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The Return,"A Cellarful Of Noise" (JMF)
The ultimate Beatles tribute band makes the ultimate Beatles tribute CD? In a word - YES! Ingenious in concept and flawless in execution, the Return captures the Beatles ala 1962 when the actual Beatles were at their top form live. Sure, any tribute band worth their salt can do a passable "I Want to Hold Your Hand" - but why would they record that? Besides, how many can capture the real feeling of the Beatles on tracks such as "Some Other Guy" or "I'm Gonna Sit Right Down and Cry Over You"? While there is only one Lennon/McCartney original ("One After 909" - the 1962 version) the rest were picked from the Beatles vast 1962 live repertoire. Also, it is uncanny how close the Return comes to the vocal style of the original Beatles.
I challenge any Beatles expert to take out their old (vinyl) copies of "Live at the Star Club", "The Beatles at the Beeb" or "The Decca Audition Tapes" and try and find any flaws in the Return's new versions. The Return captures the energy of the old Backbeat movie soundtrack with a special emphasis on accuracy. Hopefully there will be more gems like this from the Return. Psssst...how about "Cry for a Shadow"?
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Review by Ronnie
Warp 11,"Red Alert" (Reboot Music)
"We live long & prosper and we rock!" - lyrics from the song "Warp 11"
Your mission: to seek out this band and see them live. If the songs on the CD and the pictures are any indication, you are in for a treat! Oh, they will be featured in TREKKIES II, coming soon…
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Review by Ronnie
The Woggles,"10 Years Of 7 Inches" (Sazanami Label)
The Woggles can do no wrong. They could probably cover "Muskrat Love" and it would rock. This compilation of singles from over the last ten years is like pure garage gold. Needless to say, I felt as lucky as a hooker at the Democratic Convention when it arrived in the mail. Sazanami Label hit the nail on the head with this one and I think they'll reap the rewards from it as well. A must have for any Woggles fans out there. Just to summarize, Woggles = Rock N' Roll.
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Review by J.R. Oliver
Motorhead,"Inferno" (Sanctuary Records)
This summer, Motorhead releases its umpteenth CD to the public. Who cares? I do. Motorhead has carved out a niche in rock history that few can rival. Their only rival is AC/DC. While I know that AC/DC has racked up huge numbers of sales in comparison with Motorhead, the similarities between the bands soon make you forget the popularity difference. Motorhead and AC/DC both came to existence in the mid-70s
At a time when stadium rock was at its peak, and punk was just getting started. Both bands had and have a formula that has changed little since their inception. Both bands somehow have street cred with the rock and punk crews. Even to this day, wearing a classic Motorhead England t-shirt is guaranteed to strike up a conversation at most shows. When either of these two bands releases a CD, it is never going to blast its way on to the radio. Those who follow the bands know that whatever is released will not stray from the sound that the band has developed. Both AC/DC and Motorhead are comfortable with their identity, and God bless them for that maturity. What does any of this have to do with the new Motorhead CD Inferno? Everything.
Inferno contains no surprises. Where the band stretches, it is a stretch that is within their range. The country twang intro to Life’s A Bitch and the wonderful acoustic Whorehouse Blues are nice twists to the Motorhead sound that are completely in line with the sound that they have developed. Songs like Fight are of the classic Motorhead sound, but with an exuberance that makes you forget about its similarities to its past classics. With Inferno, it is time to stop referring to the old CDs and catch up with a band that is just as vibrant today as it was thirty years ago.
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Review by Jack Teague
1999,"Legends" (Promenade)
Stockholm’s very own 1999 is half eighties hair metal and half eighties new wave. Well, at least that’s the way they sound on this slab of vinyl from Promenade. You remember Promenade, the very same label that gave us last years seven band, 7” compilation of songs with a food theme. Now, this is a label that isn’t afraid to release… well, anything! 1999 is probably the labels most commercial sounding release to date but believe me, this is no commercial release. For fans of Joy Division, Killing Joke and Souxsie and the Banshees.
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Review by J.R. Oliver
Goggle-A,"Koi No Doctor / Mister Twister" [vinyl single] (Sazanami Label)
"Koi No Doctor" is Godzilla behind the wheel of Chuck Berry's "Maybellene". This rocker tears through the streets of Tokyo at ninety to nothing! Next up is the Wanda Jackson flavored "Mister Twister". ERI belts it out like Wanda in her "Let's Have A Party" prime. A killer slab by one of Japans top rock n' roll bands.
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Review by J.R. Oliver
Thee Fine Lines,"Lose Control" [vinyl ep] (Wee Rock Records)
Side one of this ep has two songs, “Lose Control” and “Feelin’ Blue”. I think “Lose Control” is on the full-length but it’s called “Feelin’ Fine”. It rocks no matter what they call it. Anyway, the second song, “Feelin’ Blue”, a distortion laced stroll, features the lovely bassist Trista Winn on lead vocals. Side two has pretty much the same format, first up is “Brutally Bold” with Justin Kearbey on lead vocals. It’s a garage rock classic that you’ve just never heard before. Next up is Trista on vocals again with “Hangin’ On”. The whole time drummer Jason Kearbey is pounding away with all the spirit of Moulty and all the energy of Keith Moon. A must have slab of vinyl.
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Review by J.R. Oliver
The Jim-Jims / Thee Fine Lines,"The Jim-Jims / Thee Fine Lines" [7” split ep] (Wee Rock Records)
The Jim-Jims check in with three wham-bam-thank-you-ma’am doses of straight ahead rock n’ roll slash punk with “Big Hits And Monster Lix”, “(We Don’t Need) Caller ID” and “Tube Top”. I’d say these guys party hard on stage as if you couldn’t tell from the song titles. I would even venture to say there’s loads of drunken fun to be had at a Jim-Jims show. If the Jim-Jims dish out loads of drunken fun then Thee Fine Lines dish out loads of ass wiggling garage rock mayhem with “The Mess I’m In” and “Gonna Walk Away”. Both of these songs are on their full-length cd but vinyl gives them that little extra punch that the digital world lacks. This rocks.
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Review by J.R. Oliver
Lemon,"Weight of the World" (Indie release)
Two years ago, I used to listen obsessively to an internet radio station called “Soul 24-7.” It was beamed out of London and featured nearly the entire spectrum of R&B music—from Ashford & Simpson to Zapp. During this intense period of listening, I heard plenty of up-tempo, groove-laden music. It was the kind of sound I never sought out because I only heard it in the wrong context (car commercial, trendy bar, etc.) But when I heard these songs side by side with more recognized soul classics, I was blown away. What was this forgotten R&B sound. Was it “house”? Was it simply “dance music”? Was it, on no, “disco”?!?!?!?
No, it was soul music just like Marvin or Patti Labelle. And so is “Lemon.” Soul music crafted and spilled out passionately with minimal regard for R&B production “technique” du jour. (TR808 drums, anyone?) Lemon’s impeccably produced, carefully arranged, and flawlessly delivered sound may be a little glossy for deep soul aficionados. And their danceable rhythms achieved (in part) with electronic sequencer, synthesizer, and percussion tools may not immediately appeal to the Northern soul set. But Lemon’s clear reverence for the old-school R&B sounds keeps this record fresh, listenable, and relevant.
You soul purists may be wondering what prevents “Weight of the World” from becoming Rick Astley or Bee Gees-caliber pseudo-soul. How can a record with very little obvious improvisation be so affecting? In short, the arrangements are fly. There is no era-specific snobbery happening here. Unlike some of the throwback soul happening today, “Weight of the World” doesn’t myopically focus on the 70s sound. Lemon, get ready for this, also borrows from the 80s production handbook—and it works. Sure, you have the standard-issue syncopation, vocal flourishes, and wah guitar. But you also get carefully placed cut-time drum sequences, synth bass lines, and trebled-out guitar. Once again, it’s a matter of context. These techniques utilized in isolation create an empty, soul-less sound. But they shine when combined with the tried-and-true formula of great singing and solid songwriting. Lemon even takes the variety a step further with inventive (and unusual) instrumentation flavors—a conga part here, an electric slide guitar there. Great horn charts too. While I would have liked to hear some different effects used on Roger Smith’s vocals (instead of just the same reverb setting over and over), the man turns a melody with flair and precision. The instrumental/vocal blend is righteous. Disgruntled R&B fans take notice.
