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The Darkness,"Permission to Land" (Atlantic)
You might not remember 1979, but I do. You’re not old enough to drive, but somehow you scam a ride to the mall to go to the local Record Bar or Turtle’s. You talk to Gary, the really tall guy who is your music mentor that turns you on to all the new stuff coming in. You go over to the new release bin, and there they are. A rack full of the latest lps from bands like Queen, Van Halen, Boston, etc… Wonderful products with the emphasis placed on a presenting the listener with an escape to a world of fun, sights, and sound. You got home, popped the sleeve using that neat rub the album against the leg of the pants trick that the record guy showed you, carefully put the vinyl on the turntable, and kicked back on the bed with the record cover to immerse yourself in that bands world as the first notes of the new album blasted away.
This is the new Darkness cd. Old school, big rock back in all of its glory. The Darkness are a band that not only appreciate the genre, but they get the joke. Take the best aspects of Queen, AC/DC, Boston – the over the top vocals, the riffs, and the fat wall of sound – and you have a good idea of what this band is doing. Their new CD, Permission to Land, has been stirring up the press in the UK for more than half a year, and now the juggernaut has landed on these shores. As I read about them over the summer, I laughed at the comments by singer Justin Hawkins constantly wondering who this pompous ass was. This band has literally willed its way to the top of the rock heap. Instead of being rubbed the wrong way by this confidence, hop on board for the ride. By now, you’ve probably heard the single “I Believe in a Thing Called Love”. You might have even seen the video. You might have tried to find something to throw at the radio or tv when it came on. But then you heard it a second time, and by the third time, you were smiling and humming along with the music. Give the cd a listen. This is no one single band. They can get serious as hell with the great riffs, “Black Shuck” and silly as hell with their posturing, “Get Your Hands Off My Woman”. My message to you is the following: Don’t underestimate this band. They’ve worked their asses off, they’re professionals, they’ve got a lot of fans in the business that don’t suffer fools gladly, and they’re gonna be around for a while. ENJOY!!!
To go to this artist's web site click here
Review by Jack Teague
Emerald Rose,"Songs for the Night Sky" (Indie Release)
SONGS FOR THE NIGHT SKY is a limited edition commemorative enhanced CD that which was distributed to party attendees and VIP's at the recent Emerald Rose performance for the Oscars night cast party for "Return of the King". However, it can be purchased through their website, although only a limited amount were pressed. This enhanced, “digipak” format CD comes in a lavish foldout package that includes 5 new songs from the upcoming Emerald Rose release, three classic tunes from the band, original artwork, mp3s and most importantly - the band's first music video for "Urania Sings".
Of course the packaging is nice indeed, but I wanted to hear the new songs! Basically a 'teaser' for the new album, the five new songs seem to point in a more folk-minded direction for the band with impressive results! "Urania Sings", a song about astronomy is the strongest song on the CD and a wise choice for the band's first video. The song
ranks among those Emerald Rose "classics" that are truly memorable. "Take Me Down (to Her Water)" is a breezy tune with some cool Paul Westerburg-type guitar fills.
The band gives a nod to its Welsh heritage on "Gwydion's Song to Lleu". The song, with lyrics from the Welsh Mabinogion, really shows how the band has evolved to tackle more complex instrumentation. Next, with its gypsy-styled instrumentation, "Come To The Dance" starts out slowly, with a build-up to full dance speed. I'm predicting that this will be a new audience favorite for dance/jig audience participation. The final new track, "Pipes Set (Down the Back Lane/Star of Munster/Fermoy Lasses)", gives the familiar Emerald Rose version of traditional tunes with a new twist. Instead of the usual pennywhistle of Larry Morris, you now have Uilleann pipes. A unique, new take on the usual formula!
The video for “Urania Sings” will be worth the cost of the CD alone for Emerald Rose fans. Cool imagery indeed and I noticed a little nod to the classic Queen “Bohemian Rhapsody” video where faces appear in darkened corners of the screen to sing (although Queen probably wasn’t on their mind when they did this, that’s what immediately came to my memory banks). Very impressive for a first video!
Emerald Rose hits on all their past strong points, but now have expanded to experiment with some new instruments and different lyrical subject matter. My rating only reflect the five new songs that are included, hence a rather conservative rating (I’m reserving judgment until I can hear the whole enchilada!). However, judging by the strength of these new songs – the expectations for the next Emerald Rose CD are high indeed!
To go to this artist's web site click here
Review by Kano
Johnny Cheapo,"Rock-N-Roll Sinner" (Smut Records)
This guy can do no wrong. Well, at least when it comes to making a punk rock n roll album that is. “Rock-N-Roll Sinner” has everything a good punk record should. It’s got the distorted guitars, solid rumbling bass, lightening fast 4/4 drumming, troublemaker lyrics and attitude out the ass. There’s enough energy here to run a small U.S city. Cheapo injects, smokes and drinks rock-n-roll and it shines through on this release. Do yourself a favor and check him out.
To go to this artist's web site click here
Review by J.R. Oliver
Gun Crazy,"Dropping Like Flies" (Mortville Records)
Remember the old Reeses Peanut Butter cup commercials? The ones that went, "you got peanut butter in my chocolate" - "No, you got chocolate in my peanut butter"...."hmmmmm, I LIKE IT!" Well, this band has got me saying, "damn, you got AC/DC in my New York Dolls...and I really fucking like it!" It took me awhile to figure out where these guys were coming from, but then I heard the track "Private Affair", which is a very cool re-write of AC/DC's "Let There Be Rock". Combine punk-rock drums with the delivery of the New York Dolls meets early KISS and add the subtle white-boy, frenetic blues riffs of AC/DC and you get GUN CRAZY. My only complaint is that you cant clearly hear the lyrics in the mix (I know, that's fuckin' knit-picking!) These guys play an interesting hybrid of two musical genre's and they actually pull it off successfully, combining two of my faves - early punk and early AC/DC meets KISS! Now how many bands can pull that off?
