The Workers - "Theatre of the Distraught" EP
(myspace.com/theatreofthedistraught)

The Workers’ four song EP is very left much left field in the same way that Violent Femmes, or They Might be Giants are. Musical and lyrical banalities that are transformed via unexpected juxtapositions into deliciously deadpan whimsy. They seek out the strange, sonic textures that the others possess, while staying true to themselves. The Workers talk-sing in homely (sometimes funny), voices, and their lyrics are nothing, if not off-the-wall cool.

A consciously eclectic collection of styles somewhat primitively performed, they are embellished with tuneful guitars, and an offbeat rhythm section (think Frank Zappa & The Mothers of Invention). Lyrical images abound as The Workers strive to bring the genre forward into the present, with a cagy eye to what Zappa, The Femmes, etc., have created before.

Despite their intellectual leanings and occasional concerns about the dark side of human relations, Theatre of the Distraught possess an innocent, almost childlike sense of wonder, and even happiness. Each song, including “Aggression,” “Leave You With I Love You,” “Cat’s Eyes,” and “Single,” each have so much going for it that it takes more than a few listens to catch it all. This album is highly recommended to listeners with a sense of adventure, and also for those who need one.

Dirty Sweet- American Spiritual (acetate.com)

Initially, I’m thinking that Dirty Sweet are a really good pop/punk/glam band. Then, about halfway through American Spiritual they beef up their sound even more with what sounds like The Gaslight Anthem’s bedrock style of rock ‘n’ roll. The band displays surprising melodiousness (“You’ve Been Warned,” “Star-Spangled Glamour,” or “An Empty Road,” for starters). Actually the whole album is given a fresh face and a driving beat, and once an a while they sculpt a wall of noise to bring all the components into sharp focus.

In place of posh slickness, and overbearing guitars, Dirty Sweet simply play it old-school.- Roots rock ‘n’ roll with modern themes. “Kill or be Killed” has the pulsing energy, and melody that would make a great lead single.

Songs like “Crimson Cavalry,” “Give Up. Get Up,” or “American Spiritual” walk the line between 60’s optimism and today’s street reality. The message; it isn’t easy growing up these days. The cure: turn up the volume and get down to what’s real with these eleven trust-worthy tunes.

Where some bands with this measure of talent may be prone to overzealous, conceptual shenanigans that could easily spiral out of control, Dirty Sweet offers controlled chaos without the baggage that is usually associated with a band that tries to be everything to everyone. Dirty Sweet definitely dance to a different drummer. A full album’s worth of memorable rockers written, and played in the band’s soon to be inimitable style.

Brian Goss - The Firing Line (briangossmusic.com)

“What a brilliant disguise/ Till I seen that train wreck in your eyes/Tell my son I said hello/ Hold him close and let him know that daddy loves him”- “Trainwreck in Your Eyes”

You know that dopy, over-used saying, “You had me at hello?” Well, Brian Goss had me at ‘What the fuck were you thinking? Asshole!’ The lines in the above song touched every nerve in my body. It felt as though they were specify written about me, and my relationship with my son and daughter. I don’t usually get this personal with reviews but there was really no way around it. Brian Goss’ emotional depth and creative range are amazing.

Leaving behind any trace of the stagey kind of rock band, Brian and his band bring strength and integrity to these ten songs. They exorcize the demons in us all, yet they can hold together a steady beat, sometimes in quaint, waltz-time rock, or as a graceful, meticulously constructed ballad (“Time to Fold”).

Most songs connect either emotionally or musically, and can wander in any direction (“Devil’s on the Telephone,” “Bambu or EZ Wider,” “Gig”), but the idea of consistency is foremost. Clever lyrics will get you part of the way, but if your heart is in the right place, and you’re talking TO the listener, and not AT them, that’s what makes a good song great.

“Tina” is a good example. “I’ve seen you falling down on the bathroom floor/ While all you friends are searching for more.” It’s hard to fake sincerity. It’s either there or it isn’t, and it’s here all the way through The Firing Line. The band can play it like XTC or Train, with jagged, rhythmic guitars, or intricately swirling melodies. Brian’s vocals are always reaching for something. Like Jeff Buckley, he connects with first, himself, than the audience. Neither shy away from discordant strangeness or familiarity, creating uncommon pop music with claws. Distinctive, artistic personalities abounds in every song.

Rebel Inc.- 6 Song EP (myspace.com/rebelincmusic)

Fully dynamic, Rebel Inc.’s music comes close to melding the styles of Rage Against The Machine and R.H.C.P., yet their self-titled album is raw, immediate, and hook ready. Rebels Inc.’s unique punk/metal blitz emphasizes both the afore mentioned band’s musical girth, plus they add their own take on politics (“March,” “909 Revolution”), and society (“Shake ‘Em Up,” “Broken Man”).

Bracing rather than brooding, the overall tone of the band’s music is powerful but not overwhelming. Their venting is focused, and at times tongue-in-cheek, but they drive home the point of every song on this 6 song EP without being overbearing. Rebel Inc.’s rock crunch stretches out over a wide terrain, building bridges rather than burning them.

The EP is consistently good, with “March,” “Everything That You Hate,” “909 Revolution,” and “Let it Go,” bearing repeated spins. They should be in the New Jersey area sometime this year so check their myspace page for shows and more info. Rebel Inc. are one of those bands that butt their way into prominence through sheer persistence. They add chapter after chapter to the Great Rock & Roll Manifesto.

Jeff Riddle - 16 Reasons to Kill (myspace.com/anarchypancakes)

Injecting clever humor with acoustic folk and punk, Jeff Riddle easily bypasses self-coconscious artiness, and aims right for the creative rather than the tried and true. And don’t think for a moment that these are16 songs of just snide remarks or just hypocritical ranting. Songs like “Broken Record,” or “Black Cloud” are intelligent, well written, and unpretentious.

Employing an uninhibited punk style that seems to reflect whatever springs from Jeff’s life experiences, lines like, “I’ve got crack in my knapsack,” from “Creeper” or “Drink and Drive” which, although laughable, is actually deadly serious about the way our personal rights are being eroded away while most of us sit quietly by. The cover of The Yardbird’s “For Your Love” is both as infectious as the original ,and is also brought out of the garage, and given a brighter pop rock feel.