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Review by Thomas Mitchell
Superhoney,"Theorems and Anthems" (Moxxy Records)
Like Lemon, Superhoney is another blue-eyed soul crew with righteous sounds and a firm grasp of several R&B styles. Kind of like the Brand New Heavies, only it’s Brand New Heavier. Superhoney’s “Theorems and Anthems” is direct and extremely passionate, yet the album’s tone often becomes contemplative. As its title suggests, the album’s songs are loosely divided; some are ideal for late night reflection and others resonate on the dance floor.
At the heart of this big sound is lead singer Joan Pimentel, whose expansive vocal range and emotional phrasing recall Bonnie Raitt’s early records. Pimentel does her best “natural woman” on the ballad “Look Once.” In this environment, complimented by little more than a plaintive piano, cello, and her own multitracked harmony vocals, Pimentel’s voice shines. The effect is not unlike the old Prince jam “Condition of the Heart.” On the band numbers, she’s nearly as good, but she occasionally channels her inner Etta James a bit too much. Also, the band tries too hard on the cut “Enough’s Enough,” forcing a harder rock sound that lacks the dynamics, rolling funk, and subtlety of the best cuts on the album.
Speaking of lacking subtlety, “Take Off All Your Clothes” is a little crass lyrically, but the B3 organ bridge compensates for that. In general, these musical flourishes (usually guitar or keyboard runs) are enough to sweeten the tracks when the songwriting is undercooked and/or the lead vocals are overly bombastic.
I’m reminded of the young Ms. Joss Stone and her “Soul Sessions” album. (I’m sure that Superhoney has paid way more dues than Stone and they clearly are a band with considerable chops, but the comparison bears mentioning.) On Stone’s ”Soul Sessions,” her producers tried to match (with varying degrees of success) Stone’s big voice with complimentary arrangements, songs, and occasional instrumental embellishments. “Theorems and Anthems” could have (and maybe should have) taken a similar approach so that Pimentel wasn’t forced (or encouraged) to over-sing so much. In terms of originality and scope, “Theorems and Anthems” had the potential to be much better than “Soul Sessions,” but the band’s missteps are critical. As I listened, I kept hoping this album would offer more A+ original tunes, consistently strong and inventive arrangements, and up-tempo songs as good as the ballads. “Theorems and Anthems” delivers, but only in spurts. Still, with a little more focus (and maybe the input of an impartial outside producer), Superhoney will probably bless us with a great record that will take soul fans AND pop fans by storm. Until then, “Theorems and Anthems” is a decent listen.
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Review by Thomas Mitchell
Bob Hay & the Jolly Beggars,"Toils Obscure-Songs by Robert Burns" (netnik.com)
A very interesting concept - to accurately represent the songs of Robert Burns, the Scottish poet/songwriter (1759-1796). Performed by Bob Hay & the Jolly Beggars, the renditions delivered on this CD really do the work of Burns justice. And that's the true sign of a good folk group - one that faithfully plays enjoyable versions of the songs while helping to perpetuate the history and help classics live forever. Authentic enough to make you feel like you're in a Scottish pub. Well done!
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Review by Ronnie
Gaia Consort,"Evolve" (www.suddenlynaked.com)
If you've heard the previous Gaia Consort releases, this one is going to blow you away. The opening track "Evolve" is simply stunning, with a clever combination of "pagan" drums & cello that hypnotically lead into chants and finally the vocals. GC uses cello & strings throughout this CD for a very powerful effect. The simple musical diversity of this CD is what makes it so amazing: pagan drums, cellos, gospel-like organ, acoustic ballads, chants, jangly-pop and even a jazz-flavored tune. One of the things that make Gaia Consort so unique is their harmony - the male/female harmony between Christopher and Sue is something you can't quite put your finger on but it WORKS and it puts their own stamp on their tunes. This is the best "pagan" music CD I've heard in at least the last 2 years. "Evolve" has the whole package going: great musicianship, unique harmonies, great songs and intriguing lyrics.
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Review by Kano
Adrian Baker,"Surfers Paradise!" (Adrian Baker Productions)
The title, "Surfer's Paradise" pretty much tells you what to expect: pre-1966 styled Beach Boys rock. Baker definitely has the knack for writing Brian Wilson-flavored songs that celebrate the mythical California experience that Wilson pretty much invented. Songs about surf, beach, summer and of course girls. With a few Beach Boys songs thrown in for good measure - they fit with the Baker's original tunes, showing that his songwriting is up to snuff. And of course the vocal harmonies are worth special mention as they are right on the money.
Since the current Mike Love version of the Beach Boys is stuck in a gear that celebrates the "classic" version of the Beach Boys (that is: cars, surf and chicks) almost exclusively, it would be a natural for Baker to team up with Love's Beach Boys to create a new album of Beach Boys-style material. I think Adrian Baker is up for the challenge…but is Love (the owner of the Beach Boys trademark) ready to try something new instead of relying on tired old Beach Boys warhorses? Didn't he learn anything from "Kokomo"? New Beach Boys material can sell. This disc is a guilty pleasure for all Beach Boys fans.
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Review by Ronnie
Robin Stanley,"Mad Kingdom" (Creative Artists Recordings)
Originality is a challenging attribute to quantify. No matter how conceptually inventive a song is, there are still only 12 notes to choose from. There is a high likelihood that the songs you and I would praise as “highly original” are actually derivative in some way. It’s an age-old debate you’ve probably participated in at one time or another.
To get around the whole question of “true” originality, many argue that the juxtaposition of various influences creates a “new” sound. This is especially valid when the influences are disparate. Somebody like Tom Petty exemplifies this approach. By borrowing from the best elements of classic-era rock, country-rock, and folk, he has created some memorable records. Is he “original”? Who knows. But by blending (not lifting wholesale), he has found a recognizable voice of his own.
Robin Stanley’s “Mad Kingdom” similarly appropriates from the usual classic rock suspects: Dylan, the Beatles, the Byrds, etc. But the results are almost painful to hear. Stanley’s borrowing is overt, ham-fisted, and almost completely derivative. He makes Kenny G sound like Miles Davis.
I want to stipulate that “It’s not original” is almost always a critical cop-out. But, in this case, ignoring (or, worse yet, condoning) such imitation would be negligent. Even though Stanley is a dedicated and passionate musician, he needs to do much better.
“Hurts” is the jump-off. The track features some okay reverb lead guitar and a vocal reminiscent of Neutral Milk Hotel’s Jeff Magnum (probably the only instance on this album where the imitation was completely unintentional). Stanley doesn’t have the strongest or most on-pitch voice, but the album starts off pleasantly enough.
“Does Your Heart Still Belong To Me?” follows. The title should have been “Does This Song Have Enough Clichés?” I actually wondered if Stanley’s lyrics were intentionally formulaic. Musically, the song is your standard-issue Beatles pastiche. The only “variety” comes courtesy of the “Roger McGuinn Lesson 1” guitar solo.
Things do not improve. The next track, “All Mixed Up Again,” is the obligatory Dylan nod, complete with lyrics referring to “the Joker and the Queen of Hearts” and being “tangled up in poetry.” Hootie, is that you? “Tomorrow Never Knows” is a Neil Young tribute (not the Beatles song, thank God). It has that patented lonesome harmonica line right off the “Comes a Time” record. Without explanation, Stanley switches from raspy Dylan voice to English accent midway through the track. But that was a small infraction compared to the lyric “there are mountains left to climb.” After hearing Stanley’s “Tomorrow Never Knows,” I had to admit that, yes, there is something worse than the Phil Collins cover version of the more-famous Beatles tune.