To go to the Mortville web site click here
Review by Ronnie
Tsar,"Straight/The Creature In Disguise" (Birdman Records)
This 7" slab of vinyl kicks ass! It rocks harder than Jet ever dreamed of and it's got that White Stripes vibe only twice as frantic. Maybe if Jack White had a meth-lab in the studio he might come close to this but I doubt it. Plus it comes with this cool picture sleeve live shot of the band that even looks loud and snotty. Rock n' roll is safe as long as there's bands like Tsar out there putting the boot to the ass of FM radio. So, close out the porn website your looking at and go buy this freaking record right now! Oh yeah, wash your hand first.
Review by J.R. Oliver
Cooterfinger,"Three Chords and a Grudge" (Illbilly Records)
Cooterfinger's latest release finds them delving into the garage rock sounds of the '60s, with a heavy nod to the Seeds. The production also gives it that authentic "Nuggets" sound, and if you didn't know, you would swear that these are 'lost' garage rock classics. Catchy "Rotten Candy" is a new classic, while the lyrics to "Rehab Twist" are hilarious! "Three Chords and a Grudge" delivers some important words that all bands should live by: "Three chords and a grudge, baby. That's what its all about. I'm gonna let this stratocaster draw the poison out". Pure rock 'n roll poetry to live by! Definitely leaves you wanting more!
Review by Ronnie
Handgun Bravado,"These Days Move Fast" (Firefly Recordings)
Handgun Bravado is a punk rock trio whose roots are impressive enough to cause you to do a quick double-take. Featuring ex-members of Zoinks, Underhand and one current member of Dag Nasty, Handgun Bravado has some serious pedigree that truly can not be questioned. But that’s not why you need to pick up this record-you need it because it rocks-from start to finish.
These… blows a hole in your speaker from the first track-“Don’t Deceive Me” arrives with a hard driving guitar riff while the drums pound away relentlessly. “Victory Song” sports some melodic vocals from lead singer/guitarist Arne Cherkoss that will keep you humming for days. “Tasteless” practically oozes sarcasm-although there are no lyric sheets, you can feel the disdain dripping out. The title track is also a true gem-bassist Christian Harvey sports a hyperactive bass line that Bruce Foxton would be proud of.
The lyrics seem to address issues that anybody can relate to: alienation, distrust and relationships that need work. But it’s not just the words that will keep you stuck to this CD like a kid to a popsicle-it’s the tight musical interplay of Handgun Bravado. One factor in this is certainly the killer drumming of Colin Sears who plays every fill like it was his last.
But don’t just take my advice on These Days Move Fastt. Sneak a peek at the “men behind the curtain”-in the producer’s chair. Finessed by Steve Hansgen (Minor Threat) and Brian Baker (Bad Religion-who also plays guitar on two songs), you’ll know after one spin that Handgun Bravado is as serious as a sawed-off. But no real danger is imminent. So if you like power trios that go for the gut, like Husker Du and Moving Targets, you need These Days Move Fast. Quickly-before the sun goes down.
Review by Sean Koepenick
Moonbabies,"The Orange Billboard" (A Hidden Agenda Record)
From wistful, delicate melodies to techno-psychedelia - Moonbabies are back with their own unique take on psychedelic-pop. Ola Frick and Carina Johansson bring that rarity to rock 'n roll - the successful merge of male and female voice within a song. (Picture Gram Parsons and Emmylou Harris if they had sang truly "cosmic" music.) And not in a ballad-like sense, but in a true rock ‘n roll sense.
Moonbabies pay quite a bit of attention to the overall audio-picture that their CD's deliver
(Probably more than most bands) and that's why they are The Pink Floyd of this generation. Definitely a headphones-trip! THE ORANGE BILLBOARD offers deep lyrics with lush & textured tones in a modern-psychedelic 'package'. My only critique of this album is that the lyrics are a bit too deep! So I find myself enjoying the overall 'feels' of the songs, rather than concentrating on the lyrics. Maybe that's saying something for the melody and songwriting - how it can captivate you despite the hurdle of sometimes obtuse lyrics. Oh well, Moonbabies are a band that are unpredictable in their approach of each album and that’s what makes the band so interesting. That and they write some damned catchy songs!
Review by Ronnie
Siouxsie & Banshees,"The Seven Year Itch" (Wonderland/Sanctuary)
After, well, seven years, Siouxie and drummer Budgie who had been recording and touring as The Creatures, reunited with bassist Steve Severin and guitarist Knox Chandler, formerly of the Psychedelic Furs, to create a live album and extended version concert DVD. Siouxie, like the best of the old guard who have dared to haul their 40-plus-year-old carcasses onto stage, has approached the concert experience with a humor that was less obvious in the 1970s. Just before the start of Happy House, Siouxie gently teases the audience for their very un-goth/punk cheers: “We’re not happy are we? You’re disgusting! You can’t be happy here!” There’s no crying in baseball!
The earliest Banshee material is, in my very humble opinon, the worst of the lot. The first inking of disappointment came with Happy House. The jangly brit-pop guitar is replaced by a discordant mis-mash of screechy guitar chords and smothered with a gravy of Budgie’s thunderous tribal drumming—drums which, while present in the original, do not dominate the song. The new version suits the vocal style. And therein lies the rub. Siouxie’s voice. There are just levels of clarity that a 20 year can’t reach that a 40 year old can’t especially if you’ve been a smoker. Note the emphasis on clarity. Siouxie never shattered crystal like Kate Bush. There are different things one can do with a smoker’s voice but clear highs are not usually among them. Even more disappointing was my favorite Siouxie song of all, Christine. The whole “updated” version has this off-key piano thing going on, and Siouxie’s voice is clearly not getting there. There’s a sickening kind of flattening the human voice gets when its either that or going falsetto. Sometimes this flattening has been used to good effect where the whole point of the song is to sound like shit or to be scary. This version isn’t scary, its just shit.