One of my favorites (of which there are many), is “Vinyl Platter.” “Everyone is growing up around me and I don’t care/ serve my heart up cold on a 7 inch vinyl platter/ microwave it at 45 revolutions per minute/ then wipe your ass with it, who cares? No one ever heard it.”-Damn, Jeff gets right to the heart unfortunately, of what it’s like sometimes to try to get someone to listen to your music. There is not a drop of energy lost throughout these 16 songs. Straightforward, fun, and at times disheartening, Jeff Riddle’s biting wash of acoustic folk punk is akin to Billy Bragg, and in some instances Woody Guthrie. Jeff shows a ton of personal vision, drive, and the straightforward, inestimable influence on and for the punk movement.
Being prolific and confident, while being able to inject wicked humor into your music is not something you can practice- you either have it or you don’t. Jeff Riddle rocks from wall to wall!

The Graves Brothers Deluxe - San Malo (gravesbrothers.com)

Not only is “San Malo” inventive, but it’s also an enjoyable throwback to bands like Nick Cave & The Bad Seeds, Southern Culture on the Skids, or any of those cool-as-fuck, demi-punk garagey bands. You know what I mean, like the bands who’s vinyl albums you have a hard time trying to get rid of, because you know they’ll never come up with a band as eclectic as they are.

Enthusiasm and melody are certainly not a problem here. Songs like “I’m Fine,” “Vulture Sing,” or “Noisy King of Nothing” are low-brow, compressed with high energy, and have a polite blowtorch vocals that could boil over at any minute.
When the tempo slows down on numbers like “Vulture Sing,” or “My Heart Burned Down Today,” they draw you in like a hypnotist.- Tantalizing, taunt, and tight.

The Graves Brothers Deluxe’s pull out all the stops for the neo-psychedelic, spiderwebed sound of “Noisy Kind of Nothing.” A running bass line (just about every song here), is dominate, but not forceful, and is well supported by a pulsating drum kit, marked by cymbal rolls and floor tom flourishes.
Playing with punky venom, but without pop slickness, the band’s goth-horror edge offers doses of humor, and tongue-in-cheek-truths.

Bands like The Graves Brothers Deluxe are sometimes viewed as a novelty act, but they easily avoid such trappings by remaining uniquely cool. “Song for Mating Mailmen” squashes any thought of pigeon-holing this band. Creative and fun, it’s time to turn off the TV, unplug the video games, and tune into something unique and original!

---

RED FLAG FLEET - “Magnetic Variation” 4 Song EP
(Myspace.co/redflagfleet)

I caught Red Flag Fleet with the Boss at one of Lazlo’s (Blowupradio.com) shows at Buddies Tavern, in Parlin, NJ a few weeks ago. They are definitely not the type of band that you would sell on self-hype, with the music as an afterthought. Like at their show at Buddies that night, their EP EARNS your attention with a solid, alt-rock sound. “Going Blind Again” builds like The Catherine Wheel’s “Black Metallic.” It washes over you head subliminally, but steers clear getting on the latest musical bandwagon. Just draw a mental picture of a young band in their twenties, tee shirts and jeans, thrashing away on guitars, drums, and heartfelt vocals, with the world-weary savvy of a band twice their age. Red Flag Fleet confidently play to their alternative pop strengths while consciously working against pigeon-holing. Sticking heartfelt lyrics into irresistible melodic tunes, opens the record up to crisp a wash of vintage sound with thoroughly modern versatility. This EP is just that, four good songs in which the rave-ups build, and are highlighted with reams of invention.

THE PLAIN TRUTH - 5 Song EP (myspace.com/theplaintruth)

Somewhere in that genre-within-a-genre (think, Faith No More hangin’ out at Asbury Lanes with The Dave Matthews Band, bowling a few frames and checking out a punk band), lies The Plain Truth. But once you get past the initial resemblances, this trio’s first record reveals a diverse blend of styles and influences, on their way to becoming a clearly defined The Plain Truth sound.

“Wheels” for instance, has a storming post-punk vibe, and generous gear shifts. Hooky songwriting, like on, well, any song here really, plus Brian Plaine’s endearingly zesty vocals ( he also lays drums), helps distinguish this self-titled album from lesser genre fare. With Yoav Thaler on guitars, and Anthony Mancebo on bass as their anchored rhythm section, are a big part of why the band hasn’t ventured too far from the garage, and that’s a good thing! With a range that covers pop, punk, and rock this is an impressive, and promising debut.

GALACTIC - ya-ka-may (Anti-)

The Beastie Boys-Meet-Parliament/Funkadelic And Take A Road Trip To New Orleans in a VW Micro-Bus

In the press kit for the new Galactic album ya-ka-may, it’s states that, “This Is Not Your Father’s New Orleans Record.” And although there are classic, New Orleans-style tunes like “Dark Water,” “Heart of Steel” (featuring Irma Thomas), “Bacchus” (featuring Allen Toussaint), and a few other distinctive dynamos, there’s also occasionally genre-bending music called “bounce,” which is a blend hip-hop, funk, and all-things-New Orleans.

It was kind of hard to wrap my head around “bounce” (I‘d like to see how it plays out live), but it’s not a deal-breaker by any means. If you like vibing-out to George Clinton’s (P-Funk), pioneering, old-school urban blues/rock, in a stunningly original, and outlandish mix, then this is it!
Galactic has been around for what seems eons, and on ya-ka-may they never lose their urgent, joyous, party atmosphere! The band’s most noticeable, and trademark colors are brushed onto every song, yet the album cuts into the middle ground between all the afore mentioned genre’s taking a quantum leap without sacrificing the human touch- real musicians playing their instruments, and not a trace of auto-tune or prerecorded crap.

Galactic shift towards a brighter, more open sound, developing stories (“You Don’t Know,” “Double it,” “Liquor Pang”), and creating music that is uncompromising, and songwriting on the common elements of everyday life, that is danceable.

“Speaks His Mind” sounds like a page out of Curtis Mayfield’s songbook, which helps to develop the band’s musical range creating natural, urban landscape that anyone could relate to. While they could jettison the unnecessary, and rare “Hey Mother Fucker” riffs, the electronic graffiti that the whole album offers is ingenious and adventurous. If you’re a fan of Galactic, Ya-ka-may will challenge the you, but in the end it’s a win-win situation.

