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Various Artists,"Death By Salt" (Eighteen Percent Gray Records)
Utah’s Slug magazine has released the pinnacle of all music compilations. From the diversity of bands featured on this three cd box set to the amazingly informative and entertaining full-color 72 page booklet and letter-pressed box. I’ll be the first to admit that I’ve never heard of any of the fifty-nine bands featured here but that’s the whole point of this box set anyway. There are a lot of bands here that I should have heard of and more importantly, I wonder why I haven’t. I don’t exactly love every band featured but I do dig about two thirds of them and according to my calculator that’s right at 40 new bands contributing to my listening pleasure. And, at fifteen bucks how could you go wrong? “Death By Salt” covers a wide spectrum of genres including rock, folk, hip-hop, garage, punk, death metal and more. Wouldn’t it be great if every major city across the country would put together a compilation like this? It would make it so much easier for someone like myself to figure out where I wanted to live. Utah’s looking pretty damn good at the moment.
To go to this Slug Mag web site click here
Review by J.R. Oliver
Spiney Norman,"Weather the Storm" (Galilee)
Spiney Norman is back and showing definite progression since their last album. Of course you have the tight, drop-on-a-dime instrumentation that you expect from the band after their first CD. Then there are the well-written songs including my personal Spiney Norman favorite - the bio-themed song. Lyrical these guys are great storytellers and while some songs have a moral - they don't get preachy!
I'm just gonna touch on a few personal faves of mine from this disc:
While some critics might say the band is derivative of the progressive rock bands of the '70s - THIS is the CD in which Spiney Norman comes into their own as a band. As the CD plays, you can almost hear the band saying, "so you think we are retro huh? Well, listen to this!" While there are no "pop hits" on this album, that's not what the band is about anyway.
To go to this artist's web site click here
Review by Ronnie
Brian Wilson ,"Gettin' In Over My Head" (Rhino)
To read our full-page article about Brian Wilson's new album, GETTIN' IN OVER MY HEAD click here
BMX,"Starliner" (Indie Release)
This is Kick In The Eye before Kick In The Eye. BMX had only been together about six months when they won free recording time at a local competition but the recording time was with students at a recording school. Instead of being really anal and recording one song really polished and proper they opted to go the cool route and record ten songs really fast. They were only allowed so many minutes of one inch digital tape so at one point they went back and rerecorded two songs at a faster tempo to have room for the last song. This is the way rock n’ roll should be created. If you can’t get it in one or two takes then forget it. I mean, how good could it be if you have to spend thousands of dollars to make it sound good? Anyway, they walked away with a fine batch of songs that sound somewhat like Matthew Sweet meets Jesus And The Mary Chain. I really love the male / female lead vocal trade-offs. Standout favorite is “After Sound”. A fun cd from start to finish.
To go to this artist's web site click here
Review by J.R. Oliver
To My Surprise,"To My Surprise" (RoadRunner Records)
TO MY SURPRISE, INDEED.
Consisting of Slipknot percussionist Shawn "Clown" Crahan on drums and vocals and friends Brandon Darner and Stevan Robinson on vocals/guitar and guitar, respectively, To my Surprise shares absolutely nothing in common with Slipknot other than a sound that generally fits under the big, ugly rock-n-roll genre umbrella and that Crahan is a member of both. In fact, if one didn’t know, one would probably be quite surprised to find that this surprisingly upbeat, mellow unit, previously named The Ornge, shares anything in common with the afore-mentioned Iowa-based, nine-headed metal beast. This almost too-happy unit’s self-titled debut, released almost a year ago on Roadrunner Records and produced by the legendary producer/demigod Rick Rubin, offers up such an eclectic mix of styles and influences, it’s hard to believe that this, too, could be the brainchild of the man (or should I say clown?) responsible for the birth of Slipknot. From dual lead-off singles "Get It To Go" and "In the Mood," with their upbeat, enthusiastic, sing-along choruses, to more mellow (but no less catchy) tracks like "Blue" and "the World’s Too Small," this album is all over the proverbial map. Crahan and Rubin pulled out all the stops to show that, despite what people inevitably think when the name Shawn Crahan is mentioned, he can and will put aside the psychotic, angry clown persona and do something completely different, even bordering at times, for me at least, on the much-coveted "instant classic" status. With Influences ranging from The Beatles to Pink Floyd to weird, quirky, sample-heavy "electronic" music, and damned-catchy sing-along hooks, this album is almost guaranteed to please "real" music fans, that select subsection of the world populace who appreciate talent and quality more than gimmicks or appearances, but probably won’t find many fans among the die-hard Maggots (Slipknot’s affectionate term for their fans) who pick this up simply because of Crahan’s involvement. But overall, while it is quite probably destined to never be a bona-fide commercial hit, this album is, in my not-so-humble opinion, well worth the ten bucks you’ll have to plop down for it, and any fan of eclectic, nostalgic-sounding music should go buy it, now.
To go to this artist's web site click here
Review by stay (sic), The Maggot
Dennis Most & Audiolove,"Live At The El Cid, December 1976" (Captain Trip Records)
Punk / Speed Metal recorded 27 years ago. Imagine early Alice Cooper meets Iggy Pop. Dennis and his cohorts give it everything they have plus a little more on these twelve tracks which include covers of Syd Barrett, the Stooges, one by Arthur Lee & Love, Frank Zappa, the Standells, Bubble Puppy and a medley of “I Fought The Law / Secret Agent Man / Peter Gunn Theme. Most has five originals here including the classic “Excuse My Spunk”. I spoke with Dennis about where to find “Live At El Cid” here in the states and he said it’s available through Gulcher Records or you can order it direct from Most at his website below. Aggressive rock n’ roll with tons of attitude.
To go to this artist's web site click here
Review by J.R. Oliver
Larry Cordle & LST,"Lonesome Skynyrd Time" (CMH Records)
There seems to be a recent trend to do humorous bluegrass versions of rock and roll classics. However, LONESOME SKYNYRD TIME by Larry Cordle & LST takes a serious stab at an honest bluegrass interpretation of Skynrd classics and succeeds in giving a fresh look at the classic Southern-rock icons.