Next up is “Forever is a Long Time.” This is the part of the review where I resist making the song title into an insult. During this track,
Stanley’s unpolished voice is finally exposed as tonally deficient. I realize that, in order to conjure up some blues flavor, singers often bend notes. But the idea is to make sure those notes are represented in the chords you are playing (usually 7th chords). It’s probably easier to explain it in plain speech: The singing is flat. Or sharp. Or, in the case of Stanley’s multi-tracked harmonies, both.
Unfortunately, side two doesn’t do much to change my opinion. Now, after reading the press on his website, I’m sure Stanley is a hard-working, music-loving guy. So rather than continuing in this unflattering fashion, I will make a few suggestions. Stanley’s records will improve if he: 1) completely revamps his lyrical approach to include new phrasing and unique word choices, 2) picks ONE rock giant’s voice to imitate and sticks to it, and 3) contributes at least some measure of originality by blending and subtly utilizing other artists’ trademarks.
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Review by Thomas Mitchell
Retisonic,"Return To Me" (Silver Three Sound Recordings)
Retisonic is a band from New York that cuts through all the hype of that city's
music scene and delivers a sonic assault that will leave your temples throbbing with
worn out pleasure. (That's a good thing if you weren't sure.)
Knocking the solid cinderblocks of the Lean Beat EP into the incinerator, the
band takes it up a notch for this one. "Give Up" kicks it off with some sinewy
guitar leads from Jason Farrell as he harmonizes with drummer Joe Gorelick
at the same time. "K-16" describes a medical situation that takes an ugly detour-
"so you do a shiny new powdered-bottomed medical breakthrough/witness mild
discomfort on their faces."
My favorite track on this platter has got to be "I Don't Drink (with co-workers)."
How many of us have made this horrible mistake? "I don't drink with co-workers
does mutual disapproval mean we are empowered?" Farrell ponders as the song
crashes to a glorious halt.
Retisonic has blended into a tight trio with the addition of Jim Kimball, who
takes full advantage of his recording debut with the band. Joe Gorelick's intricate
fills seem to flow to the top of the mix with Kimball's persistent prodding. This
may have given Jason Farrell more of a chance to stretch out as a lyricist as well. See "Chemical Dumb Machine" for some uncharted lyrical territory. Return To Me will certainly be returning to my "go-to" CD rack-again and again…and again.
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Review by Sean Koepenick
The Returnables,"So When Can I See You Again?...Plus" (Jettison Music)
Chicago really has some great active punk bands right now-if it wasn't so
damn cold there I'd consider moving there. But this record brings all the
fun and enjoyment you need-right into your living room. All the band members
write and sing and the results are mind blowing from song to song.
Think The Ramones crossed with The Plimsouls with a little New York Dolls
tossed on top. You get the idea-but The Returnables throw it all into the ice
chest and make it their own. This disc is their follow-up to the also sweet Unrequited Hits. The first 4 songs are remastered from their 1999 Rocketship Records EP and the last
four songs are new songs. It's a testament to their consistent songwriting that if
I hadn't read that in the liner notes (I have a lot of free time) I would have thought
this record was done in one midnight, Old Style fueled session. But that is not
the case.
The disc blasts off with Bobby James (they all have the last name Lee Ray-ala
The Ramones)' great "Road Trip". If you don't like a song that boasts a chorus of
"Here's to the working class/rocket ship up your ass" then you probably should
be listening to Barry Manilow at this point in your life. "Totally Pops" is a killer
song about lost love that started in-where else-a record shop. The guitar riff alone
will stay with you like a bad PBR hangover. "Finding Rewind" laments the loss
of most of your bodily functions after way too many cold ones-good stuff.
The Returnables wrap this hot piece of plastic up with "Probably" where
Arturo (who has left the band-I guess he's now the Ritchie Ramone of the
band) tries in vain to hold on to a girl he knows is out of his league. Will
she leave him? Well, probably.
So When Can I See You Again?..Plus sports infectious hooks, spot-on
harmony vocals and guitar riffs that will turn your insides into quivering mounds
of Jell-O. So get this and feel the twisted love that is The Returnables.
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Review by Sean Koepenick
Lost Weekend,"The Art of Wasting Time" (Turtle's Pace Records)
This is a great batch of lost REM songs from 1983 - WAIT! These are NEW songs. Lost Weekend sounds amazingly like REM circa 1983. But if you sound too much like an established band you lose your own band identity. There are some good lyrics & arrangements - especially on "Pretending" & "Endless Summer". And gotta say - putting a Beatles cover ("I'll Be Back") is a very ballsy move! But Lost Weekend delivers a interesting alt-country rendition - great version. Lots of potential, but I can't give these buys a higher rating when there are bands like NEO that take inspiration from older music AND make it their own. Less REM and more Lost Weekend and I think we'll have some great results. Very enjoyable, but a little derivative.
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Review by Ronnie
Dreamend,"As If By Ghosts" (Graveface Records)
Dreamend is a group that takes their art very seriously. Just seeing the packaging for this indie CD made my expectations high: each CD has a slightly different cover and inserts-an artistic statement that could only be made on an indie label. Now about the music - Dreamend are like the Moonbabies in what I call "nü-psychedelia", i.e. bands that take that classic psychedelic sound and attempt to "modernize" it to the present date. Not many bands can pull this off without sounding like a Pink Floyd copy band, but Dreamend does and does so convincingly. They have taken the same amount of care that they did on the artwork to texture the songs on this CD to convince you of the merits of nü-psychedelia.
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Review by Ronnie
NEO,"NEO" (Sleeping City Music)
I don't know how many members there are in NEO or what their background is, but where in the hell have they been hiding? In the same league as Jellyfish and the Wondermints, NEO weaves a timeless string of perfect pop songs that is guaranteed to satiate the most hardened pop junky. Although you can detect influences of Revolver-era Beatles, Brian Wilson and even Burt Bacharach - NEO doesn't wear their influences on their paisley-colored sleeves. Its rare for a band to capture a mood or a feel of a time in music without you being able to say, "that sounds like…" NEO are original in that they reinvent classic pop to make it sound fresh.
This CD gets the reward for the years most repeatable-play CD in my player. Hell, I even wore out one CD player recently and I'm pretty sure that this CD contributed!
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Review by Ronnie
The Narrator,"Youth City Fire" (EP) (Flameshovel Records)
Loud, abrasive and with guitar chords that could slice steel, The Narrator is
certainly not going to sit down and read you a bedtime story. Prepare to be
jolted out of complacence immediately. Although some points of reference
come to mind while listening to this (Fugazi and Shellac for instance), The
Narrator wrenches new life into old styles and makes it work.
"Culture/Counts" talks about picking up old chickenheads before building
to a squealing guitar climax. "We Call Police" features a haunting chorus that
sounds menacing and soothing at the same time. "Horse With Blinders" thrashes
away with talk of flailing knuckles and other things that sound like they could
leave a mark. The CD concludes with "The Electric Slide"-no, it's not a cover.
Although new bands on the scene like The Forms and Officer May are
mining similar territory, The Narrator tells their own story-often with exhilarating
highs and lows at every turn.
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Review by Sean Koepenick
Slang,"Blue" (Indie release)
I used to frequent a local nightclub in suburban Philadelphia called Reed’s. It was a regular college-age hangout--stage, dance floor, constant cigarette smoke, binge drinking. The place featured a roster of local cover bands and every week I’d plunk down my five bucks to hear one play. While some were more remarkable than others, the bands had almost identical set lists and a similar, guitar-based approach. It was a guaranteed decent night. Not amazing, but fun.