The only other song going back as far as my freshman year in high school is Spellbound, originally a punky little ditty now transformed into a pounding anthem. The good news is that, for the most part, her later Creaturesesque stuff is engineered for the older-Siouxie and works very well indeed. Blue Jay Way was scary on the Beatle’s Magical Mystery Tour, and Siouxie gives it the right amount of gothy flavoring, getting scary without getting silly. Other songs, like Land’s End have a very Cure-like quality, crying out for a Robert Smith duet.
Ultimately I wouldn’t buy it unless you are such a fan you’ll buy anything Siouxie related. Pity too because I really like the Banshees and wanted to like this more than I did.
Review by Wylie Reeves
Orange Hat,"Pufferfish" (Cringe Records)
Orange Hat delivers quirky psychedelic-pop with a healthy nod to bubblegum. While some bands that are labeled "psychedelic" sound somewhat pretentious, this is NOT the case with Orange Hat. That's where the bubblegum influence comes in (and I don't mean that in a bad way!). They take the 'fun' aspects of bubblegum and infuse them into their music. Orange Hat gives you power-pop ("My Mood Ring"), psychedelic-pop ("Liquid Me"), garage-rock ("Time Capsule") and even DEVO-sounding rock ("The Visible Man"). The songs are really strong, both catchy and with clever lyrics. Orange Hat is blessed with two exceptional songwriters, who both sing. There has been a lineup change since this was recorded (exactly one-half of the band is gone, including the keyboards of Kenny Howes) so it will be interesting to see if they can rise to the challenge of this powerful disc on their next follow-up.
Want proof that psychedelic pop is NOT retro? Then try on Orange Hat.
Review by Ronnie
Leah Callahan,"Even Sleepers" (Baraca)
At first listen, this is the reincarnation of Mary "Those Were The Days" Hopkins, complete with accordion. Like Miss Hopkins, Leah Callahan has a great voice, but Leah's songwriting is what set's her apart from the typical songwriter-types that you imagine at coffee houses everywhere. Leah's songs come off as being unpretentious, yet meaningful as if they hold a secret that she's not telling. The songs are "out-of-time" with today's music, yet somehow fit. The sparse arrangements seem to add to the wistful, slight melancholy nature of Leah's songs. Whether or not this is your type of music, Leah's music somehow draws you in...
Review by Ronnie
Dubrock,"Dubrock" (AWD Records)
Andrew DuBrock spends his days transcribing music for Acoustic Guitar magazine and his nights working hard on his band project Dubrock. The result of all his hard work is one tight yet breezy, pop rock album full of soaring vocals and infectious hooks. Somewhere between John Mayer and Jon Bon Jovi, DuBrock has all the right moves for FM radio.
Review by J.R. Oliver
The Sunrays,"Vintage Rays" (Box Set) (Collectables)
The Sunrays are one of those under-rated '60s bands that were written off as a 'one hit wonder' with the song, "I Live For The Sun". They basically got a bad rap as being a Beach Boys knockoff, simply because they were managed by Murray Wilson, father of Brian, Dennis & Carl of the Beach Boys (and also the Beach Boys' early manager). However, this 3-disc box set VINTAGE RAYS finally puts the band in a new positive light, showing that not only were the Sunrays a tight band that was capable of catchy songs, but that they really progressed in a short period of time.
Each disc shows the Sunrays in a distinct period of their careers. Disc one contains early and pre-Sunrays tunes that shows the band was really blues oriented. What's ironic is that at this period of time (early '60s) the Sunrays were more accomplished at their instruments than the Beach Boys at the same time! And some of these early tracks were produced by the legendary Kim Fowley! Disc two covers the zenith of The Sunrays popularity, around the time of their album "Andrea". Not only is the complete album included, but also the catchy singles "Outta Gas" & "Car Party". Plus, alternate takes are included from this period. I really like the melancholy "A Little Dog & His Boy" with its subtle lyrical inference to Vietnam (not many songs in 1966 spoke about Vietnam!). Disc three is comprised of tracks that would have made up their second album after ANDREA. Like the jump from disc 1 to 2, the band progresses further on disc 3, really coming into their own, with less Beach Boys-like songs. An example is "Got No Time For My Baby", which is a standout track on this disc. By this point, the band was experimenting with sounds much like the Byrds, the Mamas & the Papas and The Association.
The Sunrays might have been passed over for massive success in the '60s, but luckily VINTAGE RAYS can set the record straight and show that the Sunrays have more depth and talent than they were originally given credit for!
Review by Ronnie
Todd Rundgren,"Bootleg Series: Vol. 1.- Live at the Forum, London ‘94" (Sanctuary)
I really enjoyed this interactive tour (for No World Order) and followed it around the Midwest in late '93. So, of course, I was very pleased to see that this double disc would be the first release from Sanctuary Records' Bootleg Series. The visuals are sorely missed here and the audio alone does not really capture the interactive fun, as it was much more fun to be a part of this live, but at least the mix is good. Fortunately a video of this London stop does exist - it was are the first freebie thrown out to (some) patronet members. Are these GREAT performances? No. Are they essential PROOF of the interactivity delivered on this fun tour...definitely! And I am sure that all of those that were onstage will cherish this 'bootleg'.
The crew at Sanctuary could sure spice up these releases a bit by mastering with current tools in an effort to bring out some more bottom end as the bass and kick drum are sorely lacking in parts. The packaging is quite nice as there are great liner notes and many quality photos of the setup, shots of Todd from both nights, the TR-i girls, posters, and even a guest pass.
If you caught this fun tour then you definitely want to score this 2 CD set and if you missed it then here's a great little taste of interactivity for ya...interactive fun between performer and audience and a party that just wouldn't stop.