When you think about it, this is a match made in heaven as Skynyrd tunes aren't really that distanced from country in the first place - and bluegrass is only a step from there. Some hot playin' & pickin' indeed on the fiddle, dobro, acoustic guitar and mandolin - especially hearing those original electric guitar leads interpreted by these instruments! The version of "Tuesday's Gone" is simply beautiful and my fave track on this disc.
There are four songs on this CD that shine above all the others and give you pure Skynrd-infused nirvana are: "Call Me the Breeze", "Tuesday's Gone", "I Know a Little", "Gimme Three Steps". The others include the classics: "Sweet Home Alabama", "Saturday Night Special", "The Ballad of Curtis Loew" (not too far from the original in both vocals and instrumentation) and of course the obligatory "Freebird" (this is a tough one - what can you do to this much-covered song that hasn't been done before?).
The surprise on this disc is the sole original song, "Southern By the Grace of God". Nothing like sneaking in one of your originals, especially one this good! Structured like a classic Skynyrd song, it sounds like an original from the band's mid-'70s heyday. Larry Cordle ought to pitch this song to the new Lynyrd Skynrd because they could sure use a song that is this strong instead of the lame trip that they peddle on their recent albums! All in all, a fitting homage to a classic band.
To go to this artist's web site click here
Review by Ronnie
Exploding F-Dolls,"Crack The Safe" (Disaster Records)
This cd is a compilation of tracks that span a thirteen year period in the lives of Orange County’s very own Exploding F-Dolls. Formed in 1991 by Art and Steve Godoy, two former pro skateboarding brothers turned ink slingers, the F-Dolls have went through their share of tragedies and lineup changes. Duane Peters took over the mike after original singer Kevin Edman’s untimely death, after Peters left they recruited Kris Swanson. The 19 songs on “Crack The Safe” are divided up fairly even among the three frontmen. The F-Dolls sound is reminiscent of the Clash, Sex Pistols and the Ramones but you also hear the New York Dolls and the Dead Boys in there as well. This cd and booklet is a great way to learn about a pretty great rock n’ roll band. You get a good glimpse of how the band has paid their dues and a taste of what’s to come. Old school punk rock from guys that not only look the part but can back it up too.
To go to the Disaster Records web site click here
Review by J.R. Oliver
Coffin Lids,"Rock N’ Roll" (Bomp Records)
Some of the rawest, loudest and most offensive soundwaves to explode from a set of speakers. Yeah! That’s what I’m talking about. The title says it all. I love this kind of stuff. Like an old Kingsmen record with all the hooks and grooves but a little rawer like the Mummies. This is dance music for bad people. Chuck Berry with 220 volts shoved up his ass. Ain’t nothing pretty about rock n’ roll and these guys know it. They ain’t trying to invent the next big thing they’re just pumping new life into their stitched together rhythm and blues, rock n’ roll, garage rock, punk rock, Frankenstein monster. Highly recommended for fans of real rock n’ roll!
To go to the Bomp web site click here
Review by J.R. Oliver
Dan Dugmore,"Off White Album" (Double D)
Country rock musician Dan Dugmore has an impressive musical resume including Linda Ronstadt (remember "Blue Bayou"?), James Taylor and Trisha Yearwood. His first solo album is a collection of country rock versions of his favorite Beatles tunes, with the prominent instrument being a dreamy steel guitar. The selections consist of two songs from the White Album, three from Rubber Soul, two from Abbey Road and one each from Let It Be, Magical Mystery Tour (while he covers "Fool on the Hill"-I would love to hear what he could do with the Beatles instrumental "Flying"!), Revolver and Help!
You might ask - will a totally instrumental Beatles tribute album work? And, one that uses steel guitar as the lead instrument? The answer is 'yes' to both. To start with, you have those exquisite melodies of the Beatles - but to only say that is the success of this album would be to sell Mr. Dugmore short. Although it is an instrumental-only album, this sure ain't muzak! This album does what every "tribute" album SHOULD do: deliver a quality interpretation of classic songs that don't stick too close to the originals, but instead give valid and interesting versions . The steel guitar work on this album is the key - it displays a dreamy, floating quality of stunning beauty. Definitely worth repeated plays, unlike the majority of tribute albums!
Not only will Beatles fans dig this album, but also country rock followers of (later period) Byrds, Flying Burrito Brothers and Gram Parsons. In fact, the only thing that would make this album better would be if you could bring Gram Parsons back to do vocals over these tracks! I hope Mr. Dugmore issues a lot more CD's in the future because this is pure enjoyment.
To go to this artist's web site click here
Review by Ronnie
Black Lips,"We Did Not Know The Forest Spirit Made The Flowers Grow" (Bomp Records)
There’s been a lot of hype about this band and I admit I was a little weary about giving this one a listen. Seems so commonplace nowadays for the music buying public to get suckered into yet another crappy scam designed to relieve you of your hard earned cash. But, guess what? You actually get what you pay for with this one even though I didn’t actually pay for this one. But, I would have if I had to. This has all the spunk of the early Rolling Stones, all the psyched out weirdness of the Chocolate Watchband, all the fuzzed out primitiveness of the Green Fuz and more. Like an encyclopedia on the underbelly of rock n’ roll, the Black Lips take you from one era to the next without inflicting sonic whiplash. With one of the longest album titles in recent history the Black Lips have given us something worth spending our money on. Check it out.
To go to this artist's web site click here
Review by J.R. Oliver
The Prime Time Sublime Community Orchestra,"A Life in a Day of a Microorganism" (Corporate Blob Records)
Imagine being strapped to a chair with a heavy dose of LSD, watching both "A Rebel Without A Cause" (or any '50s drama) and one of those '50s science classrooms films. Truly avante garde, the 5 songs on this CD bombard your senses with orchestrated music that instantly makes you think of the Hollywood dramas of the 1950's. Add to this the sound-snippets and various sound effects and you get a bizarre flash back!