I have no doubt that Slang could, with minimal practice, step on stage at Reed’s and rip through the expected modern pop rock set list. It would be easy for them to approximate Five for Fighting or imitate the Goo Goo Dolls. They have the chops. They have the sound. They have the vibe.
They are from Bulgaria.
These guys belie their background and emulate American radio pop so precisely; it’s almost frightening. Plus they write songs that, in the hands of an aggressively marketed band like 3 Doors Down or Puddle of Mudd, would be platinum-selling hits.
First, I’ll give you the upside: They can play. Their instrumental skill is professional-caliber and even, at times, inspired. The arrangements are solid and the presentation is just right. Each track has at least one little flourish or unusual instrument choice. Their songs never stray far from the pop/rock idiom, but they have good melodies and sufficiently engaging changes.
It’s up to the individual to decide whether there is a downside. To be blunt: If you are still mourning the demise of Creed, you will enjoy Slang. To some of us, sounding like top 40 radio is a shortcoming. Millions of others would disagree. Generic to some, noteworthy to others. You decide.
Slang does have one quality that bothers me. Lead singer Demi Ekimov sounds like Meat Loaf. I can think of no other way to say it. Granted, Meat Loaf is a good choice to imitate given the context. Almost every song discusses the force of love. The band arrangements are frequently bombastic. The choruses are tailored for the arena. That raspy and charmingly strained Meat Loaf voice seems like a perfect match. But it gets distracting as the album unwinds. Before I am accused of insensitivity, I’m fully aware that Ekimov may use this kind of voice to soften his natural accent. It works on the individual tracks, but begins to sound forced over the course of an entire album.
To be perfectly honest, this album is one that I should hate, but I don’t have the heart. Slang is obviously aiming for that alterna-rock sound. If they think it’s a sound worth emulating, more power (chords) to them.
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Review by Thomas Mitchell
Billi & Patti,"Love and Other 4 Letter Words" (label)
The acoustic folk environment can be a scary place. As a performer, you’re out there, fully exposed, with only a steel-stringed guitar to protect you. Your attributes and flaws are on display. You live and die by your songs.
Thankfully, the country-folk duo Billi & Patti have nothing to be afraid of. First and most important: They both sing beautifully. Pardon me while I’m probably the millionth person to favorably compare them to the Indigo Girls, but that’s a major compliment. They trade lead singing and strengthen each cut with solid, exceptional harmonizing. The results sound relaxed and confident but still immediate. This is especially beneficial on the cuts that tackle uncomfortable topical issues (such as “Until There is a Cure,” which discusses the AIDS crisis).
Their lyrics are righteous and sustain a high level of quality. They are sometimes simple, but I believe that (in this case) it keeps the tone conversational and honest. I have been especially critical of songwriters who rely heavily on clichés. As I listened, I braced myself in anticipation. What a pleasant surprise to hear Billi & Patti announce, “Now I know it sounds cliché, but I love you more each day.” Hey, at least they warned me that they were going to use a truism! In general, the lyrics stay firmly on the side of honesty and directness without straying too far into triteness.
The music reminds me roughly of Shelby Lynne. But there is an almost power-pop feel on the choruses. One that really hit me was “Love is the Key” where the unorthodox chord choices and super harmonizing lift the song into the stratosphere. Patti plays a sweet rhythm guitar that gives their voices a perfect foundation. One guitar, two voices, and a whirlwind of emotions, issues, moods, and ideas.
And I’d be willing to bet the songs translate even better live. Their website (http://www.billiandpatti.com) lists several festival and show dates for this fall. Check ‘em out.
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Review by Thomas Mitchell
Kokoon,"Independent" (Indie release)
I bought a lot of Bowie records when I was in my late teens. Being a child of the 80s, I was fortunate because I hadn’t been inundated with his 70s-era mega-marketing. His singles (aside from the biggest hits) and long players were almost entirely new to me. It was a time of great revelation and exciting musical adventure.
As I absorbed Kokoon’s “Independent,” it reminded me of the first time I heard “Heroes.” Hated it. Those Eno keyboard washes. Couldn’t stand ‘em. Bowie’s angular vocal delivery. Fast forward.
Eventually, I grew to appreciate the record despite its difficulty. This was due, almost entirely, to the fact that the songwriting was evocative. The sense of place—Berlin—was tangible. Plus the arrangements were, considering the era, very unusual.
Unfortunately for Kokoon, their similar approach falls a little short. Most of the charm of that Bowie/Eno sound came from its novelty. When you’re at least the third generation to utilize the sound, the chance of hooking a listener is severely diminished. (U2 did it with great vocals, chunky hooks, and over-the-top delivery, but they were the exception.)
What you get on “Independent” is kind of like “Scary Monsters”-era Bowie songs covered by the Eurythmics minus Annie Lennox’s vocal dynamics. Tinny drum machine programming abounds. Flange-y lead guitar is the main course. Dispassionate lead vocals (Nico with a sore throat) only gather momentum when lead singer Danyx Simone predictably octave-jumps. So, unlike other Euro-rock titles that just took some time to appreciate, “Independent” comes off as too faceless and slightly dreary.
The songs themselves are sufficient, I guess, lending themselves to repetitive arrangements and synths right from the “Miami Vice” theme song. Add some echo on the vocals, Fripp-esque guitar tones, and rapid-fire downbeats on the one, and PRESTO! Sounds like rejected cuts from the “Until the End of the World” film soundtrack.
Some rockers have incorporated dance and electronic elements in a way that forces their traditional listeners to take notice. Unfortunately this time around, the Kokoon are not likely to convert non-believers. For fans of electro-rock, “Independent” will remind them of their favorites.
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Review by Thomas Mitchell
Superelectric,"I Like It Too Much" 3-song Sampler (label)
Superelectric’s 3-song EP partially traverses the electro-rock continuum. It’s only a taste of their upcoming album, but some familiar flavors are in the recipe.
The patron saints of electronic rock (or whatever it’s being called this week) are repeatedly invoked. Fans of Depeche Mode and New Order will hear the familiar blend of dour rock songs melded to electronic beats. Some spicy lead guitar work and unorthodox drum sequencing liven the presentation considerably. It’s challenging to accurately comment on Superelectric’s overall approach based on a mere 3 songs, but the variety in tempo and arrangement from track to track is encouraging.
“I Like It Too Much” sets up the repeated contrast that characterizes the EP: staid, intentionally repetitive verses followed by near-schizophrenic, busy refrains. It works best on this track. The verses feature what is essentially a 2-note distorted guitar riff over techno-ish percussion. The refrain captures a little magic with staccato guitar reminiscent of the Supremes' “You Keep Me Hangin’ On” underneath another similarly distorted, brief, and repeated guitar phrase.
“Better Way” cops several chapters from the Depeche Mode manual, including a nearly morose lead vocal and synth strings on the refrain. This busy-ness is more dissonant this time around, with overly used crash cymbals on the refrain that drown out the strings (and vice versa). I like the cut time drums most of all. Since the regular tempo is so slow, cut time isn’t really cut time and the drums come off kind of like a breakbeat. Better mixing (panning especially) would help this cut immeasurably.
“Weekend Friends” sounds like it would have fit perfectly on the “Trainspotting” soundtrack. And, for those of us who are not familiar with every nuance of every electronic style, this is a compliment. This time, the beat sounds a lot like a break. That snare may have been sampled off of some old record. The old-school synth tones over top of that break are a nice touch and the measured vocal matches the track well. Again, remixing is in order because the lead vocal (while delivered ideally) is generally mixed too quietly throughout the track.
My hope is that Superelectric will give us a diverse, full-length record that will continue this collection’s lyrical threads about loneliness and club culture. I have a feeling that these songs, placed intelligently as part of a longer sequence, would make a strong foundation for an album-length statement. And that’s about the best you can hope for from a sampler EP.