BREWTAL THIRST - “The Hard Work” 5 Song EP (Wet Brain Records)

These abrasive punks rage for the good fight against racism, oppression, everyday wrongs, and just about anything else that’s a big pain in the ass. With tribal, punk rock dance rhythms, Brewtal Thirst create a didactic soundtrack that barely lets you catch your breath. Credible rock minimalists, they sound like a firestorm on cuts like, “Bad Dream,” “Hard Work,” and “Freedom Ride.” The latter song is chock-full of punk’s gritty DIY ethos, that fits neatly in with these noisemeister’s appreciation for music, which is fueled by a band that reaches, rather than settles. Despite the band’s “brewtal” punk sound, their’s is a controlled rage, albeit an equally ill-tempered- punk stew. Simultaneously, nods to UK old-school punk, and assorted, forgotten US garage bands that use to reverberate in the vinyl canyons, are all recorded as loud, dramatic choruses. Brewtal Thirst create dark chord riff rockers with grit, and rowdy circle pit enthiauism. The raw- yet detailed production is blisteringly ragged, but not overdriven.- Pure, balls-to-the-wall punk rock! The best songs here, which is actually all of them, leave permanent scars, as opposed to the mere flesh wounds of their more prominent contemporaries.

---

Shannon and The Clams - I Wanna Go Home (1234gorecords.com)

Ok, right from the get-go, I’m hearin’ some of the coolest, psych-o-delic punkabilly this side of Wanda Jackson!! The lead singer ( no names given in the bio), starts off the opening cut “Troublemaker,” with a attention-getting shout-out, ala Wanda’s “Let’s Have a Party.” Both tunes are call-to-arms rebel rousers that will have you, and your date out on the dance floor!

This trio is your parents worst nightmare (wait a minute, I am a parent-lol)! The band’s over the edge, your-Mama-don’t-dance-and-your-Daddy-don’t-rock-n-roll vibe is evident throughout “I Wanna Go Home.” “You Can Come Over,” “Blast Me to Bermuda,” “Cat Party”-actually just about any tune here features throaty growls that, rarely, have I had sounds so strong and credible. Actually, they do hit a slow dance pace on “Waiting for You,” and “Cry Aye Aye Aye.” Both are submarine watching-worthy with a solid, 60’s mojo of Leslie Gore, or The Ronettes.

Otherwise, it’s like The Cramps-meet-Joan Jett and The Blackhearts.- Solid, foot-stopin’ fun! As the rhythm section pounds out 50’s inspired garage rock that resembles all of the above mentioned bands, they easily achieve originality time and time again that is not obligatory or superfluous. The trio easy, and deftly avoids genre slavishness, and never ever fails to be exciting on their own merits. I know I pretty much repeated what I said in the last two sentences, but Shannon and The Clams (cool name), are worth repeating, again, and again, and again…

The band’s short songs (about three minutes and change), work well. This is a band that doesn’t need to express themselves in long, drawn-out epics. Roughing up R&B, soul (think New York Dolls), and advancing garage, punk, and rockabilly, The Clams spread the gospel according to The Stooges (The Stooges finally got into The Rock ’N’ Roll Hall of Fame- along with Abba, but that’s another story), which is a tribute to the group’s forceful musical personalities. Full-throttle, fast and loud, Shannon and The Clams are the band you’ll want to see live, after hearing “I Wanna Go Home!!”

The Yum Yums - Sweetest Candy (kidtestedrecords.com)

“The first time I heard The Yum Yums I couldn’t believe there was a band this good that I hadn’t heard before. They’ve been around for a few years by the time I found them in my travels (they’re from Norway), The Yum Yums would have been perfect for Lookout Records back in the mid-nineties with MTX and Screeching Weasel and The Smugglers and the rest of us… When I hear a song or album I really love, I’ll play it over and over a million times in a row for about a month… That’s how I feel about The YumYums when I first heard them. They were way better than I’d hoped for, and though largely unknown in the US, they’re one of my favorite pop punk bands of all time.” - Joe Queer- April 2009 (from the liner notes)

At a time when wanna-be, superstar pop punk (you know who you are), pomposity is rearing it’s ugly head again, and cabin fever is at it’s zenith, here comes The Yum Yums! ‘Intensity’ is the operative word throughout all 25 songs (not a clicker in the bunch), that will broaden your (and mine), rebellious spirit on a national and international musical upheaval.

As reference points I’m hearin’ 70’s Raspberries or Rubinoos simplistic (yeah, let me see you write simple boy-meets-girl rockers like this, and not be pretentious or redundant), 80’s Eddie and The Hot Rods, 90’s Evelyn Forever pop punk, and it’s bursting at the seams with originality, and a wicked cool sense of humor!!
I’m on song #18, “Here Comes Summer,” an original, and I’m transported back the Point Pleasant Beach (check my photo for Pop Vulture), sucking in the sun’s rays, digin’ my toes in the sand…ahhh.. and it’s actually the middle of Winter!! Hell, I’m throw this one, along with the rest of the album on my Ipod. They’ll definitely keepers!

The production is a hot, bubbling-over, rock ‘n’ roll stew that any band would give their left nut for. A lot of the songs on Sweet Candy epitomizes the spirit of 70’s/80’s New York punk pop, with a working class aesthetic. Ramonesian/B-52’s goofball humor is evident on tunes like “Crazy Over You,” “Baby I’m so Lonely,” and The Yum Yums cool-as-fuck tribute to The Trashmen’s “Surfer Bird,” “Bird Dance Beat.”
And speaking of tributes “Punk Rock Comes Through” sounds like The Yum Yums’ torn a page out of the Bouncing Souls songbook.

Good, clear Beach boys-like harmonies, and vintage keyboard riffs abound throughout Sweet Candy. In fact, The Yum Yums’ “9.999.99Tears” pays homage to ? And The Mysterians’ 60’s garage rocker “96 Tears” without a drop of pretentiousness, proving that you don’t have to be prolific to be cool.

Bold, taut, brightly jangly guitars spark a rhythm section that displays it’s might and muscle like it’s the last song they’re ever gonna play. The Yum Yums’ punky melodicism wails with the urgency of a siren at night- a startling wake-up call from a band that has extreme, and canny command of tuneful pop punk songs (all of the songs here), like nobody’s business!

62 minutes and 35 seconds Of Bop ‘Til You Drop, Pop Punk! Repeat When Necessary!