While most of this disc is just too plain strange to warrant repeated listening, the track entitled, "A Life in a Day of a Microorganism" is pure social satirical brilliance! The subject of this parody is the nuclear family (i.e. the 'dad, mom, son, daughter and dog') narrated is the style of one of those boring science films that we had to watch in public schools. However, the storyline cleverly inserts everyday modern day problems such as a slutty cheerleader daughter, a son who joins a gang, a wife that has a fling with the mailman and a father owes money to the mob! Sure, the humor is dry and might go over the head of some people, but if you like the humor of the old National Lampoon albums of the '70s - this CD is worth seeking out for this track alone.
If the Prime Time Sublime Community Orchestra can sustain a whole CD's worth of songs of the caliber of "A Life in A Day of A Mircoorganism" on future projects - then they will truly have a classic album that mixes avante garde, comedy and music.
To go to this artist's web site click here
Review by Ronnie
Todd Rundgren,"Liars" (Sanctuary Records Group)
To read our full-page article about Todd Rundgren's new album, LIARS click here
Jana,"Smoke & Mirrors" (Maple Island Records)
Jana's music subverts traditional structures by moving freely without paying heed to convention. The opening track, "For You", is a fine example of this - the song has only one line without rhyme, which is repeated at various junctures throughout the track. By doing so Jana makes her first track with neither traditional verse/chorus structure nor typical rhyme schemes and predictable song segments. In fact, unlike most albums, the music here doesn't feel segmented at all. Rather the songs feel natural because the usual swift transitions from verse to chorus are gone and replaced by music that more gradually rises and falls.
The instrumentation on this record is unpredictable as well. Disparate elements exist throughout the record - from the hard-rock guitar wail at the end of the folk laden "Enchanted Minds" to the soft soulful patches on the otherwise funky "Lucky Day".
Several tracks on what could be characterized as a new age folk record represent genres by mimicking their conventional forms. "Private Gates" is the repetitive blues track, "Many a Time" the rocker which attempts to break Neil Peart's record for the most drum rolls in a single track. Although they succeed in getting down the genre they fail to match the subtle originality of the preceding tracks.
Jeff Tweeter and Jeff Thornton produced this record to good effect making heavy use of echo and layering to give Jana a slightly different voice on virtually every track. Acoustic guitars sound lucid and dominate the soft bass and drums. Considering the wide assortment of styles on Smoke & Mirrors the production incorporates different elements to better suit the specific songs. Overall the production and instrumentation combine to make this a worthwhile record.
To go to this artist's web site click here
Review by Robert Nase
Whaleman,"Underwater Attache" (Indie Release)
One thing is for sure - someone is in love with the sea. In the past Whaleman has offered musical odes to seaweed and the unexplained joy of hydroplaning on a sea of disaster. On Underwater Attaché splashing water and creaky sound effects can usually be found occupying some distant corner of the mix. The result is an eerie dissonance which both resembles life on the sea floor and the soundtrack to a horror film. The work is always atmospheric and instrumental. The songs wander seemingly without focus often building a cacophony of frightening guitar.
As one would imagine the bass work on a deep sea inspired record does indeed take precedence over other instruments. "Mojo's Shuffle" begins with a low scraping vibration, which later evolves into a solo, which is fenced in by occasional drumming. Most tracks carry with them an underlying current of rage, which is revealed through repeated guitar blasts. "The Flippered Flufferoo" balances this overtone more structure than other tracks and as such is a stand out.
Unfortunately the standouts are rare on this record. Ten tracks on an elaborate 22-track album barely tip the scales by clocking in at less than one and a half minutes each. The lack of vocals shifts the burden of expression entirely to the music and although Whaleman does have some musical ideas (such as the chilling feel and aquatic concept) the well runs dry due to repetition. Nearly all of the tracks are attempting the same overtone and structure. As such many of the tracks are irrelevant as they only offer what has already been provided throughout the record. Despite this the band is ruthlessly original and maddeningly provocative and is capable of releasing some truly special work if they can rein in some of their flawed tendencies.
Click here to read our review of the Whaleman DVD
There is no website for this artist yet, but you can contact him at Whaleman@sympatico.ca
Review by Robert Nase
Peter DiStefano,"Gratitude" (Sanctuary)
Perry Farrell disbanded Jane's Addiction after complaining about guitarist Dave Navarro's role as both a songwriter and musician. Thus begat Porno for Pyros, the Perry solo project disguised as a band with Peter DiStefano plucking the strings as Farrell saw fit. Much of the off kilter vibe of Perry projects exists on this record. The intro to "Last Time" briefly mirrors the solemn monologue that opened "Three Days". The ephemeral guitar lines and tranquil production bring to mind the characteristic sound of Porno. However this set of songs remains lacking.
J.A. had explosive dynamism by contrasting loud and soft - violence and sensuality. The power of these themes was transferred to the audience by way of the music which was both brutal and serene. Porno abandoned this dynamism and focused on the serene - yet Perry's bizarro lyrics combined with his desire to pull the rug out from the audience with unpredictable and songs kept things interesting. DiStefano's second solo album Gratitude retains the same musical overtones as Porno but rarely is the rug pulled out, instead the songs rely on simple elements which are repeated ad naseum. The opening guitar freak out of "Diminished" apes Porno but what follows is DiStefano's average joe vocals over a simple bass line. Consequentially the songs are neither complex nor compelling.
These songs are not entirely without merit however you would be much better served by dusting off your old Porno records than purchasing Gratitude. DiStefano is adding nothing to an old equation, that of Porno, and is in fact missing some of its key aspects - vocals, lyrics, and original songwriting.
To go to this artist's web site click here
Review by Robert Nase
Ben Kweller,"On My Way" (Ato Records & RCA)
Ben Kweller has succeeded in recording an album that would have sounded outdated 20 years ago. Guitar, bass, drums, vocals and a prominent piano are all that exist on this record. There is no fingerprint of the jangly guitars or the wet drums of the 80s. Not a trace of the punk-inspired social criticism of grunge. Kweller's world is one of rubics cubes, blue-jeaned babies, sweet darling girls, and E.T. references.