E-mail Superelectric at Superelectric@cantbarsed.com
Review by Thomas Mitchell
Reigning Sound,"Too Much Guitar" (In The Red Records)
This one has spent a lot of time in the player since it arrived in the mail. Greg Cartwright’s garage, psych, R&B, punk and soul planets must be in prefect alignment ‘cause “Too Much Guitar” has it all and it’s one hundred percent killer with zero filler. These songs sound as if they were discovered in some old studio vault. I bet Jagger would give his bottom lip for some long lost Stones tracks that sounded this good. I hope the Reigning Sound’s sound reigns for quite awhile. I know I could use a few more albums like this in my collection. Very highly recommended.
To go to the In The Red Records web site click here
Review by J.R. Oliver
Kilgore Trout,"Novocaine"[cd single] (Kilgore Trout Music)
This three song cd single is jam packed with hooks and soaring pop harmonies. “Beautiful” sounds like a familiar friend as soon as the chorus kicks in and “I Make You Mine” rocks along with its Beatles “Piggies” influenced verses. “Novocaine” sounds a bit like a hodge-podge of radio bands like Good Charlotte, Blink-182 and the Ataris. I guess, “Beautiful” would have to be my pick of the three. It stays with you long after the cd is back in its cardboard sleeve.
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Review by J.R. Oliver
Tom Kafafian,"In Through The Outside" (Great Escape Records)
Tom Kafafian is a good looking kid that can actually write and perform a decent pop song. His website names Nirvana, the Cure and Led Zeppelin as his influences but I hear Matthew Sweet, the Clash, the Police and other eighties hit makers through out the disc. With his good looks and talent, you’ll probably be seeing more of this guy than you’d like in a few years.
To go to this artist's web site click here
Review by J.R. Oliver
George Elliot,"I’m Temporarily Working For Eternity" (Heliocentric)
26 tracks!!! Damn, how does this guy come up with so many songs so quick? Seems like I was reviewing his last disc only last week. Man, time is either flying or this guy is a workaholic. “Run Baby Run” is the first track to really grab my ear. A catchy little Beach Boys influenced ditty. “Freer Than Damn Birds” almost sounds like a Christmas song and “Toyspy” would be the perfect soundtrack to a SpongeBob SquarePants spy episode. “Starry Eyes” is Buddy Holly meets the Everly Brothers and “Drone” is a trip to the Pyramids with a bluegrass band. I’m going to skip a few, (hey! Did I mention there’s 26 tracks here!) to “A+T”, a peppy little number bound to get your fingers snapping and your toes a tappin’. A lot of these songs end about the time you really start to get into them but I guess that’s better than a song that keeps dragging on and on. There should be plenty on this disc to please about anybody no matter what your tastes may be.
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Review by J.R. Oliver
Camper Van Beethoven,"New Roman Times" (Pitch-A-Tent / Vanguard)
When I was asked if I wanted to review the new Camper Van Beethoven cd I jumped at the chance even thought I hadn’t listened to them in years. I mean, this is the band that gave us classics like “Take The Skinheads Bowling”, “ZZ Top Goes To Egypt”, “Joe Stalin’s Cadillac” and “We Saw Jerry’s Daughter” just to name a few. I remember drinking mass quantities of cheap beer and discovering something new with every listen. Well, they’re back up to their tricks again and they still have all the quirky eccentricities of the early years. They still have that accordion pumping out a weird but catchy riff here and there and they still have their wits about them which is more than I can say of myself. So, in a nutshell, they still got it. Twenty catchy twisted songs that clock in at a whopping 67minutes and 22 seconds.
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Review by J.R. Oliver
McLemore Avenue,"926 East" (Indie Release)
I first time I heard McLemore Avenue it was on a Wildebeest Records Sampler cd. Most all the songs on the sampler were instrumentals but I remember their song stood out from the rest. They were smooth beyond description. Memphis soul stew is what they’re cooking and you’ll love every second of it. If songs like “Fubar” or “A Toy Robot!” don’t get your foot a tappin’ then you better check your pulse ‘cause you just may be dead. Patrick Barker-Benfields B-3 is like a B-12 shot and the guitar work of Landis Armstrong would put a grin on the face of Steve Cropper as well as Carlos Santana. Then there’s Chris Johnsons bass and Eric C. Hughes drums locking the whole thing together and moving it on down the road.
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Review by J.R. Oliver
Dennis Most And The Instigators,"Vampire City" (Trash 2001 Records)
Dennis Most returns with more of what he does best. Garage, metal, rock n’ roll in the same vein as the Stooges, Alice Cooper, MC5 and the New York Dolls. If you own anything by any of the bands listed above then you’re a future fan of The Instigators. You just don’t know it yet. Germany’s Trash2001 label knows exactly what they like and that’s why they released Vampire City this year. It’s available on vinyl as well as cd and includes the classic “Excuse My Spunk” as well as “Penetrate”.
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Review by J.R. Oliver
Goggle-A,"Dendeke Rock Combo" (Sazanami Label)
This band is a load of fun and they’ll have you shaking like a swimming pool full of Jello right from the git-go. They’re like an eastern version of Southern Culture On The Skids. “Ride On Yamaha” is a rockin’ rockabilly ride while “Go! Go! Rent A Car” is a beach party waiting to happen. “Ann Ann Ann” is a ballad that had me homesick for Japan and I’ve never even been there. I love this cd. There’s definitely no language barriers in rock n’ roll. It all translates well with me. I strongly urge you to check out Goggle-A, you won’t be disappointed.
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Review by J.R. Oliver
Various Artists,"Wild Sazanami Beat, Volume 1" (Sazanami Label)
Rock N’ Roll is truly the universal language and this compilation proves it! I can’t get enough of Thee 50’s Highteens doing “Loco-Motion” or The Youngman Psycho Blues version of “My Generation” (the best version I’ve ever heard by the way!). The Astro-Babys blow me away with their song “Koi No Telephone Love” which has an intro that sounds like the theme to the Addams Family at hyperdrive. Goggle-A checks in with “Ripe Loquat” from Dendeke Rock Combo and “What A Way To Die”, a hiccuppin’ rocker that would give Dex Romweber a run for his money. The Youngman Psycho Blues return with “Heavy Drunk Bad Boy”. I need to get more stuff by these guys. They got all the moves and they ain’t afraid to use ‘em! Twenty-six tracks of fun and mayhem for your listening pleasure.
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Review by J.R. Oliver
The Short Happy Life,"The Short Happy Life" (Nobodys Favorite Records)
Cheesy casio keyboards propel this lo-fi, folk-pop release from the very inventive Jerry Fels. Fels’ previous work, “I’ve Made My Bed And Now I’m Lying In It”, garnered a lot of positive press mainly due to his clever and humorous twist on life. His latest offering is just as clever, humorous and twisted. Take “We Are Just” for example... no, lets just let that one be a surprise. If titles like “Oh, Carrie Brownstein”, “What The Body Wants” and “At First It Will Be Hard” aren’t enough to peak your interest then let me add that Jerry’s vocals are much like a warbled mix of Gordon Gano and Jonathan Richman set to the meter of Bob Dylan.
To go to the Nobodys Favorite Records web site click here
Review by J.R. Oliver
Thee Fine Lines,"Thee Fine Lines" (Licorice Records)
This is my new favorite album. Thee Fine Lines are as garage as the Seeds, as punk as the Dead Boys and as catchy as a cold on a schoolbus in the middle of winter. I love every song. The lifted lead break on “Take It Away” (pull out your Nuggets box set) is as much a tribute as it is a rip-off. This band has a deep down love for sixties rock n’ roll and it shines through on every track. It’s great when you stumble onto a rock n’ roll band that has all the traits you dig. It’s like pulling an old jacket out of the closet and finding a twenty in the pocket. If you want to hear what garage is supposed to sound like then make this your next purchase. You won’t regret it.