Cute Lepers - Smart Accessories (1234gorecords.com)

The opening cut “Some Hits Hurt,” is tight, the lyrics hit the mark sharply, and your drawn directly into the entire album from that point on. “Smart Accessories” has the manic mojo of Bowie’s “Suffragette City.” A guitar/vocal/horn driven, take-no-prisoners rocker, the Cute Lepers add sass and spunk in their own punk/glam style. Their blitzkrieg approach throughout the album won’t let you press the pause button, never-less stopping the disc anywhere but at the end.- And than, you’re gonna wanna play it all over AGAIN! Throughout Smart Accessories there is intense explosions of proletariat punk bringing to mind the Ramones (“No Escape”), The Jam (“Berlin Girls”), but even with all the comparisons, Cute Lepers are definitely, flat-out original!

Songs like “Dirty Baby,” “World of Suspense,” or the closer “Fall to Pieces,” with it’s fast, rock ‘n’ roll noise, have a blistering beauty about them that showcases the band’s lyrical and musical sculpturing skills.
The band never ever loses it’s footing or momentum as they forge ahead fleshing out catchy riffs that never drift into ponderousness.

Awesome guitar work, a rhythm section that is relentless, and bright, snotty vocals that explore widely accessible punk pop modes, are welded to strong melodies resulting in unexpected juxtapositions at times. This is one of those very few albums that finally, and fully realizes why you got into punk in the first place.
Rather than falling into the trap of trying to make a profound statement, Cute Lepers give you the tools to build what you want from their songs. They supply the ear-catching melodies, striking ideas, and creative energy.

Neck - Come Out Fighting (candlelightrecords.com)

“I like a few of the bands that are combining Irish music and punk- the Tossers, Neck from London and Flogging Molly from L.A.”- Ken Casey, Dropkick Murphys. From Neck’s press kit.

For now, Neck has borne the bridesmaid’s mantle as other bands like the ones mentioned above have taken turns on the Celtic punk rock circuit on The Next Big Thing pedestal (and all, well deserved at that). It’s easy to see why: Neck is as every bit as powerful as any of the afore mentioned bands, but once you get past the resemblances, Come Out Fighting reveals an amazingly diverse blend of styles and influences that signal that the band is on their way to becoming a clearly defined sound. For instance, the opening cut “Come Out Fighting” starts off with a bell ringing for what you might imagine would be the first round of a title fight. With a range that covers the storming Celtic genre to sweaty punk rock, the song is enormously promising, leading you into the album with sweet abandon.

Positively lighting fast in both speed and brightness, the album boasts structure, and a drummer (band members names not given), and a steamrolling bass player who can marshal the music along most effectively. In fact, the band is capable of building a whole wall of wail, that is bursting at the seams. Listen to “Tink,” or “Acalpines Fusiliers” for starters, and then take a sweet, traditional ballad like “The Homes of Dunegal,” or “The Foggy Dew,” and you’ll hear them turn into a rough ’n’ tumble number with full band interplay, that swirls, dives and swoops with ease.- Pristine, but without any melodrama.
Neck is compelling, and also has a wide swath of humor. On “Hello Jakey!” and “Always Upsettin’ Somebody,” they perform with a rip-snorting, free-for-all edge that is both zany and heartfelt, and most importantly, a strict avoidance of any sort of solos.- It’s buzzy fun with a message.
“The Star of the County Down,” and “I’ll Still be Blue Over You,” proves that Neck are not wanna-be poseurs. They flirt with mainstream approaches as bluesy rockers (epically on “The Star of the County Down”), but that only broadens the band’s appeal.

Neck’s album “Come Out Fighting,” is sheer gonzo exhilaration, and they are one of those bands that can get you nutso for Irish punk rock!

True Love - Pas Net! (Mainmanrecords.com)

At times ruggedly real, True Love’s new album Pas Net has bottomless emotional depth, simplicity, and candor. Featuring Keith Hartel on vocals/ bass, Tom Beaujour on vocals/ guitar, and Ray Kubian on drums/ vocals, the album serves up new melodies, and at times revisits and refreshes older ones.

Tastefully fired-up arrangements match the band’s exuberance- the perfect compliment to their articulate songwriting, and deep insights about such familiar topics as faith, family, and self-awareness.
True Love makes fine and fair use of a few pages from The Kinks’ and Todd Rundgren’s songbooks.

“Bitter Wine” has the feel and moxie of The Kinks’ Muswell Hillbilly era. Artful, minstrel rock at it’s finest, Also throughout the album, Rungrinesque songs of off-kilter pop rock, underpinned with flourishes of art rock that excite you senses abound, and draw you into songs like “Ice,” “Born Against, or “Monolithic.” The latter song is concise and refreshing with it’s versatility, and backwash of sound.
Inventive, pop rock/alternative that skips across genres without having you scratching you head.

The last song on the album “Wing Commander,” even with it’s military references ( you could also read them as references to God), is uplifting, subliminally explosive, and the joyful playing shows how tight and energetic these guys are. True Love’s passion, spirit, and intelligence come to the forefront time and time again in a strong display of craft and talent. You’ll not soon tried of repeated listening.

Shakey DeVille (myspace.com/shakeydeville)

Cure Southern Culture on the Skids’ hallucinatory madness just a smidgen, but not their junk-culture mentality or careering noise. Add punkabilly rhythms and some revved-up guitar licks, and that pretty much describes Nashville’s zealous Shaky Deville. America’s only hard-corn (definitely not trailer trash), band.

Whether they’re delivering an ode to tattoos (“Tattoo Man”), or just kickin’ out the jams (“Let’s Roll”), the band’s (M.S.B.DeVille on vocals/guitar, Todd Slocum on drums, Johnny Foodstamps on bass, Honey Gunn Carr on accordion, and Mike Gusher handling back-ups, and screams), colorful guitar work, four-on-the-floor punk overdrive, and depraved sense of humor (ummm…check out a few of the band members names again, for starters).

I know I’m dating myself, but the opening cut “M.T.V.” has the molten mojo of Spirit’s (60’s psychedelic rockers), “I Got a line on You.” A galloping, rock ride, punctuated by DeVille’s no-holds-barred vocals.

Freewheeling and fun, Shakey DeVille’s songs are loaded with local color (“Prayers,” “Alabama 10”), yet they can relate to all of us- as long as we all have a winning, sociopath outlook, which is a good think here.

These ‘billyrockers roar through familiar-sounding originals that crisscross through the Cramps, Mojo Nixon, and Reverend Horton Heat territory. These convincingly, semi-obvious anthems are razor-sharp, smartly played hooks that grow more impressive every time I listen- and I listen A LOT!

This album is a raucous and funny souvenir of what Shakey Deville’s is capable of live. I heard they tore the roof off Asbury Lanes when they played their last year!