Review by Jeff 'Weavil' Gauss
Utopia,"Bootleg Series: Vol. 2.- KSAN 95FM Live ‘79" (Sanctuary)
Sanctuary records bootleg series hits hard'n'heavy power-pop paradise with volume 2, a pro-mixed fm broadcast from the pre-adventures in utopia days of 1979. This welcome addition sounds superb and is packaged with an eight-page booklet full of insightful information and great photos. Although the show is slightly edited ("owing to the quality of some of the recordings, certain tracks have been left off this release"), the Spencer Davis medley and tunes from initiation would have been great additions, the flow and order of tunes is preserved. Unfortunately, the package's track listing is missing an abbreviated but powerful icon that segues into the seven rays, one of the best moments on this release. This disc also seems to be mastered quite well using the swift and smooth techniques and tools of the early 2000s. It sounds fabulous!
Considering that this is only the third year of this particular version of Utopia, the set list is awesome and the performance is incredible! Todd is waaaay on top of his game, especially vocally. His axe-slinging is hot'n'steamy and full of raw emotion. There’s also a lot of fun rants from Todd throughout the show...but the key to this one is that the band plays full of gestalt, much bigger than the sum of its parts. It is as if the ensemble itself has taken over to reach new heights and peaks.
Pick it up today and help support further live releases from Sanctuary Records; you'll be very glad you did!
Review by Jeff 'Weavil' Gauss
Todd Rundgren,"Bootleg Series: Vol. 3.- Nearly Human Tour, Japan 1990 (Sanctuary)
Many Rundgren fans have long touted the Nearly Human tour as one of Todd's best. For this reason alone, this Live double CD will be a welcome addition to many Todd-conscious music collections. Of course, with the original studio masterpiece currently (and criminally) out of print, the release of this live album assumes an even greater importance. Unlike many of the stripped down, unplugged or computer enhanced shows that Todd performed, often solo, throughout the 1990's, his Nearly Human tour featured a whopping eleven piece band. Numbered amongst this ensemble are Todd's trio of lovely female background singers, as well as Vince Welnick (of The Tubes) on keys, Larry Tagg on bass, and Lyle Workman on guitar.
It could be argued that, of all of Rundgren's solo albums, Nearly Human makes the most sense performed live, as the original was cut live in the studio. On these two CDs, Rundgren recreates the complex arrangements and lush vocal harmonies of the original recordings, icing the cake with the energy and spontaneity of a powerful live performance. Rundgren has rarely been accompanied on stage by such a large assembly of backing musicians before or since, but this was a special tour. Listening to these
renditions, one believes that this is how these songs were meant to be heard. The material on Nearly Human demanded and deserved this full treatment, and Rundgren and his band do it justice.
Right out of the box, Todd primes the pump with a kinetic rendition of his 1975 signature tune "Real Man". With the audience warmed up, he and his band launch straight into the Nearly Human material with polish and enthusiasm. You can hear the excitement in Todd's performance as he introduces his audiences to such new and soon-to-be classics as "Can't Stop Running" "Parallel Lines" and "Waiting Game". While seven of nine Nearly Human tracks are performed here, Todd fans take heart: favorites from throughout his diverse career also get the full treatment. No Rundgren concert experience is complete without the ubiquitous pair "Hello it's Me" and "Can We Still Be Friends", and this album is no exception. Happily, Todd and his backing vocalists breathe new life into these old staples. Four of Todd's best songs from his days with Utopia are featured here as well. Todd settles into a tight groove with the band, showing off his always impressive guitar chops on "Secret Society" and his voice rings with sincerity on the touching "Mated". When it's time to pull out the stops and rock hard, Todd and his axe give their all in the one-two punch of "Love in Action" and "Rock Love". Rundgren often evokes images of the spiritual in his music, from the testifying gospel punch of "I Love My Life" to the devotional commitment of "I Can't Stop Running" to the worshipful, grace-filled strains of "Compassion" (from his underrated album from 1981 Healing). Rundgren's songs aren't content with touching your mind and body -- they want your soul, too, and even a "nearly" human listener won't make it through the sublime "Hawking", the high point of "Human" , without feeling their heart break in their chest.
This double CD set marks an important chapter in the constant evolution of a music visionary. Todd's identity as King of Philly White Soul reached it's zenith with this tour. Within 3 years, the pendulum would swing, and the ever-experimental Rundgren would be charting new technological territory as TR-i, eschewing large bands for small laptops. For those who weren't around for the Nearly Human tours, or who blinked and never discovered the album, Sanctuary Records has graciously proffered another chance. Don't miss it this time.
Review by Dan Addington
The Bloody Lovelies,"Some Truth & A Little Money" (Cheap Lullaby Records)
From the Beatlesque “My Michelle” strains of “You Don’t Love Me” to the Joe Jackson flavored chorus of “3 – Days” to the stripped down, Neil Diamondish “A Million Years From Now” the Bloody Lovelies play with conviction. “Some Truth & A Little Money” is a solid album from a band that sounds like they came from anywhere but Nashville Tennessee. I guess you could say this is rock n’ roll with an Alt-country chaser.
Review by J.R. Oliver
The Polyphonic Spree,"The Beginning Stages of The Polyphonic Spree" (Hollywood Records)
Do you remember that quirky song "I Got a Girl" by Tripping Daisy back in the mid-90s? The vocals were off key but damned if it wasn't a fun tune to whistle. Well, Tripping Daisy's singer, Tim Delaughter, has gone on to form the band, high school marching band more like, The Polyphonic Spree. Consisting of upwards of 20 or so members, this ensemble is reminiscent of the Opal Foxx Quartet or Smoke from Atlanta. Try to define them or their sound, and they'll turn around and squash it. Well, let's take a look at the music.
The CD, "The Beginning Stages of The Polyphonic Spree", could best be described as a dreamy affair. Some have criticized the band for its Manson Family like commune appeal, but I think the music deserves a much better response. Yes, it is happy, quirky, and filled with catchy hooks. What the hell do you people want these days? Sometimes it is okay to give your ears and mind over to a group of Texans that no how to lighten up. You've very probably heard their song "Reach for the Sun" used on TV. What a great way to start a day. My next favorite is "Soldier Girl". It builds nicely into a great song.