"Sometimes I wish I had a farm/where the only pollution is your cigarettes". How quaint. Aside from cute Kweller can also be colossally mindless. For instance, here are lyrics off of the title track, "There's this kid you've got to meet/He lives across the street/He's got spirit and heart/We're ten years apart". Cobain once said in song, "Every line ends in rhyme - I don't know why." Kweller is content to say, "Yeah, you are living life the way you feel/and that is real". Rather than commenting on the conventions of song, Kweller instead succumbs to them, leaving the listener with an album, which is incapable of intrigue. If the listener is one who listens at all, then all the songs will seem immediately familiar due to their simple and well-worn structures.
Despite the lack of originality Kweller does consistently deliver songs with catchy choruses - "The Apartment" and "The Rules" should still be stuck in my head until the lobotomy, which I am planning for the next week. Considerable vocal range is demonstrated by Kweller who mostly sing speaks but can also scream and carry a falsetto with equal prowess.
Ultimately Kweller has chosen the "I write music the same way I assemble furniture" approach to song craft - it's done by referring to the instruction manual about 3,000 times during the process of creation. Dismissed is the notion of allowing songs to meander. The conscious creation of something unusual seems never to be considered. Rather Kweller rigidly structures songs into conventional forms. What your left with is furniture everyone already has - and although it may be serviceable, maybe even attractive, it is not deserving of our artistic respect.
To go to this artist's web site click here
Review by Robert Nase
Los Lonely Boys,"Los Lonely Boys" (Or Music)
To read our full-page article about Los Lonely Boys and their new album click here
Box O'Clox,"A Brian Wilson Tribute" (CMP)
The wholly unique and breathtaking album art by Chloe Cummings that adorns this disc, “Box O’ Clox: A Brian Wilson Tribute” by Cameron Michael Parkes, lets the listener know that this is not your run-of-the-mill homage to the Chief Beach Boy. Curiosity has drawn me to the strains of tributes to Brian Wilson before, with decidedly mixed results. Too often I’ve encountered the cheeky band who wants to lovingly dismantle a particular song -- except in their efforts to please, they’ve torn apart a perfectly good “409” and reassembled the pieces it into a rickshaw. Fortunately, this is not the case here.
Cameron Michael Parkes shows a marked reverence and gentle playfulness with this tribute. His offerings are not forgeries, nor are they meant to be. Rather, these songs are such remarkable reinterpretations that you can’t help notice that they sit along perfectly with the originals. The cd kicks off with “Intro (My Prayer)” which naturally bears melodic and sonic similarities to “Our Prayer”, and yet it is an original Parkes creation. I hasten to add that he achieves a cathedral-like quality in his little intro that maybe even surpassed Brian’s original attempt (blasphemy, I know).
For the outright SMILE-hungry aficionado like myself, the proof is in the pudding -- and we get a delicious helping with Parkes’ rendition of “Wind Chimes” which combines elements of the SMILE and Smiley Smile versions, mixed in with Parkes’ own distinct touches. Can a so-called copy of a song put the same tears in your eyes as the original? You better believe it! And listen up: real wind chimes sparkle throughout!
Parkes also chases the more subtle pieces in the Wilson canon, such as “I Went To Sleep”. What makes the CMP version so rewarding is the recognition on his part that this song was deserving of a tribute, and Parkes gives it Gershwin-esque touches (dig the sweeping and apropos harp) that the original lacked. I dare say, he improved upon the masterwork.
I won’t spoil the other surprises, but understand that Parkes is incredibly ambitious. He has the guts to cover songs like “I’ll Bet He’s Nice” and “A Day in the Life of a Tree”, if that tells you anything. Parkes’ voice is smooth and complimentary to every one of these songs on the disc, and the musicianship herein stands alongside Brian’s current recording and touring outfit. Yes, that good. So I find myself endorsing a tribute album with the urgent reminder that this is not just another tribute album; it’s made of the same stuff as the originals: unparalleled talent. Seek it out and enjoy!
To go to this artist's web site click here
Review by John Lane
George Mason & Friends,"Life Colors" (Maple Island Records)
The talent speaks for itself in the opening measures of this jazz album with the hypnotic and soothing “Dancing on the Wall”. For those who enjoy the legendary sawing of Stephane Grappelli, there is a worthy rival in the form of George Mason.
For my personal taste, jazz at its best conveys a sense of the ‘live’ spark. Without that ‘live’ element, you have overworked calculations that sap the strength of the effort. Alas, I was pleased to read in the liner notes that this work was recorded and mixed “from midnight to 4 in the morning”. Regardless of any editing or splicing that may have inevitably occurred from the studio treatment, this disc does not betray the live spark.
This album is aptly named “Life Colors” owing to the sheer variety and scope of the tracks that Mason and his pals tackle. The quick Latin-sway of “Little Brown Girl” instantly intoxicates the listener, and if I have a couple regrets on hearing this beautiful tune, it’s that (a) I’m not at a wedding where I can dance to this tune and (b) that no smart jazz singer has yet decided to apply lyrics atop this strong melody.
Mason does pay homage to the Immortals by covering “All Blues” by Miles Davis and “Impressions” by John Coltrane, but being the true talent that George Mason is, he molds those two tunes into his own image. (For instance, could one almost be forgiven for thinking that Coltrane wrote “My Favorite Things” after hearing the jazz version? Certainly.) While there are modern, electric touches here, the sounds remain astonishingly organic in their feel. For anyone harboring any doubts that the violin can be a natural instrument in genre of jazz, then look no further than George Mason and prepare to be floored.