Cassette - Shinning Like a New Dime (bakeryoutletrecords.com)

Folk, simplicity, melody, and wisdom, are a few of the touchstones that come to mind for Cassette’s emotional compositions. Comprised of Samantha Jones on guitar/vocals, Kyle Vegter on cello, Brian Hemessey on bass, and Lenny Rutland on piano, create a vibe that blends their own ideas with that of Ricky Lee Jones and Erin McEon along other folk rock poets. They polish the best aspects of both artists to a sheen, and create music that advances the tradition rather than merely recapitulating it.

Produced by Lenny Rutland, the album has a smooth sound that somewhat undermines the dark emotion (“Your Ghost is Real”), and irony (“The Sweetest Sugar”), which are the band’s greatest strength. A slow, fluid groove ebbs and flows with each of the seven songs on Shinning Like a New Dime.

Throughout the album they add instruments like a ukulele, or keyboards to create a rich, ringing production that is accentuated by Samantha’s emotional (she can go from amazingly cheerful to glum), vocals that help to bring these songs to fulfillment. Superb guitar textures, moody bass lines along with the mesmerizing cello help to create a variety of setting that on stage, would unleash the bands cool restraint. Excesses, or busy production are not to be found on Shinning Like a New Dime. Rather, the band never taps out the vein they mine so assuredly.

Delicacy, beauty, power and honesty underscore each other at random points throughout the album, bending song structures that feature unadorned purity and easy allure.

Murder Majesty - Start From Scratch (Unablerecords.com)

The Beastie Boys of Ska?

Start From Scratch will be one of the best, and influential albums of 2010, I think, and it’s only January! That’s because it mixes in many old-school, and post-punk influences, and innovates where other punks cling to tradition. I’m hearing early Beastie Boys influences like “No Sleep ‘Til Brooklyn,” or “Paul Revere,” throughout Start From Scratch. Funny, political, and dynamic, Murder Majesty’s tribal backbeat (think Specials, Madness, Fishbone), was made with real bottom, kick, drive, and guts.

Songs like “I told You So,” “Dead to Me,” or “We’re All Hypocrites,” are proof positive that punk can be a fresh aural pleasure, even at this late date. They all drip with the excitement that you find in hearing a new band for the first time. The opening cut “We’re All Hypocrites” is like a hammer striking an anvil. It possesses the chaotic sound of riot in progress. As the band, including Sean on vocals, Shane on bass, Dustin on guitar, Cha Chai on trumpet, and Shelco, who holds down the bottom with some of the most intense drumming this side of Catch 22, roar out of the gate, they sound like a Marshall amp on twelve, as Sean barks out the opening line, “WE’RE ALL HYPOCRITES!”

With the moxie of a man on a mission, the punk/ska hooks are as instant as oatmeal- just add STEAMING water. This band isn’t burning effigies, they’re going straight to the source, whether it be political (“Poverty Isn’t so Bad,” Hidden Politics”), adolescence (“After Graduation”), or life in general (“Goodbye,” Missed Opportunity”). Elephantine grooves abound in each and every song!

By tempering fierce enthusiasm with clear organization, musical and lyrical coherence, Murder Majesty rises’ well above the crowd. If you play music, or do art, if you just bang it out, and really mean it, really go for it, then that’s all you need to do. This what Murder Majesty does.
All throughout the album, the horns aren’t a hook, they’re a herald. Ska’s new emperor’s have arrived!- Phil Rainone

Kris Heaton Blues Band - R-Me Strong (krisheatonbluesband.com)

Shades (the sunglasses type) of Johnny Winter and Leon Russell, The Kris Heaton Blues Band Kicks Out The Jams!

Not surrendering to conventionality (except when the guitarist gets a little Eddie Van Halen-ish once in a while), the band builds powerful grooves on tunes like “Sugar,” “And She Said,” and “I’m Your Man.” To be a cool blues band nowadays you need a little more vision and sway then the rest of the pack. Kris Heaton is just about there, but on a couple of songs they swap coolness for arrogance. “R-Me Strong” (Army Strong- get it), and “Shut Up” are both embracing crudeness, and knuckleheaded, it’s-my-county-love-it-or leave-it mentality.

“Night Train” threatens to explode with it’s steamy, smoldering blues vibe, with it’s intimate, it’s time-for-me-to-go-baby lyrics. About halfway through the album the band starts to generate a surge of momentum that builds and crests just about ever other song. Pop blues hooks that could turn any of these songs easily into a ten to fifteen minute jam are abundant. Except for the afore mentioned chest-beating clunkers, you can almost imagine this album coming to live on stage with wicked jams, and hot-shot blues running through every song!- Phil Rainone

A Tribute to Queen - Horse Feathers And Animal Crackers - 2 CD’s (Mainmanrecords.com)

I’m guessing ( and hoping) that you already get the title of this coolest of the cool tribute to Queen. Two of the band’s albums from back in the 70’s were “A Night at The Opera,” and “A Day at The Races,” both of which were titles of classic Marx Brothers movies. On the tribute disc one is titled: Horse Feathers, and disc’s two is: Animal Crackers. Those wicked cool folks at Main Man Records (check out their tribute albums to Nirvana and Bowie), have a great sense of humor, as well as excellent taste in picking bands to perform the covers, and the covers themselves.
Punk, alternative, rock, pop, garage, and some categories they haven’t even thought up yet are represented by bands like Bad Biscuit, The Parkway Charlies, Shawn Mars, and The Easy Outs, to name but a few. 36 songs in all (quality and quantity), the only band that gets to perform two covers is Frankenstein 3000, and rightly so. Their take on “Dragon Attack” and “Sheer Heart Attack” are a glam slam, that rock the original foundations of these classic Queen tunes, and believe me that’s not an easy thing to do.

Several near-misses like little-known Queen cuts like “The Loser in the End” by JISM, “Fight From the Inside” by Fouryearbread, or “All Dead, All Dead,” by Christian Beach actually serve as a backbone to this tribute album. Although pretty much unknown, you’re going to want to delve into the band’s catalog (Itunes is a good place to start), and dig out their originals.

Fun, funny, and funnier is Derwood Andrews’ take on Queens’ signature epic song, “Bohemian Rhapsody.” Playing it cool ,and taking the originally operatic rocker to task, they sound like The Jesus and Mary Chain with hot, droning guitars, and a Joey Ramone-like vocal take. When they get to the falsetto part of, “I see a little silhouette-o a man…,” Derwood honestly attempts Freddy’s high octane octaves, but can’t quite hit it, and says, “I ain’t doin’ that, fuck it”- than gets right back into the band’s rock groove and aces the rest. Amen brother!