All of the songs on this CD start slowly and build into something more complex or wonderful. Before buying this CD, go on the web and listen to a couple of snippets on Amazon or some other website. You'll probably know pretty quickly if you are made for this type of stuff or not. I, personally, am going out to buy a white choir robe, so that the next time they play Atlanta, I can jump onstage and disappear amongst the hordes of people that make up - The Polyphonic Spree.
Review by Jack Teague
Mark Gardener,"Live@The Knitting Factory-NYC" (Indie Release)
Mark Gardener was a member of Ride-part of a Brit-rock movement that included bands like House Of Love and Catherine Wheel. Ride leaned more towards the heavy “white noise” sound live, similar to bands like the Jesus and Mary Chain. However Ride really had their own distinctive style that lasted until the mid 1990’s. While Andy
Bell went on to release the disastrous Hurricane #1 (before bouncing back as the bassist for Oasis), the other members faded from the spotlight. Until now.
Gardener’s release is shocking in its sparseness-but that’s what makes it all the more exciting. The soaring chorus of “Beautiful Ghosts” is sure to make Thom Yorke jealous. “Magdalen Sky” features Gardener singing about searching for something that still is constantly out of his grasp-“I don’t know what I believe anymore/under a Magdalen Sky.” “Dreams Burn Down” captures desperation at it’s lowest-but with light around the corner, of course. “Snow In Mexico” could be a Ride outtake-but it’s actually a sparkling new song that the singer plays with
utter conviction.
Ride fans will not be let down-there is a liberal sprinkling of shoe gazer classics included-with “Leave Them All Behind” as the barn-burning closer. But for people who want to hear a great singer/songwriter that has new songs to offer-this is an excellent re-introduction to Mark Gardener who hopefully will not be hiding out any longer.
Review by Sean Koepenick
Various Artists,"Club Dread" (Sanctuary)
Since my reggae knowledge is pretty much limited to Bob Marley and Peter Tosh, the CLUB DREAD CD is a pretty good sampler of various reggae artists. Standout tracks include: "Funky Kingston" (Toots & the Maytals), "Rub & Squeeze" (Lee Perry & the Soulettes), "Rastaman" (Angie Angel) and "Party" by Yellowman. "Party" is the strongest song in this collection - in fact "Party" is represented twice, with an added techno-mix of the song added at the end of the CD (which doesn't really work). Some vintage tracks such as "Monkey Ska" (Derrick Harriott) & "King of Ska" (Desmond Dekker) are included to lend some cred to this collection. And of course what reggae compilation would be complete without Bob Marley & the Wailers? Well, the inclusion of the Wailers' tune "Shocks of Mighty" isn't probably the best choice, its not Bob Marley and the Wailers best work. Overall, this is a good, but sometimes flawed reggae collection.
Review by Ronnie
Brody & Quint,"20 Feet Beneath The Sea" (Indie Release)
This is artsy, sensitive, folk, pop from the acoustic duo of Rosemary Harrison from Bolton and Mark Barlow from Liverpool. Former members of The Peaches and Cuzco, Rosemary and Mark compliment each other perfectly. “20 Feet Beneath The Sea” would definitely fall in the easy listening category. Think Suzanne Vega.
Review by J.R. Oliver
Ill Mic,"Mutt" (Indie Release)
Ill Mic is an Atlanta based rock band that is slowly building a devoted following in the Southeast due to paying their dues on the live circuit. Their new CD, Mutt, gives the band a chance to give listeners a sample of the varied styles that they are capable of producing. Oddly enough, I find that to be one of the flaws with the band. Overall the songs on the CD have a heavy feel, but you can't quite pin down their mission. What do I mean by this?
Well, the opening track, "Vlad", is quite effective. Soulful vocals and a wall of metal backing him up. Impressive. On the track "It's All About Me", the band veers into a bluesier feel that works moderately well. The third track, "Fallen", is where I begin to find some fault with the CD in its song selection and production. I'll get into my problems with the production a little later on. "Believer" gets the CD back on track with its harder drive. Two of the finer tracks for my ears are "Blayze" and "M-16", slow but scorching and heavily reminiscent of the now defunct Rage Against the Machine. When Ill Mic toured overseas for our soldiers entertainment, I know these tracks about sent the soldiers running in search of another third world country to invade.
The problem I have with this CD is one of hearing what it potentially could have been. Tracks like "Testosterone" and "Fallen" do not do the band justice. Vocalist, Shon, has a great voice, but there are some moments where they should have pushed him a bit harder.
I feel that this CD is a great blueprint for what they are really capable of doing. They need a producer to help them further develop their own sound and to make sure that the recordings really capture the band at their best.
3 out of 5 stars with the thought that their next CD will be even better.
Purchasing the CD "Mutt" is not a bad idea. It will just give you an idea of the wonderful things that are within the reach of this band. Go see them live. This is where you will see what they can do. On Friday, the 5th of March I went to the newly renovated club, Breakers, on the Southside of Atlanta to see Ill Mic. There have been no rock clubs south of Atlanta of any note before Breakers, and it was good to see Ill Mic in front of their home crowd. It was this show that really made me reappraise what I wanted to write about their new CD. Ill Mic delivers live. Shon hits the notes every time, where I didn't always hear that on the CD. They had the crowd going from the first moment and didn't let up. I had problems with the club not turning the PA up loud enough (or is that my being nearly deaf from going to shows for over 20 years), and I also thought they did a poor job of miking the drums. Female drummers have an uphill battle impressing listeners due to the chauvinistic nature of rock music, and she has the skills that should be heard in a proper manner so that she can get the kudos that she richly deserves. Andy Cannon and Tim Collins did a fine job on guitar and bass. They just needed to be LOUDER. I don't want it Pantera distortion loud, but I don't want to be able to talk to my friend at near regular volume when they are playing either. In closing, do yourself a favor and catch this band live in the near future. You will be supporting local music and end up
having a great time as well.