To go to this artist's web site click here
Review by John Lane
William Bates,"Dreamland-A Song Cycle" (t21 Music)
Song cycles tend to be unavoidable, full-on explorations and commitments, somewhat daunting. The term is a softened form of an ‘epic’ but nonetheless, it is what it is. I was prepared to gird my loins when presented with the -- not one, but two disc song cycle “Dreamland” by William Bates. And yet, I felt instantly at home from the opening strains of “Spirits Catching Time/Dreamland” for I had been down similarly-rewarding paths before with Van Dyke Parks (the quintessential song-cycler). Bates’ voice will remind the listener of Parks, but I also hear Jim O’Rourke, and the accompanying acoustic pluckings reinforce that comparison.
But this work is just the sort of epic that one is delightfully surprised by, because you have the conventional aspects of folk/pop melded together with avant-garde boldness. Like Van Dyke Parks, William Bates exploration is undeniably American -- with the rockabilly foray of “Everybody’s Happy” and the driving “Blues Won’t Let Me Be”. But to Bates’ credit, this isn’t strictly a one-man journey, as he is augmented by female vocal accompaniment (“A Woman’s Work is Never Done”) and female artistry most pronounced in the composition, “Willow Weep for Me”.
The jazz and blues elements come more to the fore on disc 2, particularly with “Feel Like A Stranger”. I defy anyone to pin down this particular track, as it’s a blend of so many genres that at first you’re disoriented until you realize this is William Bates’ own style. “Days I Knew”, for example, sits on the cusp of being Sade-esque lounge-styled crooning but the emphatic persistent snare-and-high-hat shuffle moves this song into another terrain altogether.
While I’m still trying to tackle the depth of “Dreamland” (and it is a definable song cycle particularly given the recurring themes/wordplay in various songs), I can safely say that William Bates has presented the listener with a masterwork deserving of the title ‘song cycle’. It’s a true thing of beauty that never fails to stay fresh over the span of 2 discs; and there is quite literally something in here for anyone who appreciates jazz, pop, folk, and blues. Not only does William Bates excel, he surpasses those striving to tie together simply two genres. Quite simply, Bates is a musical alchemist, able to spin commonly-known genres into a golden one of his own.
To go to this artist's web site click here
Review by John Lane
Jordan Yaruss,"The Circles" (Indie Release)
Jordan Yaruss’ debut album, “The Circles” makes me think of geodesic domes; that was the first thought that came to mind when I plunged into this truly original terrain. And for those not up on geodesic domes, then the thumbnail recent history is that the late-visionary Buckminster Fuller thought our so-called modern, staid world could be given a healthy boost with this new kind of futuristic-looking architecture. And “The Circles” brings to mind the marriage of future-thinking and day-to-day living -- not a tenuous balance, but rather a peaceful coexistence. In other words, Yaruss steeps this disc in electronica, but by the same token it’s all tempered with the normal, grounded sounds of piano and Yaruss’ own guy-next-door voice.
Yaruss cites The Beta Band, Brian Wilson, The High Llamas, Kraftwerk, and Brian Eno as influences, which should intrigue discerning listeners well enough who are looking for a worthy listening experience. But the true observation that one should make, when taking all of those influences into account, is how Yaruss manages to suffuse the Old with the New -- so you’re just not listening to something derivative. Gifted artists are capable of presenting a Moment in their art (be it one song, one painting, etc.), and through their range, they’re able to suggest the possibility of an extended life or extended possibilities from that one piece. Take the meditative “Everything You Wish For...” in which Yaruss’s affirmations shift like the slow turn of a kaleidoscope -- slightly askew for a moment, but then recognizable again. Or take the humorous “Five Things” in which a vacationing narrator has left behind an instructive note for his house watcher. The note becomes ridiculously exhausting, but one can’t help but laugh at the plight of the poor house watcher who has to mind the specifications of the note. The deadpan intonations bring to mind They Might Be Giants, except Yaruss is far more endearing than those two fellows.
The stand-out track for me is “You’ll Never Know” which unabashedly stews together electronica, acoustic guitar, piano, plaintive vocals, and rich, spooky harmonies -- and let me emphasize that Yaruss is wonderfully adept at piling on these harmonies, so much so that I wish he’d placed more. It’s a heartbreaking tune that gives The Beatles’ “There’s A Place” and The Beach Boys’ “In My Room” a run for their money, just in terms of the outright manipulation of the guy-all-alone theme. I predict some forward-thinking indie film-maker will pick this song up and place it prominently in a soundtrack.
The possibilities of electronica and thinking persons’ pop have blossomed anew with this debut offering. Jordan Yaruss described the making of this disc as a long and almost arduous journey; one hopes that his next journey doesn’t take as long, for he’s sure to garner a quick following with this one.
To go to this artist's web site click here
Review by John Lane
Modest Mouse,"Good News for People Who Love Bad News" (Epic)
Historically, Modest Mouse has alternated brilliantly between soft acoustics with Brock’s defeated lisp and volatile guitar work with cathartic screams. Aside from dynamics comparable to the Pixies the group oft impresses with Isaac Brock’s lyrical revelations.
Good News for People Who Love Bad News stands apart from the rest of the band’s catalogue with a more optimistic and relaxed set of songs. Both the anthemic first single “Float On” and the lazy-afternoon sound of the album-closing “The Good Times are Killing Me” exhibit this new vibe.
Although they do experiment with many different styles, they approach the majority of songs in a straightforward, verse/chorus manner. Despite the lack of originality the album succeeds through sublime instrumentation – the guitar-work complements the songs in varying ways and Brock’s vocals have never sounded better. The lyrics don’t hurt either. Though not the best offering from Brock he does offer some gems “If God takes life, He’s an Indian giver” off “Bukowski” and the damned funny “I just don’t need none of that Mad Max bullshit!” from “Bury Me With It”.
Lush production is the delineation between early and late Modest Mouse. This record, like its predecessor The Moon and Antarctica, is definitely a product of the studio unlike their onetime raw sound. Their new hi-fi approach makes possible the atmospheric dirge “Satin in a Coffin” and the electronic tinged “The View”. Minor contributions are made by the Dirty Dozen Brass Band who are up to the task of penning the opening nine second “Intro” and add horns to “The Devil’s Workday”.
