly this sort of humor never really appealed to me, but somehow it actually works here. It lifts the mood a little bit to finish off on a really high note. But if you don’t like it you can turn it off after “Wish I Didn't Know.”
And that’s Super Heavy Dreamscape. An unbelievably great and personal album, filled with one great song after another, on a level that next to no one can reach. I'll keep proclaiming it as the album of the decade in spite of all of the mainstream critical praise that’s directed toward other albums until a day when I find an album I enjoy more. If such and album even exists. I'd like to think so. I mean, if I enjoy this album this much, how much more would I enjoy one that’s even better? I’m not the type of arrogant idiot who’s completely sure that he has found the Holy Grail of music, the best of the best of the best, and that no other album out there could possibly be better. That’s stupid. You should be open to new music. Chances are that you haven't found the best album and sadly you probably never will. So enjoy what you have now, and accept the possibility that you may be wrong when you call something the best album ever and that there could be something better out there for you.
Yet as of now I haven't found but a handful of albums (maybe three or four) that compare to this one here. They don’t come around that often. I still look, though, and when I do find them I am the happiest man in the world. How many more times will that happen? I Don’t know. I hope plenty more. The only thing that I can say truthfully and with confidence is that right now I believe that this is about as perfect as rock music gets, and as perfect as rock music did get in the 1990s.
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This album produced some mixed feelings for me. For what it was, Dreamscape was a pretty good record.
The real blight of Super Heavy Dreamscape is the production. Often muddy and thick, the record sounds at times like it was recorded in a BFI dumpster. Also, Chris Scott's vocals all sound like first takes, meaning that "there be some" sour notes scattered around here and there. Chris is a talented singer, but nobody gets it right all the time. Seems like greater care would've been taken on that.
Also, it was a bit difficult trying to forget that this wasnt the fourth Precious Death record, no matter how badly I wanted it to be. It was a new sound and a new style. After accepting that, it grew on me a bit more.
The songs are lyrically solid, and very progressive for "modern rock/alternative" fare. If you can find it, its a good purchase.
My rating: 7 out of 10
I am in total agreement with your assessment of Super Heavy Dreamscape. You are not alone in thinking this is the best album of the 90’s. Although my tastes lie deeply in much harder music, I find this album to be my favorite despite its lighter nature. It is a shame that Blackball broke up. What’s worse is, I can’t find much in the way of background on the band or Christopher Scott on the web.
Anyway, great review on a great album.
(reviewed by Robert Grazer)
HIGH POINTS: Here We Are, One Thousand, Downtown, Just Don't Know, Funk For Breakfast, Hey Man. LOW POINTS: All God's Children, What's In A Name.
On Blackball's follow-up to the masterpiece of Super Heavy Dreamscape Christopher Scott takes the music in more of a funk direction rather than just alternative hard rock. In places this also seems to be a more personal release for him, writing about his own experiences in a way that only a few songs showed before. It's now almost a Christopher Scott solo album (though he did write all of the songs before as well), where it seems the focus is totally on him and his music, with the other members playing their instruments just to make it all work. Not that this is superior to Blackball's debut. No, on Hope we have the presence of a few less than spectacular moments, but to make up for those are several great songs, the best of which are on par with those from the debut.
I underrated this album for a long time, and I'm still not sure why. The first time I listened to it I was shocked at how different it was from before. There was so much funk and the mood was not as lonely and depressing as Super Heavy Dreamscape. The vast majority of this is, for lack of a better term, a happy release. And that didn't strike me as something Blackball should do. Not to mention I found this in the metal section and there's hardly any metal on it at all. Maybe the chorus of "Funk For Breakfast" but that's about it. The rest is hard funk, but in many places without very very little hard rock at all.
But now, after many many more listens I can really see how great this album is. The happier mood brings in something that we didn't have as much of on the debut. Hope is a more diverse outing than before, and this means that chances are if you end up buying Blackball's two albums you'll enjoy this one more. But I don't and I'm the review so there. Not that I don't have my reasons for liking this album less than the other. First of all there's "All God's Children" which, despite a catchy melody, is far too upbeat even for this album. "What's In A Name" is just kind of a dull go nowhere song with one of the lesser choruses I've heard Scott come up with.
The other tracks are all excellent, each one giving it's little addition to the album. "Here We Are" is especially the place where Scott's personal attitude and vocals come, in a somewhat similar style to "Chasing Everyone Away." It's a song about his struggles with his family, sung with a feeling so strong and in a style that only he and Blackball could do. Another similar in style to "Here We Are" is the closing "One Thousand," another great both songs are excellent, the highlights of the album by far.
I've also grown to appreciate the more fun aspects of this album as well. "Hey Man" is a wonderfully catchy entry and "Twisted Again" is a short but fun song that fits right into the album. "Just Don't Know" is, ok, not one of the fun songs on here, but I've reached a point where the horns on the chorus don't bother me at all anymore. And it's got some of Scott's greatest lyrics too. That's one thing that hasn't changed. What he writes about is different than before, but the way he writes it is the same great stuff we've always had.
Overall Hope doesn't have the strength of melody, atmosphere, or emotion to be considered superior to Super Heavy Dreamscape, but Scott's personal touch to the album, along with more great melodies, makes Hope a great buy. Before he was telling us about ourselves. Now he's telling us about himself, and it all adds up to make Blackball one of the best obscure bands of the nineties, and Christopher Scott one of the most talented songwriters to appear in modern music as well.
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COMMENTS
With Blackball's second release, Hope, Christopher Scott sucker punched us all.
Trading in the metallic licks that defined Precious Death, and flushing the "garage-tinged-yet-progressive" sensibilities that made Dreamscape such a listenable record, Christopher Scott seems to have re-invented himself as a "Christian Chili Pepper." Blending rock, alternative, rap, funk, and Black Gospel, "Hope" is a pretty...ummm...unexpected record.
This doesnt mean its bad. What it does mean is that if you liked Scott's prior work, brace yourself. If you hated it his past work, then maybe this is an opportunity for a second chance.
Personally, I let Precious Death go after Dreamscape, so I was able to take Hope with a few less presumptions. As a result, I found it spinning in the CD player quite a bit. The songs are thoughtful and catchy, and the production is light years ahead of Dreamscape (thanks to the talents of the late Gene Eugene). Also, the departure of Dave Bishop and the addition of Rocco Sigona on guitars made more than a little difference in the over-all sound.
A good listen, if you're not expecting Precious Death part five, or even Blackball part two!!
Objectively, I'd give this album a 7 out of 10. But on a personal level, I'd probably only rank it about five. It's not just a new sound, but almost a new persona for Chris Scott, and one I've never quite grown comfortable with.
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