What’s also cool about the album is, that like Queen, it wasn’t all Freddy Mercury’s show. Here they cover some of the rest of the members of Queen’s contributions.
Brian May’s “Sail Away Sweet Sister” is covered by Rob Tanico, John Deacon’s “You’re My Best Friend,” is covered by Under Pressure, and Roger Taylor’s “I’m in Love With My Car,” is covered by Scream. These are all, from-the-heart tributes.- There’s a little Queen in all of us.

Best Of The Best: Deena Shoshkes (of the Cucumbers- “Don’t Drop the Baby” is right up there with Talking Heads’ “Stay up Late”), billed as Deena and The Laughing Boys, aces their cover of “Crazy Little Thing Called Love.” With a swank, swinging rockabilly beat, Deena sounds like a mix of Patsy Cline and Wanda Jackson singing at a church picnic in the Springtime. Refreshing and fun, it could easily make Little Steven’s Coolest Song in the World- This Week!

---

THE DOUGHBOYS -
Act Your Rage
(myspace.com/thedoughboys)

Barbaric! Neanderthalic! The New Doughboys Album Is Here!!

The Dougboys are a no-nonsense band, born around 1964 from the gnarly union of garage rock, punk, and all things rock ‘n‘ roll. Utilizing simple chord structures (most bands would give their left nut to get this sound), you’re bound to hear the cross-pollination of musical genres both past and present. But the cool thing with The Doughboys is trying to figure out who influenced who. Besides a concrete connection with The Rolling Stones, there are connections with The New York Dolls, The Animals, and a splash of glam rock, among others.

Whoa! I’m listening to “Carmalina” and I’m transported back to The Stones’ “Love in Vain,” or “Angie.” The Doughboys work out the sway, swagger, and mojo that Mick and the boys put into these two blues numbers and then some. Listening to “Caralina,” you get that feeling you get sometimes when listening to a new piece of music. The melody and lyrics sound so perfect, so instantly familiar, that it seems impossible that it didn’t exist before. I got that feeling several times while listening to and vibing out (you don’t wanna see me ‘vibe out,’ trust me) to Act Your Rage. This is one of the best, most well crafted rock ‘n’ roll albums I’ve heard in a while! Some of the edges have been smoothed out, but you don’t want your CD player to melt now, do ya?!

The Doughboys depict love - and especially rock ’n’ roll - as a dangerous but ultimately liberating leap of faith that is as necessary as air. This is the eternal element of freedom. Myke Scavone sings with bluesy grit all though Act Your Rage, and along with Richie Heyman on drums, Gar Francis on guitar/vocals, Mike Caruso on bass/vocals, and Willy Kirchofer on guitar, they build peaks and valleys throughout the album with cutthroat precision. But on “Queen City,” which is a barrelhouse, piano fueled rocker (ace keyboardist and long-time member of The Strawbs John Hawken lends his talent), they add a new dimension to their musical arsenal. Along with Ike Ejiochi on sax, and Taylor Mandel on trumpet, they create a boogie-woogie rock ’n’ roll number that’s Fats Domino-worthy! Then they get right into “Twelve Bars & I still Have the Blues.” The hair on your neck will rise, as a drum beat steadily grows into hard knocks, as if there were some sort of menacing source trying to break free from inside the snare.
Playing unassailable melodic garage punk rock for over four decades, this tight and talented band from Plainfield, NJ is not one of those recycled bands that try to make a come-back on their past. The Doughboys play down-to-earth, strong accessible rock ‘n’ roll, period! And if you try to dissect it more than that, you’ll loose the vibe.

I saw them at Asbury lanes earlier this year, and live, as well as on record, you can twist, jump, mosh, crowd surf, shimmy and shake to their music, but you definitely won’t be able to stand still!

THE RIP TIDES - Tales From Planet Earth (the riptides.com)

Although they don’t play surf music on a regular basis, The Rip Tides hang ten in the garage like nobody’s business. Stupendous melodies with substantial lyrics (think, Pennywise), sturdy hooks, and loads of perky arrangements with rich guitar riffs throughout.

The Riptides offer quintessential alternative pop, packed with intelligence and enthusiasm. All the songs are sparked by crisp production, and flawless playing. They get you going from start to finish, leaving you wanting more, more and more!

Songs like “Hung Up,” “Tattletale,” “Two Minute Penalty,” and in fact EVERY SONG on Tales From Planet Earth work! Powerful melodies, simple boy-meets-girl stories (simply amazing), and the guitar arrangements sound organic, and not a bit forced. When they sing, “She went around town/ telling all our secrets and fine details/ She a little tattletale..” with a nursery rhythm-like melody, you absolutely believe them!

The Riptides are on solid footing, and this natural-sounding album distills the band’s punky edge, as they champion garage rock to the max! essentially, this is rock ’n’ roll music. A lot of the music today has gotten too la-de-da for me, and hopefully, for you also. It’s too safe, and not a heck of a lot bands take chances anymore. If you got the balls use them, that’s what they’re there for- rock ’n’ roll comes from the gut. A little dirt is good, epically when it comes to punk and garage rock.

HAIL THE SIZE - I Can’t Die in L.A. (myspace.com/hailthesize)

Maria McKee (Lone Justice) lends her throaty powerhouse vocals to three of the songs on I Can’t Die in L.A., and also her piano talents to seven of the twelve songs here. From there, it just gets better and better. The band is solid, epically in the quieter moments, but can also rock-out with the best of them. They nail down the dynamics of each song with the articulate passion of an old Van Morison record, pumped by Maria’s gospelly fervor. Heartfelt emotions about love, faith, and morality require listeners to share the humanity and sensitivity on songs like “Drift Away,” “Wind-Up Heart,” or “Hail Mary.” Hail the Size sing and play like they’ve got one night onstage in a two-bit bar to prove themselves.- They come through with flying colors!