To go to the Licorice Records web site click here
Review by J.R. Oliver
Holy Curse,"Bluer Than Red" (Nova Express)
French rock n’ roll? Well, they may be French but their sound lies somewhere between Radio Birdman and the Stooges or the New Christs and the MC5. Straight out, no frills, rock n’ roll. “Lou & The Boys” has a Johnny Thunders vibe that runs at a breakneck pace. “(Give Yourself Up To) Rock N’ Roll” sounds a bit like the New Duncan Imperials but these guys take their rock star stance seriously whereas NDI take nothing seriously. “Rivers Of Blood” and “Superfortress” definitely rock the hardest of any of the eleven listed tracks. The hidden track at the end of “Superfortress” sounds a bit like the Supersuckers which is pretty cool by me. Not bad, not bad at all.
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Review by J.R. Oliver
The Building Press,"Young Money" (54/40 or Fight! Records)
The Building Press weighs down on you like a ton of bricks and then lets you up for
air every once and awhile to make sure you're not dying. It's actually really nice of
them. The band has recently gone from being an all instrumental trio, but you would
be none the wiser to this fact by listening to this disc.
First off, even if I despised this I would still love the song titles like "It's Probably Just You" and "If You Think I Can't Get To You…You're Wrong." Somebody's
trying to give Mclusky a run for their money for most obtuse song title award. Right
now it's a tie. Guitars that jab at your earlobes like an intoxicated jackrabbit, drums
that pound mercilessly and bass guitar that threatens to dislodge your subwoofer is
the best way to describe The Building Press. Sound like a good time? I thought so.
Pick this CD if you would like to be challenged to pay attention to your music.
If that is too time consuming for you in this fast paced world, then I guess there's
always the new Jessica Simpson CD for your enjoyment.
To go to this artist's web site click here
Review by Sean Koepenick
The Cure,"S/T" (Geffen/I Am Records)
The Cure bounces back to deliver an engaging disc for the first time in quite a while.
Although recent releases like Bloodflowers and Wild Mood Swings had their moments,
they didn't really spring out of the speaker at the listener. This release turns the table
on the naysayers and proves that Robert Smith and friends can still churn out some
great pop tunes along with some lumbering dirges for diversity's sake.
The disc starts off with "Lost" as Smith wails "I can't find myself" as Perry Bamonte
offers up some droning guitar rhythms that propel the tune forward..and over the top.
"Before Three" describes a love from a long time ago-"we were so in love/in this sea
of gold so young and tired/under summer sun hard by your side" as bassist Simon
Gallup lays down some signature riffs underneath the song's surface.
"The End Of The World" is the hit in the grand tradition of fan favorites like
"Friday I'm In Love" and "Just Like Heaven." Luckily keyboardist Roger O'Donnell
throws in some groovy keyboard fills that heighten the sense of reckless abandon
suggested by Smith's lyrics. "Us Or Them" and "Alt.End" anchor this disc with
military precision fills from "new" drummer Jason Cooper. Smith screams "get
your fucking world out of my head" in the former song-but Cure fans are ecstatic
that Smith decided to let us into his world for another rollercoaster ride.
To go to this artist's web site click here
Review by Sean Koepenick
Ebon Tale,"Sit Down" (Dusklight Records)
“Sit Down”, the first track on this two song cd single, rocks like a three legged card table on poker night. Its pleading lyrics delivered with snarling and somewhat unexplained urgency. Track two, “This 6 Year Old Feeling”, is an instrumental that’s more than a little melancholy although it does build up some steam about halfway through. The only problem is it’s 10:22 seconds long. That’s a whole Ramones album for Christ’s sake! It makes for great background music or reflecting on one’s day but it ain’t worth a damn if your looking for something to pogo to. Anyway, I would love to hear a full-length Ebon Tale release with more songs like “Sit Down”.
To go to this artist's web site click here
Review by J.R. Oliver
Elliott Sharp’s Terraplane,"Do The Don’t" (Gaff Music)
How could anybody not get the blues? I mean, I know there are a lot of people out there that just don’t get it but it still blows my mind. It’s like running into a kid that hates chocolate or a dog that doesn’t like to sniff butt or an eighty year old driver who doesn’t have his blinker on. It’s like being in an episode of the Twilight Zone when I run across such an anomaly. Well, Elliott Sharp gets the blues and he gets it a whole lot better than the guitar wielding “next big things” you see on the covers of all the guitar magazines. This isn’t straight blues, Sharp’s no blues purest. There are a lot of additional styles explored here like Jazz and Rock and Fusion but the key to the whole thing is how well all of it meshes together. Yes, Elliott Sharp most definitely gets the blues. Great disc!
To go to the Gaff Music web site click here
Review by J.R. Oliver
Various Artists,"Is It Rolling Bob-A Reggae Tribute to Bob Dylan Vol. 1" (Sanctuary Records)
It seems like a perfect match - mixing the music of rocks most celebrated marijuana user, Bob Dylan, with reggae music that celebrated the holy sacrament of ganja. On this tribute to Bob Dylan you get such classics as "Mr. Tambourine Man", "Blowin' In the Wind", "Just Like a Woman" and "The Times They Are a Changing" done in classic reggae style by various reggae artists (none of whom I've heard of). The only interpretations of interest are "Knockin' On Heaven's Door", "Subterranean Homesick Blues" and "Gotta Serve Somebody".
Alas, the cover art is the most entertaining part of this disc. I'm curious as to where "Vol. 2" will go - since this volume pretty much covered Dylan's best-known songs.
To go to the Santuary Records web site click here
Review by Ronnie
Joe Rathbone,"I Can Heart the Windows of Your Heart Breaking" (Zakz Records)
I don't normally go for the singer-songwriter stuff, but Joe Rathbone's music has a subtle way of getting under your skin. Kinda like the music of Crowded House or Paul Westerberg's solo material. Sometimes haunting, sometimes rocking, sometimes just beautiful - Joe's voice has a distinctive immediate quality that truly makes these songs shine. In my opinion, Joe is in the same league as Westerberg (and this CD is better than the last thing Westerberg did) and it will be interesting to see what happens next.
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Review by Ronnie
Pushing Red Buttons,"Foreign Film Or Tango Dance?" (Blockchord Records)
I’m not quite sure what to think of the title of this cd. I just know its weird and the cover gives me the creeps but the music, on the other hand, is a different story. Funky, edgy pop that reminds me of Klaatu, Wings, Edgar Winter’s White Trash and Sweet all rolled up into one. They’ve got more hooks than your Grandpa’s tackle box and the chops to pull them off. This is some of the best pop music I’ve heard in a while. I would recommend you check out Pushing Red Buttons if you like any of the bands mentioned above. Just ignore the cover art and title. Highlights include “Tripping Over A Four Leaf Clover” and “Girls Gone Stupid”.
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Review by J.R. Oliver
Longwave,"Life Of The Party-EP" (RCA)
Sounds like the Strokes my ass, the title track is like an episode of Outer Limits on acid and “We’re Not Gonna Crack” is like “Live And Let Die” on crack. There’s some twisted stuff going on here. Next comes a trippy Psychedelic Furs meets Love And Rockets ditty titled “Here It Comes”. This one is probably my favorite of the bunch. I’ve always liked the gigantic sounding grooves of Love And Rockets. Track four, “There’s A Fire” sounds like Don McLean which takes us to the last track of the EP “Sunday Nite Health”. I guess you could say this one sounds a bit like Love And Rockets vacationing on the island of Dr. Moreau. Very interesting. www.longwavetheband.com
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Review by J.R. Oliver
The Awkward Romance,"Covington" (Day Job Records)
Jimmy Eat World meets Good Charlotte meets Weezer on the TRL countdown. Kind of emo, kind of pop-punk, kind of alternative, kind of catchy, kind of indie. Basicly, a major labels wet dream. Could they possibly be the next big thing on the radio? Who knows? I’m not real good at that stuff. I mean, I’m not real good at picking what will be popular. I’m always on board with the underdog. At least until they become popular. Guess I’ve got some issues that need to be addressed.