Overall this is a fine album that is more erratic than their previous effort but will still please many of the group’s hardcore fans. Those turned off by Modest Mouse’s early records may want to give this a spin as well. Anyone who hates their new studio trickery should not forget that the band is killer live. Check out the new bootleg titled Baron Von Bullshit Rides Again, available online for the superlow price of $9.98. And shit – it even comes with a poster. And no – I’m not getting paid for this.
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Review by Robert Nase
Texas Terri Bomb,"Your Lips…My Ass!" (TKO Records)
Texas Terri has channeled the spirit of Wendy O. Williams and the raw energy of the Stooges, New York Dolls and MC5 into one hell of an album. “One Hit Wonder” is pure freaking genus, “Dirty Action” explodes off the disc while “Oh Yeah!” sneaks up on your ass. “Love Hates Me” is pure Plasmatics fun with Texas Terri’s very own psychotic flair. “The Rocker” is a fun filled rip into rock n’ roll bliss by way of AC/DC and “Turn It Off!” documents Terri’s breakdown before the whole thing starts up again on repeat play. Get it! Even if you don’t.
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Review by J.R. Oliver
Die Hunns,"Long Legs" (Disaster Records)
I have read so much about this band over the last few months that I was really anxious to hear this one and their leadoff covers of “Time Has Come Today” and “I Got Your Number” really do live up to the hype but it’s the originals that rock L.A.M.F.! “Love & Hate” and “Wild” are, pardon the cliché, instant classics. It’s very rare to have an album live up to the hype but “Long Legs” pulls it off with attitude to spare. I have to say, Corey Parks had me from the git-go but her “hey, ho, let’s go” chants on the chorus of “Burn In Hell” took it to a whole new level. This is a real rock n’ roll record. Yeah, I said record, ‘cause when it’s this good calling it a real rock n’ roll cd just doesn’t seem right. And, if you just have to have your rock n’ roll on vinyl, well they got that too. With three bonus tracks and slime green vinyl! Warning: Posers may spontaneously comburst into flames. Now, that’s rock n’ roll!
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Review by J.R. Oliver
Inner Terrestrials,"X" (Mortarhate Records)
Half Clash, half hardcore. Not a mix of the two either. I mean, one minute it sounds like the Clash with its reggae upstrokes on the guitar then the next it sounds like the Exploited. It’s almost like Nirvana’s quiet, loud, quiet pattern only with Inner Terrestrials it’s Clash, Exploited, Clash with a dash of the Jam thrown in for good measure. I’m not saying this as a jab, because it’s quite enjoyable to listen to, I’m just trying to give you a decent description of the release. It sure beats the hell out of what they play on the radio.
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Review by J.R. Oliver
Fizzle Like A Flood,"Fizzle Like A Flood EP" (Earnest Jenning Records)
“Written, performed and recorded in the spare room by Doug for Julie.” The liner notes alone should have set off enough warning flags. But no, I delved a little deeper due in part to song titles like “Decide To Die”, “Love The Fuck” and “Rides To Get High”. Doug Kabourek is like Phil Spector, Jesus & the Mary Chain and Burt Bacharach all rolled into one. The Fizzle Like A Flood EP is like a lush wall of sound pouring from the speakers. I don’t know weather to be happy or scared for Julie but I do know one thing, she won’t ever be bored. Maybe scared, but never bored.
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Review by J.R. Oliver
Kevin K and the Real Kool Kats,"Addiction" (Lollipop)
Some people are just born to rock n’ roll. They don’t have anything to say about it, it’s just something they have to do. Kevin K is one of those people. I was happy to see Kevin’s latest in the stack of cds I received for review. I’d reviewed last years “Kiss Of Death” and it soon became one of my favorites. Well, the boys didn’t let me down this time around either. “Addiction” is just that, an addiction. This is straight up rock n’ roll. A godsend for folks who miss Mr. Bators, Johnny Thunders and the Ramones and their slanted views of the world. Kevin does a bang up version of Jerry Nolan’s “One Track Mind”, a Thunders staple. “Cretin Heroin” is an instant classic. 13 slabs of pure rock n’ roll. Very highly recommended.
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Review by J.R. Oliver
Imaginary Bill,"Breaking the Ground Loop" (Sportin’ Company)
This is some of the most well crafted, catchiest, power pop music I’ve heard in awhile. I love the leadoff track “bleed”. It has a real garage pop feel and its tasty opening guitar riff pulls you right in. This is as good and sometimes better than anything Matthew Sweet or Marshall Crenshaw ever released. It has the mandatory Beatles influences but with a Big Star/Alex Chilton edge to it. Lots of interesting things going on here. Check it out, you won’t be sorry.
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Review by J.R. Oliver
George Elliot,"Taint Love" (Heli Centric)
George Elliot is a strange egg. You can’t pigeonhole this guys music no matter how hard you try. “T&A” is a weird and sexy little trip to the Caribbean while “Snot Nose Wart Brain” is a twisted peek into the unchartered waters of Brian Wilson’s brain. “Backwards” is, well, backwards. “You’re Funny” and “J In O Tra Vez” have a very latin/jazz feel while “Campus Minuet” goes the medieval route. Like I said, you can’t pigeonhole this guy and he does have his moments of brilliance.
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Review by J.R. Oliver
The Cogburns,"Bob" (Indie Release)
This is the perfect example of the old adage “never judge a book by its cover”. When I stuck the Cogburns new cd ep in the changer I wasn’t really expecting too much to come of it. Boy was I wrong! I mean, wrong ain’t the word for it. This ep gets better with every song and the first song is already pretty damn great. Any band that kicks off an album with a song about getting some “Strange”, especially these days, is definitely pushing the envelope. I mean, it was pretty common in the seventies but can you think of a recent one? “Band Bus”, another solid rocker, would make Dave Davies proud with its raunchy three chord riffing. “Over You” and “Pussy Whipped” fall somewhere between the Yardbirds, The Presidents Of The United States Of America and Southern Culture On The Skids. This is rock n’ roll. Just straight out rock n’ roll. Do yourself a favor and check it out ‘cause the heart of rock n’ roll may still be beating but it ain’t as strong as it used to be so when you run across the real thang you better getcha some.