TOBY ROKTOT - Live-N-Alice (tobyroktot.com)

At first, you’re gonna think that Toby Roktot are another one of those lunkheaded bands that take themselves WAY TOO SERIOUSELY!- But once you hear songs like “Ready to Rok,” “Rumble Tonight,” or “Her World,” you’re gonna get it. This four piece band, all with the last name Roktot (in tribute to the Ramones), are masters of their domain. They are not in pursuit of The Holy Riff - they play simple, meat and potatoes (hold the gravy), rock ’n’ roll without the strobe lights and lasers. Toby Roktot have a maximum approach to minimalism.- That is, they did find The Holy Grail, of sorts. They know how to talk TO an audience (this is a live album), not AT them. The dig out the sustenance from every song with the energy of a band like The Supersuckers, tempered by the lead singers (Toby Roktot), controlled vocals. He sounds like Dickie Barrett from the Bosstones, on a good day. Thus armed, this live slice of the band’s catalog is a good place to start if you’re looking for the real deal when it comes to basic rock ‘n’ roll!

NOUVELLAS (ErnestJenning.com)

Injecting their self-titled album with wit, intelligence, and soulful rock ‘n’ roll structure, the Nouvellas have claimed a stake in neo-soul that gives the genre the shot in the arm needed to advance the cause a hundred fold!

Featuring two female lead singers (think Dusty Springfield and Bobby Gentry backed by The MG’s, or the female led retro-swing band, The Camaros), Leah Fishman and Jamie Kozyra are backed by brothers Dennis Pierce on guitar and Andy Pierce on drums, and Joseph Babic on bass. Lean, tough/sweet R&B, soul, and rock ‘n’ roll beam from this LP that sweats and smokes through and through as a classic album of such fully and loving assimilated music should.

Sounding organically uncluttered and uncomplicated, the album dips into a wondrously nostalgic time warp, circa the late 60’s and early 70’s, BUT it’s fresh and relevant as all heck! The record burns with sincerity and warmth, all the while rockin’ out!

All through their self-titled album the band maintains those high standards with what seems like a set (11 songs), of brand-new oldies - and I mean that in a good way! On “Baby Change Your Mind,” “Come Back,” or “Reputation.” The latter song will transport you back to an era that was dominated by sweet soul music.

The gals can belt out sizzling numbers like “Satisfied,” and “Right Kind of Woman,” while the rest of the band will get your windows steamed up with a sultry sound that will also kick a little butt, too.

All in all, a delicious collection R&B, and rock ‘n‘ soul music, played with spit and spirit! This is a band I want to see live!

DESTROY NATE ALLEN - Perfect Recipe for a Smile & Don’t Let This Smile Fool You (myspace.com/destroynateallen)

If they haven’t yet, Asbury Lanes should book Portland, OR’s Destroy Nate Allen. Nate and his wife Tessa play low-key, sing-a-long folk punk. It’s banjo-meets-guitar-meets-ukulele-meets-The Allen’s. Off-kilter, off-the-wall-and fall off you chair funny! You can’t help but get drawn in to the merriment, and all around kookie, kewl tunes. From “Loving You” to “Turns Out You’re Perfect For Me,” to “Recipe,” this collection of DIY pop songs that is a breath of fresh air. You’ll want to see them live, so you buy the CD, get on The Lanes website (Asbury lanes.com) and e-mail them their your opinion on Destroy Nate Allen. You can mention that you heard them here first! Destroy Nate Allen are one of those you-gotta-see-it-to-believe-it bands that only comes along once in a great while.

RESEARCH TURTLES
(researchturtles.com)

Playing amazingly rugged pop punk tunes, Research Turtles are an energetic pairing of the 60’s Mersey Beat Sound (Beatles, Searchers, Kinks), 70’s Knack, and current pop punk (the good stuff). Heck, I’m even hearing a hot dose of Squeeze in there (“Kiss Her Goodbye”).

The opening cut “Let’s Get Carried Away” accomplishes just that. The song’s hardy, melodic cadence, and popish vocals draws you in and doesn’t let’s go until the last song, “Break My Fall.” But even then you’re left wanting more!

In between there are bright moments of unstoppable, unrestrained, indulgent excess (the good stuff). Percolating rhythms, prominent bass, fiery furnace guitars, and passionately cool vocals- in other words, pretty much everything you’d what in a good, solid, rock ’n’ roll band! Wiggly, and sometimes dominate keyboards add depth, and just enough finesse (they even form a faint link to funk), that adds another dimension to the band’s creative sound.

The pop/punk deluge continues with “A Feeling,’ “Mission,” and “Tomorrow.” The latter tune will hopefully cement Research Turtles a place on next years Warped Tour. It has the hard pop/punkishness that would give the Tour an added edge.

The Research Turtles are: Jud Norman on bass and vocals, Joe Norman on guitar and vocals, Logan Fontenot on guitar, and Blake Thibodeaux on drums. This is the pop rock album we’ve all been waiting for. Dance your butts off. my friends!!

---

Off 537- Songs and Stories 6 Song EP (myspace.com/off537)

Off 537 are a punk band with smirk and a garage-rock snarl. That was going be how I ended this review, but I wanted you to know that right from the get-go! Joe - vocals/guitar, Mike - guitar/vocals, Chuck - vocals bass, and Kevin- drums carry on in the tradition of The Bouncing Souls and Sublime, while displaying a nifty melodic sound of their own creation.

Off 537 win brownie points by resisting the temptation to add what would be trendy, superfluous hardcore punk rock noise. Instead they give songs like the opening cut “Everyone’s Here” and the closer “Cheers” a strong vocal personality: the band’s three singers underpin the dynamic, full-throttled arrangements with gang vocals and a search-and-destroy rhythm section.

“Break,” “Vulgar,” and “Possesions” all show a real intuitive sense for what makes a good punk song memorable. All the songs, including “Elsieidy” hit the same sublime high points, and the band puts a bold, energetic face on this EP.

The Otis Jones Project - Sexy June (Blastrecords.com)

Stylistically similar to all of The Oits Jones Project’s influences (Hendrix, SRV, and the coolest of the cool Southern), the band ambles down it’s own path, casually playing around with the edges of noisy blues, dissonant rock, chunky funk, and twisted country.

Literate lyrics and dramatic vocals, plus the band’s soulful sway on songs like “Dirty,” or “Like This,” are imaginative as well as poignant. Repeatedly shifting rhythmic and loudness gears, the songs are gutsy and tuneful.

The light/heavy sound of “I Don’t Know” is a melodic, folk-infected song, played a warm-rush haze, and at times, heavy on gang-vocals, and dirty guitar riffs. On the muddy flipside, the band indulges a fondness for early 70’s slop-rock (a good thing), riffing up a Stoogey storm of thick guitar drive, and a muscular rhythm section that swoops, glides. and dives whenever need be.