Side note: I was really hooked on the second song until I realized out he wasn’t singing “99 titties” in the chorus. Interestingly enough the odd number was very intriguing. They should consider changing it.
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Review by J.R. Oliver
Jeanine,"Paris By Night" (7 Records)
Heady, exotic, adult rock from singer-songwriter Jeanine Acquart. Songs of desire, loss, betrayal and release, “Paris By Night” is Jeanine’s latest in a line of albums, videos and movie soundtracks. A perfect album for touching the serious longing in everyone, ten well crafted haunting songs from a very talented songwriter, singer and musician.
To go to the 7 Records web site click here
Review by J.R. Oliver
The Catholic Girls,"Summer Vacation"- [CD single] (Cinema Records)
Another cd single for you but this one is just a sneak peek of what’s to come from these veteran Jersey girls. The Catholic Girls have been around since the eighties. If you’re a guy in your mid to late thirties you probably remember seeing the Catholic Girls debut album in the record bin at your local record store. The cover shows them on a school bus, in full catholic schoolgirl regalia, holding their guitars and looking anything but holy. This is the original line-up of the Double Cross Schoolgirls, the name they used before they became the Catholic Girls. This cd single has two songs and a bunch of interview clips. The first song is “Summer Vacation”, a catchy Bangles flavored tune. The second song, “Rock’n America”, has more of an edge. It’s a tribute to Joey Ramone and the whole thing has a real Patti Smith vibe. I for one, will be looking forward to the full length.
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Review by J.R. Oliver
Iron Savior,"Battering Ram" (Noise Records)
Iron Savior, to put it succinctly, ROCK. If you prefer old-school, "real" heavy metal to the current prevailing brand of metal, then rejoice at the coming of this, the latest in a long string of Iron Savior releases, the first dating all the way back to 1997. For starters, with a song called "Heavy Metal Powered Man" on it, how could this album be anything but brilliant? This is pure balls-to-the-wall power metal at its German-born best, boiling the metal art form down to what it should be: fun. With little of the anger and angst that seem to permeate the "modern" metal scene to be found here, this is just four guys playing loud, fast music, not taking themselves too terribly seriously, and having fun with it. These guys aren’t afraid to be old-school, delving into themes that today’s breed of young metal bands would consider absurd, with sometimes fantasy-tinged and always enjoyable, fun lyrics reminiscent of metal legends like (yes, I know, everyone mentions these two together, but it seems appropriate) Maiden & Priest. So, to cut this review short before it becomes too long (that made sense, right?), Thomas Nack (drums & percussion), Joachim "Piesel" Küstner (guitars & backing vocals), Yenz Leonhardt (bass & backing vocals), and Piet Sielck (guitar, lead vocals) are four guys who know what they’re doing and do it damn well. Buy this album.
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Review by Review by stay (sic), The Maggot
Churchill's Tractor,"Songs in the Key of Cheese" (Mr. Meow Records)
This is probably the strangest thing I've ever heard. It's one of those albums that I keep turning off because I can't take any more, and then a few hours later I find myself putting it back on and turning it back up, for just one more listen. It's like crack: you know it's bad for you, but you just can't stop. It's annoying, it sounds, quite frankly, like crap, and I can't put my finger on a single redeeming quality, but obviously it must have some, because why the hell else would I keep listening to it? With songs like "Put It On, Turn It Up" and my personal fave "Araya," a song made all the more hilarious by the fact that it's true, as even I, a Slayer fan, must admit (just listen to the song if you wonder what the hell I'm talking about...), this annoying but catchy album has a little something for everybody, assuming everybody doesn't mind being annoyed. If you like quirky, original, undeniably entertaining music, check this out. If not, what the hell are you doing on this site?
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Review by Review by stay (sic), The Maggot
Stimulator,"Stimulator" (Stimulator Records)
Is this a throwback to when bands like Blondie, Missing Persons and Pat Benetar ruled the roost and new wave was the new wave? Well, not exactly. This has a bit more to offer than you may get at first listen. Lush multi-layered songs like “78 Stimulator”, “How Far Would You Go? (Die For Me)” and “Complicated Girl” reveal more with each listen. Not surprisingly, Susan Hyatt’s former band Pillbox snagged a top 20 hit in the U.K. where she was also a well known VJ on Londons’ MP3TV. Her partner in crime, Geoff Tyson was formerly the axe-man for Snake River Conspiracy and onetime protégée of guitar guru Joe Satriani. This release doesn’t sound anywhere near as raw as I prefer but I’m sure raw is not what they were shooting for when they recorded it. Hey, there’s an Olivia Newton-John cover here!
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Review by J.R. Oliver
Various Artists,"Shakin’ In My Boots: A Texas Rock N’ Roll Compilation" (Licorice Tree Records)
Licorice Tree Records is becoming one of my favorite labels. Two damn fine releases in one month. First with Thee Fine Lines killer debut full length release and now with this very cool garage rock compilation. “Shakin’ In My Boots” kicks things off with the Stepbrothers “Shut It Down”, a catchy little finger snapping slice of garage blues. Next up is the Ugly Beats with “I’ll Come Again” which is pure Nuggets perfection. The Dragstrip Bros. serve up some killer surf with “The Assassin” and the Golden Boys reach a psychotic reaction frenzy with “I Want You”. Eleven of the fifteen bands featured on this compilation begin their name with “The” so you know its garage rock before you even stick it in the player. Licorice Tree hit the nail on the head with this one. Now my only problem is figuring out which bands full length release to get first.
To go to the Licorice Tree Records web site click here
Review by J.R. Oliver
Amberjack Rice,"Get So Little" (Indie Release)
This album has got all the “stand up and shout” of a Sunday camp meeting, all the “hard work and hard times” of a delta sharecropper and all the “slow dancing and steamed up car windows” of a fifties high school dance all rolled into one. Rice has a sound just raw enough to it pull it off without sounding cheesy or mocking. This guy truly does love the different rural styles of American music showcased here and it shines through on every track. It’s like the Blasters playing gospel, country and blues instead of rockabilly. Highly recommended.
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Review by J.R. Oliver
Blue Sand,"Changed Names & Slaves" (Uzduz Records)
Liam Gallagher meets Paul Weller in a pub, they knock back a few pints then bump into Matthew Sweet, beat him up, steal his songbook and head to the studio. All in all, a well crafted pop album with dreamy, high-brow lyrics designed to make you feel all fuzzy inside. Tight songs with even tighter hooks. If you like a well crafted, radio friendly, pop song then I’d say this is for you.
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Review by J.R. Oliver
Vero,"How Does It Feel" (Among Giants)
This band, this album, I must admit I'm still somewhat undecided about. As a fan of bands like Seether and ShineDown, I like it. It has the same general sound and feel of those bands and their ilk, a sound that I, much to the dissapointment and amusement of several of my friends, have come to like way more than even I admit I should. But on the other hand, my reason for liking it is precisely the same reason why I don't like it. It's exactly the same as everything else. So I'm torn between liking them because they sound like other bands I like, and disliking them because they sound too much like those other bands. Bitchy sit, eh? So basically I guess it comes down to this: while they could use a bit of originality, they are nonetheless a pretty good band, if you like their style of music. So if you like Seether or ShineDown, you'll probably like this band, so check them out. If not, you're not really missing anything if you pass them over.