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Review by J.R. Oliver
iSOLA,"Don’t Walk, Run" (Aberdeen Records)
I don’t know, I just don’t trust a band that has its own street team. But that’s just me. I’m kinda funny like that. It just seems too damn… What’s the word I’m looking for?…too damn… organized! Yeah, that’s it, it just seems too damn organized for rock n’ roll. But hey, this is a dreamy alternative pop band so I guess it doesn’t matter if they’re organized or not. Anyway, “Don’t Walk, Run” reminds me of Savage Garden or Matchbox 20 lite. Lot’s of hooks here but a tad too mellow for my tastes. What does that mean? Not much. What the hell do I know. They’ll do just fine.
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Review by J.R. Oliver
The Bloody Hollies,"Fire At Will" (Sympathy For The Record Industry)
Like a runaway train with a demented engineer shoveling more coal on the fire, Wesley Doyle and his cohorts rip through each song with more intensity than the last. The Bloody Hollies tear it up, plain and simple. They have a sound that I would say, falls somewhere between AC/DC and the Zachary Thaks. “Downtown Revolver” and “Hard-Bitten”, the first two songs off Fire At Will, start off in high gear but by the third track they change things up a bit. “Swing” begins somewhat calm for the most part then builds to a frenzy with its “Psychotic Reaction” harmonica break and galloping bassline. Doyle’s voice is made for rock n’ roll. I can’t imagine him singing anything else. Thank God for bands like the Bloody Hollies. A definite keeper.
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Review by J.R. Oliver
Mystery Girls,"Something In The Water" (In The Red Records)
“In The Red” is the perfect name for a record label that plays home to a band like the Mystery Girls. The in the red production of “Something In The Water” makes me feel as though I’ve found some long lost master recordings of the Chocolate Watchband or the Yardbirds. These songs make me feel happy and somehow younger. If the Mystery Girls are just another band jumping on the garage rock bandwagon then they’re a damn lot better at it than most. Not to mention, extremely convincing. I love all thirteen tracks! Now, how often can you say that about a cd? Another keeper.
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Review by J.R. Oliver
The Willowz,"The Willowz" (Dionysus Records)
The Willowz are garage rock with a little something extra. This Anaheim, CA band bridges the gap between sixties garage and nineties punk. Like the MC5’s bastard love child left alone with a pile of punk forty-fives, a cheap guitar and some green beer. This debut cd oozes of angst and cool in just the perfect doses. “Meet Your Demise” has one of the best, ham fisted guitar bends I’ve ever heard and the machine gun lyrics take it even higher. This is what we should be hearing on the radio. “Get Down” sounds like it was pulled directly from one of the Nuggets or Back From The Grave compilations. Great stuff! Damn if this ain’t a keeper too!
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Review by J.R. Oliver
Revenge,"One True Passion V2.0" (LTM Records)
Taking their name from George Michael’s leather jacket may not have been the best
choice to start Peter Hook’s first side project; but fortunately he had both hands on the
wheel. Peter Hook is best known as the bass player for Joy Division and New Order.
After New Order went on hiatus in the late 80’s, instead of sitting around and watching
the paint dry, Hook decided to go it alone. Recruiting local musicians C.J. Jones and
David Hicks to collaborate with-One True Passion was born.
“State Of Shock” sounds like a long lost New Order classic, but other songs seem
to have an even harder edge than Hook’s previous outfit. “Big Bang” features a typical
melodic bass line from Hook that you will be humming in your head for the next week.
“7 Reasons” appears here as a demo and explains Hook’s recent motivation-“It’s good
to be young and different again-to see if it all happens twice.” The next release by
Revenge-Gun World Porn is also represented on this 2 disc set, but as evidenced by a recent line-up change (David Potts replaced Hicks), this material was not quite as
strong.
But the real treasures here are the B-sides and unreleased tracks. “14K” and
“Amsterdam” stand out as hidden gems discovered for the first time. Some of
the remixes on disc #2 are good and some drag on a bit too long (3 remixes of
“Pineapple Face”?). But overall this a great re-release that offers something to an
old fan or a new convert. Revenge V2.0 should hold over hardcore fans until the next New Order record drops.
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Review by Sean Koepenick
The Desert Fathers,"The Spirituality" (Threespheres)
The Desert Fathers is the side project of Acquaman, drummer from The Forms. Here he takes over lead vocals and plays guitar. The results are-slightly different from his main band. Not that there’s anything wrong with that. Really.
The CD starts off with “Agnus Dei”, which seems to be some kind of pagan ritual type song-or maybe not. “A Practical Joke” recalls the weirdness of early Wire and stops abruptly to tell us-“I think I’ve fallen out of plane.” Ouch-that could leave a mark. “The Art Of Reason” sports some appealing, angular guitar scrapes powered by the other-worldly drums of Levitas. “Pitbulls” is my favorite track just because it has fake dog barks on it and I think it’s about an old pet. “Life After Life Everlasting” sounds like Shellac if they brought a choir in the studio to sing instead of the chalk-dust vocals of Steve Albini. (Oh, wait-Steve produced this-my bad.)
Fans of The Forms may find this intriguing, and even enjoy the guest spots from Forms singer Ecco Teres. But I predict The Spirituality may take 10 listens for you to “get it”. Or 100 if you are really hitting the hard stuff. But go ahead and try-The Desert Fathers may end up leading you to an oasis within your mind.
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Review by Sean Koepenick
Peter Searcy,"Trust Falls" (Indie release)
When was the last time you heard of any artist releasing 2 records at the same time? Well, The Boss did and came out OK. Axl did it with Guns and Roses with disastrous results. (When was the last time you listened to Use Your Illusion I+II all the way through? I rest my case.) But Peter has released this full band release at the same time as his all acoustic Couch Songs. It’s a double fist romp that works.