Review by Jack Teague
Hamfatter,"Fireworks" (Pink Hedgehog Records)
How can I describe the title track? Think Bare Naked Ladies meets Neil Diamond. Sounds weird huh? Well, actually it works rather well here. “Bluesy Grooves” moves to a…well, bluesy groove. “Soundcheck Saturday” rockets down the road at breakneck speed before going airborne into the bridge. “You May (Take Drugs In The Day)” is a fun filled Beatles come Violent Femmes look at a lazy stoner leach that you probably have in your life somewhere. This is an enjoyable jazz, pop, acoustic, rock hodgepodge of sorts. If you like any of the bands used in comparison you should check out Hamfatter.
Review by J.R. Oliver
Probot,"Probot" (Southern Lord Recordings)
What is Probot? Well, Probot is a project that has been lovingly nurtured by Dave Grohl over the last four years in order to possibly payback the musicians for their influence on those who went on to become rich on the foundations that the forefathers of metal built. It is for this reason that I think quite highly of Grohl. The man can pretty much write his own ticket in the music business and live on his past and present work with Nirvana and Foo Fighters. But no!!!!! Two years ago, he put the Foo Fighters on hiatus so that he could join the Queens of the Stone Age and be a part of one of the greatest live bands for a shamefully short amount of time. It is especially sad due to the recent disintegration of the Queens original members. His other project was Probot. For a couple of years now, Grohl has been mentioning the name Probot in interviews, but I was afraid it would never come to fruition just like Al Jourgenson of Ministry's promise to form the country band Buck Satan and the 666ers. Lo and behold, there was a website set up 6 months ago where you could hear snippets of the new Probot CD that was to be released. I quickly found the site and laughed hysterically when I heard it. Now this is metal in all of its glory. Old school screaming vocals, a wall of guitars that do not have 7 strings, and a rhythm section propelled forward by Grohl.
The vocals on the Probot CD are handled by a Who's Who of pioneer metal vocalists. Of course, King Lemmy, the Keith Richards of Metal, is a featured vocalist along with Cronos from the evil before their time Venom, Tom G. Warrior from Celtic Frost, Wino from Obsessed, Kurt Brecht from the legendary hardcore band DRI, Mike Dean from Corrosion of Conformity, Europe's King Diamond, Snake from Canada's own Voivod,
Lee Dorian from Cathedral, Max Cavalera from Sepultera and Soulfly, and one of my favorite singers who deserved to be famous, Eric Wagner from the glorious band Trouble.
The new Probot CD is not for everyone, but it acts as a reference book of metal that laid the foundation for what was to come in the mid to late 80s until now, so please give it a listen. The band members that Grohl has assembled were never rewarded with the riches of the bands that they influenced, but it is nice to finally see them get the attention that they so justly deserve, and it is also proof that Dave Grohl is not in the business solely for the money and fame. He is willing to put MTV aside and follow his heart. God Bless the man.
Review by Jack Teague
The Undertones,"Get What You Need" (Sanctuary label)
These guys sound as fresh and energetic today as they did in 1979. As a matter of fact, I’ll go so far as to say that “Get What You Need” is their best album since 1980’s “Hypnotised”. Hell, this may be their best album to date. “Thrill Me”, the first single off the cd, kicks things off with a bang! By the time you get to “Ride The Rough Escalator” you already know this cd will be a permanent addition to your collection. There’s not one bit of filler and that’s a major accomplishment in my book. “Girl Like You” will have you floating a foot off the ground with its Beach Boys flavored chorus and “Oh Please” lightens the mood with its comical lines about the Pope, Castro and the Clash. Buy this! Buy it now!
Review by J.R. Oliver
Thee Snuff Project,"Dyin’ Ain’t Much Of A Livin’" (Hackshop Records)
You can probably guess that Thee Snuff Project create rock music that is noisy, raw, and sometimes a little bit spooky. However, this works so well you may be a little surprised. Thee Snuff Project soaks into your system like that puddle of Natural Light that won’t come out of your carpet-but, ah-the fun you had putting it there!
This four-piece throws their influences like The Stooges, The MC5, even a bit of “Nuggets” style garage rock-into a trash barrel and lights it up with a blowtorch. When singer Scott Taylor screams “don’t forget the cocaine” in “A Little Strange”- you know better not to show up empty-handed at the next house party. “Next Time I’ll Be A Spider” shudders under the weight of Damien C. Taylor’s blues-soaked riffing.
“Creepy Vaudeville” starts out sounding like a King Missile outtake-until the rhythm section slides into the mix. Michael Dugan’s boiling bass line perfectly compliments Ryan Hicks' sinister backbeat. The chorus of “wait till we get you home” will haunt your brain cells for some time to come. But the highlight of this record is more than likely “How To Use A Butterfly Knife.” Thee Snuff Project caterwauls like a wounded animal as the guitars sear through the songs climax. Absolutely off the scales-and into the red on your LED. So if you like your rock trashy, discordant, and with a whiff of danger-Thee Snuff Project is the band for you-and this CD is a must have.
Review by Sean Koepenick
Churchill’s Tractor,"Sonic Colonic" (Indie Release)
Churchill’s Tractor, “Sonic Colonic” (Indie Release)
John Churchill should be rich if for no other reason than naming his latest release “Sonic Colonic”. The aforementioned title track starts things off with its ominous intro before jumping into its uptempo, twisted verse. There’s a tribute of sorts to the late great funny man John Ritter called “Jack Trippin”. My only complaint is I wish this came with a lyric sheet. These are definitely songs interesting enough that you want to know what’s being said. “The Streets Of Belmar” is a catchy number about the rough side of Jersey. The restless native drums and funky bassline of “Animal Party Time” will get the girls on the dance floor. “Hoedown!” falls somewhere between Southern Culture On The Skids and Doug Sham. “Four Track Mind” is a funny take on the addiction of recording to cassette. Yet another interesting and humorous look into the psyche of Mr. Churchill.