To go to this artist's web site click here
Review by Review by stay (sic), The Maggot
Eek A Mouse,"Mouse Gone Wild" (RAS/ Sanctuary Records)
My first thought, upon hearing Eek A Mouse's latest release, Mouse Gone Wild, was "My God, this is absolute garbage." Then I thought, "No, I'll give it a chance, and not just condemn it right off because I personally don't like it." But I was right the first time. With absolutely no redeeming qualities save the occasional funny lyric, this album takes the current trend of Rasta-flavored "Jamaican" pseudo-rap to a whole new level of absurdly stupid absurd stupidity. Now, I know that sounds incredibly juvenile and not in the least professional, but I am horribly juvenile and not in the least professional, so I can get away with that. It's not like this is a paid job or anything. But I digress. Back to the review: With songs like "Pussy and the Mouse," a song seemingly about some torrid act of oral sex, and "American Girl," an über-clichéd about (surprise!) an "American girl" that turns into an equally-clichéd creepy stalker song, this album tries to be funny, but, for the most part, fails miserably. The only thing other than the aforementioned occasional funny lyric that might possibly be seen as a redeeming quality for this CD is that the great and powerful Tricky was somehow convinced to do a couple remixes at the end. But other than that, I personally found the whole thing damn near unlistenable. But, as with anything, I recommend that you make your own judgment. Those among us who like that "jamaicanese" pseudo-rap stuff just might like it.
To go to the RAS Records site click here
Review by Review by stay (sic), The Maggot
Sleep with You ,"Transcendence" (TMG Records)
When Ronnie, the creator of Ear Candy, sent me this CD to review, I was looking forward to hearing something a bit different. Well, as they say, you can’t shoot the messenger. God this is dismal. We all know this band. Ed Hale, who this band seems to be nothing more than a vehicle for so that he can have his one last grasp at stardom, has placed himself in the center of some musicians that he has lured to the band through tales of near misses. This band is reminiscent of Collective Soul. If you have been in the music scene in Atlanta for the last 20 years, you saw Ed Roland lead a number of bands in town and finally strike gold with Collective Soul. Everyone is very aware that the band is nothing more than a vehicle for Roland. The difference is that Roland is generally a humble guy. Ed Hale is the same thing to Transcendence, only he’s disturbingly more conceited. It is hard to get through the elaborate CD packaging and not get a very strong clue that Hale is extremely sure of himself. Sure of himself to the point that he sucks the life out of the band. Enough of my character assassination, it is time to talk about the music. Bland. Radio friendly. We will do whatever it takes to make the kids happy. Cruise ship rock for the lounge rockers. Crap.
I hate writing stuff like this, but one look at the bands website where you can see pictures of Hale thoughtfully tapping out his daily thoughts on his laptop, and you too shall see why this is so, so sad.
To go to this artist's web site click here
Review by Jack Teague
The Wildhearts,"The Wildhearts Must Be Destroyed" (Sanctuary Records)
God yes. The Wildhearts. It is not fair for me to do this review because The Wildhearts are one of the greatest bands on the planet and anyone who thinks otherwise can ….. You get the point. These guys are great. This CD is great. Ginger knows how to write some catchy tunes, and we here in the states are just now getting it. If you want someone else’s opinion, read interviews with other musicians who have worked with The Wildhearts, and you will hear nothing but praise. It is very similar to Atlanta’s Butch Walker. No huge hits, but more compliments than he knows what to do with.
The Wildhearts Must Be Destroyed is only The Wildhearts third genuine release. Oh, they have released a plethora of extended singles and b-side collections, and in between Wildheart CDs, Ginger released quite a few CDs with other groups that he formed, but he seems to do his best work when he is with The Wildhearts.
I have railed against groups that are no more than vehicles for a star, but The Wildhearts do not fall into this category. While Ginger writes the songs, there is no doubt that the other three members have some say in how things operate in this band. It is like watching four brothers on stage that are either going to beat the hell out of each other or play a great show. 3 of the 4 original members of the band are still present with only the recent addition of bassist Jon Poole being the change from the 1993 line-up.
The Wildhearts Must Be Destroyed is a wonderful mix of metal pop madness. Ginger is able to write thrash with pop hooks and ballads that you are not embarrassed to admit liking. Songs like Nexus Icon, Vanilla Radio, and So Into You are all fun, fast, and furious and should be radio staples in every town. One Life, One Love, One Girl is a wonderfully sappy love song that also deserves airplay. All Wildhearts CDs are a strange and wonderful mixture of styles, and this one is no different. Buy it. See the band live. Get on Amazon.co.uk and start getting the imports. The fun awaits.
To go to this artist's web site click here
Review by Jack Teague
Ruth Ruth,"Right About Now" (Indie release)
Ruth Ruth, comprised of Chris Kennedy (Bass/ Lead Vocals/ Songwriter), Mike Lustig (Guitar), and Christian Nakata (Drums), has been in existence since 1993. I first stumbled upon them in 95 or 96 when they were on tour with the soon to be (in)famous Everclear.
Without knowing who they were, this jaded music hack and Art Alexakis of Everclear stood in front of the small stage at The Point watching this three piece play their hearts out. Let’s see. The year was 95ish, so grunge had reached its saturation point, and the band Weezer had just finished its first assault on America with the Blue CD. As we stood watching, you could tell those in the audience who were fans of the perfect pop song.
The songs were like a variety of short stories sung to music that was full of hooks.
The vocalist, bleached short hair and seemingly uncomfortable in his own skin, never seemed to leave his floor position, but he twisted as if in agony. The guitar parts in the songs exploded due to the heavy-handed attack on the strings instead of an overdriven Marshall. By the last song of the set, Alexakis looked at me and said “Woody Allen!”, and I looked at him and said,” Elvis Costello!” With that ending the conversation, we shook hands and I never saw him again. American Records released Ruth Ruth’s Laughing Gallery CD soon thereafter, and while it did not beat out Everclear’s new CD at the cash registers, it is Chris Kennedy’s and not Art Alexakis’s songs that I find myself humming the most.
Due to a lack of airplay, Ruth Ruth missed its chance at superstardom and retreated to NYC to figure out what to do next. They had to decide between selling their souls at midnight in front of Crif Dogs, where Satan is known to hang out for the best hotdogs in NYC, or continue perfecting their craft by putting out their own records. They chose independence. Now this is where you, the reader, come in. Don’t let these guys slip by. You have got to check this stuff out. The new CD, Right About Now, is a wonderful collection of exquisitely crafted pop gems that continue to tell wonderful tales as they did in the past. There is no over bloated ego here. Kennedy’s songwriting has not changed due to attempts at fitting in with the latest style of music, but instead, the changes are due to the maturity of the songwriter and the changes that have taken place in his life. Lustig’s guitar work is still concise with a hint of near distortion that makes me want to crawl on stage and run the dials to 10. It was
recently that I realized that that “near distortion” in both Kennedy’s vocals and Lustig’s guitar sound is what makes the songs so wonderfully intense. My advice is – Step # 1 - Go to the Ruth Ruth website. Step # 2: Buy the Laughing Gallery CD, a masterpiece in my book, as well as a copy of the Right About Now CD. And finally, Step #3: Compare the new with the old and see a refreshing example of growth in a band, better yet, growth without compromise.
To go to this artist's web site click here
Review by Jack Teague
Sumner,"A World of Horses" (Indie release)
This CD has some interesting moments, but they are few and far between. "Gone" is the best Oasis-sounding song that beats anything the Gallagher Bros. have done in many moons. The funk instrumental "Tyson Pt. 2" is the only other interesting track. Sumner is more interesting when he rocks out and he doesn't do so often. His slower, ballad-type songs aren't bad...they just don't stand out and are non-descript. Sumner kinda comes off like a new version of that '70s band BREAD. The aptitude is there, but the songs aren't.
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Review by Ronnie
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