Peter Searcy has been solo for quite some time, but some old school fans may remember Big Wheel, Starbilly and the late great Squirrel Bait. But instead of looking back, Searcy surges forward bravely into new musical realms. The CD starts out with “Ready”, which sports a catchy guitar riff and lyrics that actually tell a story. “One Thing” slows the pace down, but doesn’t descend into wimp rock territory. “Happy For A While” evens sounds like “Sexual Healing” for a split second! “Down Again” is another great rocker that builds up and then releases you into another world that feels like cool wind on your face.
Trust Falls is a great records that twists and turns but should leave all fans of solid, melodic songs completely pleased. If you like Paul Westerberg or The Goo Goo Dolls, pick this up and it will never leave your stereo. Long time Searcy fans already know the score-so pull out those greenbacks kids.
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Review by Sean Koepenick
Matthew Sweet,"Kimi Ga Suki" (Superdeformed Records)
So the last Matthew Sweet record you dug was 100% Fun? I know I hear you. I mean, Matthew-what happened to the guitar solos on Blue Sky On Mars-come on! And The Thorns, well, let’s just let sleeping dogs lie. But those of wishing for a true return to glory -a Girlfriend era resurgence-the wait is over. Kimi Ga Suki is as close to the real deal as you (or Sweet) will probably get.
Kimi was released as a “Japan only” record a year ago, but is now finally available for us lugheads in the good ole US of A. “Dead Smile” revels in the rock but slows up for a cool acoustic interlude. “The Ocean In-Between” kicks in with a chorus that just won’t quit-“And I waited ‘till I knew everything about you/let my heart adore the warmth radiating all around you/and I waited ‘till I knew everything about you/cause the ocean in-between isn’t real.” Then, wait, I hear a solo. But not just any solo-an authentic Richard Lloyd solo. Who let him in the studio? Yes, the classic “Girlfriend” line-up is here-Ric Menck from Velvet Crush on drums and Greg Leisz on additional guitars. Good times are back people.
But the ballads are here too-“Love is Gone” makes me wish I still had my old teddy bear to put under my pillow. Who wouldn’t melt inside when sung lines like-“cause when you had one/it was a real as the sun/now it’s a shadow of light.” Girls-you know it’s true. The rawk returns for “Tonight We Ride” as Richard Lloyd drops in with another ripping run on lead guitar. So put down that sushi and go grab Kimi Ga Suki instead. It will be more fun than watching Godzilla vs. Mothra-I promise.
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Review by Sean Koepenick
SlipKnoT,"Vol 3: (The Subliminal Verses) " (RoadRunner Records)
The seed has returned. That’s right, folks, Slipknot, the Iowa-based nine-headed monster of metal, are back, and this time they’re holding nothing back. With their latest effort, Vol.3; (The Subliminal Verses)(due out May 25th from RoadRunner Records), the band have done what few would have thought possible: they’ve taken their brutal sound, gruesome image, and downright hellish stage show to new levels of insanity, without losing so much as a shred of dignity in the process. The music, yet another veritable musical mindfuck, listens like the soundtrack to Satan’s next masquerade party/ pep rally, with everything from crashing, thundering percussion, sounding like a deathmarch straight to the doorstep of Satan himself, to the long-awaited guitar solos (gasp!), to more melody than anyone ever expected to hear on a Slipknot album, and not a song on the album is without some special touch from at least one member of the ever-chaotic nine-piece musical assault force. Drummer Joey (1) Jordison and percussionists Shawn (6) Crahan and Chris (3) Fehn have, as unbelievable as it may seem, stepped their (sic) beats up further, faster, and harder than ever before (quite the feat, considering that on their previous release, Iowa, Jordison was already playing a mind-numbingly fast double-bass). Guitarists Mick (7) Thompson and James (4) Root have (finally) gotten the chance to show their true metal colors, with highly technical and completely shredding guitar solos, and the band as a whole just seem to function as a much tighter and more solid unit than ever before, thanks in no small part to legendary producer Rick Rubin's encouraging them to take their trademark sound in many different and diverse directions as they recorded Vol. 3 in his reportedly haunted Hollywood mansion. Vocalist Corey (8) Taylor belts out his searing lyrics in what seems a completely new (but not completely unfamiliar to loyal Maggots) voice, with screams seeming to come from some new, depraved level of hell previously unexplored by mere mortal man, his time with "side" band Stone Sour obviously having helped his vocal evolution immensely. "Duality," the first single from what promises to be an amazing album, is somewhere between a cryptic spoken-word piece and a true metal masterpiece, with an almost radio-friendly sounding sing-along chorus, to which I personally was immediately hooked. The image of the band, already notoriously "dark" and "scary," has, with the help of new all-black jumpsuits, streamlined, grotesque new masks, and (sic) new artwork adorning the new album's cover, has become what it has been evolving toward since the dawn of the band's meteoric, blindingly brutal rise from their oppressive (and depressive) Iowa roots. The stage show, already legendary after what most would consider a relatively short career, has returned to its roots: no extravagant lightshow, no crazy sets or props, just the band their equipment, and a seemingly inexhaustible supply of pure, raging metal mayhem. The (sic)ness continues. Prepare yourself; the 'Knot is coming.
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Review by stay (sic), The Maggot
Various Artists,"Best of the Blues" (Sanctuary Records Group)
Wanna hear the original songs that inspired The Rolling Stones, the Yardbirds, the Jeff Beck Group and numerous other legendary rock bands? If you are not familiar with the blues, this is an excellent starting point for starting your collection-all on one disc. Sanctuary has assembled a stellar collection of songs, including: "I'm a King Be", "I'm Goin' Down", "Dust My Broom", "Hoochie Coochie Man", "I Ain't Superstitious" and many others.
Again, Sanctuary Records has shown what the classic compilation album should be!
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Review by Ronnie
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