Review by J.R. Oliver
Aledo,"Just Keep Walking" (Indie Release)
This Virginia duo draws from so many musical wells it’s hard to put them in a specific category and that’s a good thing. So, instead of trying to pin them down I’m just going to tell you what I hear in their music. The leadoff song “A Few Minor Adjustments” rocks like a Flat Duo Jet with Johnny Thunders at the stick while “Eating 1994” sounds like Tom Verlaine’s Television. “Hole In The Ground” sounds a lot like the Undertones especially the vocals while the next track “No More Money To Lend” has this whole Gang Of Four vibe. “Never Before” brings back the Undertones rockin’ out to a Nirvana quite to loud to quite again pattern. And, last but not least, “Just Keep Walking” is Gang Of Four meets Television with all the distortion of Jesus And The Mary Chain. I dig every band I used to describe these guys and if you dig ‘em… Well, what are you waiting for? Go get a copy!
Review by J.R. Oliver
The Sha-Pels,"The Sha-Pels" (Shed Records)
This five song ep crawls out of rock n’ rolls’ muck and mire with the same slow primal intensity and mayhem of the Melvins. King Buzzo should be all aglow with his Chattanooga, Tennessee disciples. “If It Moves, F*ck It” is the skull numbing theme song that sets the tone for the rest of the set. The funky “Danny Combs, Cocksmith” sounds like a twisted sixties go-go soundtrack with a sax and fuzzed-out guitar going head to head for the girl in the cage. “Amputee Times” and “Art Sucko” sound like Black Sabbath meets The Ventures right before they kill them. “Night Of The Wang, Part 1” closes out the set with the chest pounding bravado of a warrior bringing back the head of his enemy. The perfect music for a fun filled night back at the cave. Me likes!
Review by J.R. Oliver
The Sha-Pels,"Taught Sex And Remembering" (Shed Records)
The Sha-Pels are back with a new set of knuckle dragging mayhem. Like the soundtrack to a crime scene, “Taught Sex And Remembering” will make the hair on the back of your neck stand straight up the whole while your bobbing your head up and down its jazzy ham-fisted beat. It’s refreshing to hear a cd like this. It shakes you from your day to day zombiefied state only to place you in a totally new zombiefied state. Hey, you won’t get that from a band like Creed. Recommended for fans of The Melvins, Knuckel Dragger, Aledo and The Cramps.
Review by J.R. Oliver
Kristian Hoffman,"The Guru Home Demos" (Indie Release)
Somewhere between Chris Isaak and the Cure or Echo & the Bunnymen and Sparks is where I would slip Mr Hoffmans latest offering. “The Guru Home Demos” is a singer / songwriter style album with a heavy pop feel. Hoffman, a former member of the seventies New York City club band the Mumps that also included member Lance Loud. Loud who was probably best known for being in the 1973 12-hour PBS documentary series “An American Family”. He was the first openly gay person to appear on television as an integral member of an American family. Hoffman later went on to form the Swinging Madisons before going solo.
Review by J.R. Oliver
T.S.O.L.,"Divided We Stand" (Nitro Records)
You have one person to thank for putting this fine punk rock record at your disposal-Gary Coleman. If he hadn’t given "The Governator" such a run for his money in the recent California recall election, Jack Grisham may have won. And hungry music fans would not have gotten this blistering return to form from these veteran rockers. Only in America, eh?
Jack has not lost his political edge, however. “Serious” rails against someone who tries to define what patriotism is-“love your country/hate your government/you gonna just stay brainless/not so serious?” But the government is not the only target of TSOL. On “Again” Grisham sings “I’ve seen your face before/that soulless window nightmare/
crawling before me/adrenaline and nicotine/I’ve bled the colors of your dreams.” Must have been a pretty bad break-up.
Musically TSOL mines new territory without sacrificing their signature sound. Ron Emory’s guitar rips through riff after riff with surgical precision; especially on stand-out tracks like “Undressed” and “Shine”. Bassist Mike Roche is the glue that holds everything together; he also pushes new drummer Billy Blaze to new heights. Blaze’s drums is a worthy successor to Todd Barnes, the group’s original drummer who passed away a few years ago. But even so, Divided We Stand is TSOL’s most consistent record since Dance With Me. So do your patriotic duty and get this CD-it could unite our nation.
Review by Sean Koepenick
Anton Barbeau,"Guladong" (Pink Hedgehog Records)
Hey, this guy is really good! You just can’t pin him down! One minute he sounds like George Harrison the next he sounds like the Monkees or Matthew Sweet then, before you realize it, he’s off on a Gibby Haynes tangent. The music is as close to pure pop perfection as one could get without sounding trite. His lyrics are clever, funny, weird, stupid, disturbing, confusing, brilliant, corny, annoyingly repetative but never… and I do mean never, ever boring. This is the only true alternative to radio. Fourteen catchy, twisted, pop genius, little ditties that promise to warp you in one way or another. The world could use more of this and less Coldplay.
Review by J.R. Oliver
George Elliot,"Child Of The Moon" (Heli Centric)
Elliot kicks things off with a cover of the Stones psychedelic “Child Of The Moon”. This gives you a glimpse of what your about to receive. Track 4 is titled “?” and track 12 is titled “!” if that helps shed more light. A trippy ride from start to finish. It’s like Kim Fowley with talent. This type of release is always ten times more interesting than your typical release because you just never know what’s going to happen next. I would say, all in all, a fun and interesting trip. Never boring!
Review by J.R. Oliver
Nini Camps,"So Long" (Indie Release)
I really dig the lead off track of this album. “Slide”, appropriately enough, has some killer slide guitar work before Miss Camp’s soulful voice enters the picture. This is top notch singer-songwriter material. Great for winding down after a busy day of work. A female John Mayer of sorts, Camps has a way of bringing you into her lyrics. Full of subtle hooks that get embedded into your subconscious. “So Long” is a very pleasing listening experience. Like a mellow Maria McKee.
Review by J.R. Oliver
Electric Six,"Fire" (Beggars Xl Recording)
Who the hell are the Electric Six? Well, they are one of the great bands that are exploding out of Detroit these days. Let's see. In the last three or so years, Detroit has given us The White Stripes, The Electric Six, Kid Rock, Eminem, The Von Bondies, etc. Do these bands or artists have anything to do with one another? Well. Other than Jack White beating the living hell out of the lead singer for The Von Bondies. Not really. But what they do have in common is a hell hole of a town with a very supportive music scene. The ground work was laid by the MC5, The Stooges, Ted Nugent, and Alice Cooper back in the late sixties. Now the children of those bands fans have given us this new onslaught. Back to the Electric Six. I first encountered this band a year ago when I was turned on to the website rathergood.com. There is this incredible video this guy made featuring kittens in a rock band playing the song "Gay Bar". The kittens were amusing, but the song stuck in my head. Sure the lyrics were juvenile, but the sound had me hooked. I finally located their cd Fire on Ebay and took the gamble. This is another one of those bands that is exploring their love for the sound of the late 1970s music. The Electric Six cannot be described as solely punk, rock, or any other one thing, They are all of those things.
"Gay Bar" is a punk rock explosion. "I Invented the Night" has a heavy metal Gary Numan sound. My favorite is the rock anthem "Naked Pictures of Your Mother". The disco influence on this cd is hilarious. This is where this band differs from bands like The Darkness. I don't expect The Electric Six to be with us for a long while. They have all the ingredients sound wise, but one look at their real video for the song "Gay Bar", and you'll realize that these guys are laughing their asses off. Where as The Darkness are the spawn of the Big Rock bands of the 70s, there is no doubt that The Electric Six is more truly inspired by punk. Does this really matter? No. Give the CD a listen. Download the video for "Gay Bar" and laugh your ass off watching Abraham Lincoln and his cabinet working out in the White House gym, and I think you will see what I mean.
Review by Jack Teague
The Yardbirds,"Live! Blueswailing July '64" (Sanctuary)
Although I prefer the Jeff Beck-era Yardbirds, I can't help but be impressed by this raw live set of the Yardbirds from 1964. While The Yardbirds previous live album, FIVE LIVE YARDBIRDS was a testament to the bands live proficiency, LIVE! BLUESWAILING JULY '64 is a fascinating historic live time capsule of this influential group. My only complaint is that there are only 7 songs and some of them are repeats from their previous live album. However, the most interesting take on this album is "The Sky Is Crying" (yes, the song that Stevie Ray Vaughan made famous in the '90s). I love the chatter between the songs, such as Keith Relf talking about the band's finances and their recent acquisition of equipment.
There are also so cool liner notes. A must for all Yardbirds fans!
To go to the Sanctuary Records Group web site click here
Review by Ronnie
Ness,"Up Late With People" (High Pilot Records)
A Cheap Trick flavored riff leads off the Billy Squire inspired groove of “Where The People Kick It”, a fun eighties style rocker. In fact, the more I listen to this cd the more I realize, this band has taken all the best parts of eighties rock and built one pretty great cd. “Cosmoa” sounds exactly like Elvis Costello with its dead on vocals and verses that build with intensity. “Imaginary Life” falls somewhere between Pat Benatar and Blondie and the title track “Up Late With People” has a spacey intro that leads us into Elvis Costello land again. Well, Costello fronting Cheap Trick maybe, with a little Queen thrown in for good measure.
To go to this artist's web site click here
Review by J.R. Oliver
Mike Kindred with Dexter Walker,"Handstand" (Loudhouse Records)
The blues is a genre that, to my ears at least, is really hard for an artist to really 'stand out' in. But, when I heard HANDSTAND by Mike Kindred, my ears really perked up! Sure, Mike has that stereotypical raspy voice that makes you feel like you are in a smoke-filled beer joint. What really got my attention is his amazing piano work! Kindred injects a boogie-woogie piano into classic original blues songs with the result being immediate, high-octane blues. While I prefer the instrumentals (because they show off his seemingly effortless piano prowess), the other songs sound authentic as well. Amazingly, this album was recorded live in two days, in one room with no dividers! But, when you consider that Kindred is a 30 year veteran of the blues, this feat should come as no surprise.
What would it have sounded like if Jerry Lee Lewis had pursued the blues instead of rock 'n roll? Well, HANDSTAND gives you some idea.
To go to the the Loudhouse Music web site click here
Review by Ronnie
Josh Aran,"Between Us There Arose Happenings" (Indie Release)
This would be the perfect album for someone with hypertension. It’s guaranteed to lower your heart rate with its slow 4/4 beats and dream state vocal delivery. Think Chris Isaak after a big spliff. Well, maybe not that slow but pretty damn close. Aran has reached the pinnacle of mellowness. I’m not saying that as a bad thing. In fact, these are very good pop songs along the same lines as Matthew Sweet or Marshall Crenshaw just a little more laid back. Now, where’s my coffee and that new Jet cd?
To go to this artist's web site click here
Review by J.R. Oliver
Mason Jennings,"Use Your Voice" (Bar None Records)
Jennings vocal delivery is somewhere between Lou Reed and Tom Petty, if you throw in some bare bones folk guitar, a lone snaredrum and a Bob Dylan harmonica you get “Use Your Voice”. Filling the gap between Rufus Wainwright and Bruce Springsteen, Jennings songs are weighty without being depressing. I would call this a folk punk cd. Folk sounding, punk in attitude.
To go to this artist's web site click here
Review by J.R. Oliver
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