Taking a time out for a folk rock lullaby on “Can’t Stand it,” The Otis Jones Project organizes memorable melodies around the band’s dynamic god’s-of-thunder citations. They often whip off exciting vintage tributes to Hendrix, SRV, Sabbath, and others, all the while driving their own taut modern songs that get to the core of all the afore mentioned bands, and than some!

Texture, melody, shading, and all-out, balls-to-the-wall rocking are not a technique for The Otis Jones project, but a life-long ambition. Nor are they trendy, or fashionable. Instead, they possess the kind of musical gravity that makes you want to listen to Sexy June from start to finish.

Bowling for Soup- Sorry for Partyin’ (Jive Records)

Borrowing what sounds like a page from Reel Big Fish’s song book - but nuttier - taking funny swipes at themselves, and music in general., “A Really Cool Dance Song” is a flat-out pop rocker! From there they take us on a musical Mexican hayride on “No Hablo Ingles,” which they turn into a hilarious cure-all for any type of responsibility.

Bowling for Soup has both the speed, intensity, and the impact of a rocket shot out of a cannon. Their satirical, political, and DIY mentality (yeah, they’re on Jive Records but we interviewed Bowling for Soup a few years back when they played on The Warped Tour, and believe me, this definitely a DIY band), on a scale of 1 to 10 is 11!
They have a video out for “My Wena” (aka “My Weener”). I haven’t seen it yet, but if it’s anything like the song (“He name is Wena/ Hey have you seen her/Everyone says she’s amazing/ She’s only happy when I’m holding her tight”), I can just imagine! A cock joke with a bright, simple melody- and that’s Bowling for Soup in a nut shell. They don’t pretend to be something they’re not, and they’ll take anyone along for the ride that gets it. They avoid the monotony that sometimes plagues their counterparts by downplaying the preciousness, and incorporating a wide variety of influences including punk, pop, rock (think: Cheap Trick),and even a splash of Weird Al Yankovic.

Willfully annoying (that’s a good thing), they spew nonsense lyrics (“Hooray for Beer” would segue great after RBF’s “Beer” - a no-brainer!), attached to bouncy, dancy, and at times, tricked-out, tongue-in-cheek gimmicky production, which reaches maximum quirky obnoxiousness. And for the record, Bowling for Soup, don’t ever be sorry for partying!

File Under: Sure cure for the Winter blues!

PUSH PLAY - Found
(pushplaysite.com)

Push Play is the band Bowling for Soup always wanted to be. Hammering out a few essential chords on the opening cut “Watch it Burn,” the lead singer wails over a wall of pop punk sound. They play fast, loose and tough, but unlike BFS they’re not obnoxious. Pushplay is the kind of band that would be happy jamming to Green Day covers all night if they hadn’t been able to devise their own alternatives. “Heart Attack” shows the boys at their most raucous, crashing though the song at warp speed. No exaggerated gestures or lyrics, they get to the heart of the matter, avoiding the pomp and circumstance that a good chunk of pop punk bands usually employ to win over the ladies.

Hitting the heights with the album’s first single “Midnight Romeo,” Push Play switches back and forth from walloping, big-beat riffs to darkly intelligent lyrics that are reflective of current love vs. lust in these modern times. Just about any song on Found would gain the group significant airplay and sales, but the remix of “Midnight Romeo” proves to be more flexible than expected. Top-notch playing, and various stylistic avenues are what make this song bullet proof.

“See My Soul” touches a more poppier, more melodic side, if that’s possible, as all the songs are radio-ready with strength and diversity. This is not a faceless rock band, but a well-oiled, enthusiastic band that has a non-stop exuberance which translates well on Found. Focusing all their energies so that no two songs sound alike, Pushplay inventively push the envelope until it bursts open.
Guitars spearhead the bands propulsive drive, with the rhythm section pumping out a hot cadence right along with them. The combined instrumental attack makes the music tighter, the lyrics more flowing, and on a personal level.

Push Play doesn’t present themselves with a self-important image, they have a journeyman-like attitude, and a creative spark that is refreshing.

 

Corporation - Return of the Corporation
(myspace.com/corporationskaband)

Wow! If Corporation doesn’t remind me of Rage Against the Machine, nothing does! They have that gut-wrenching, hard-nose style of Rage, yet they incorporate (pun intended), ska-core to the mix! Wild, twisted-tempo melodies abound but it’s all good, Corporation’s take-no-prisoners approach is just what the doctor ordered. They don’t beat you over the head with their thrashing ska-core, but they do come close- and I wouldn’t have it any other way!

Corporation make mincemeat out of the assorted of-the-moment bands which I think is an underlying theme on “Tow Birds With One Stone.” Their sense of humor is wickedly funny!

Rambunctious with what sounds like a head full of tunes that needs to be written, they occasionally get repetitive, like on “Toxic World” and “Land of the Free.” Although the music is inspiring the lyrics have a been-there-done-that vibe to them.
Otherwise, if you have a jukebox addiction then get a fist-full of quarters (I don’t think most jukeboxes now a-days take money, do they?), and pump them in, and give “Return of the Corporation” a few spins! To swipe a title form The Mighty Mighty Bosstones (The Bosstones said they should have a new album out by the end of this year), The Corporation are ska-core and more!

King Hell - Rhythm and Bruise (kinghellmetal.com)

If you switch the title of King Hell’s new album around, you get “Bruise Rhythm.” Well, King Hell not only “Bruise Rhythm” they also bruise (and demolish) rock, blues, and any other genre they can get their paws on. As a wannabe Zeppelin/Black Sabbath-like band, they play uninspired metal with a lead singer who is partial to wearing an all-red suit, and sings like a karaoke Elvis (Dread Zeppelin do a much better job, at satirizing both Elvis & getting the Led out). Maybe if they listened to The Rutles (Monty Python’s great histerical tribute to The Beatles), or Beatallica (they sing Beatle tunes like Metallica would sing them), then they might have something! Otherwise they shouldn’t quit their day jobs for a long time.

---

 

Joss Stone - Colour Me Free (EMI)

On her fourth album, with touchstones like a tribute to Janis Joplin (in a interview I did with Smokey Robinson a few years ago, he called Joss “Aretha Joplin,” a rock & soul mix of Aretha Franklin and Janis Joplin), with Melissa Etheridge at The Grammies, and a Sly Stone tribute on “Family Affair,” Joss Stone comes across as refreshed and revitalized on Colour Me Free.

“Free Me” despite it’s underlying reference to Joss’ recent tussle with her record label ( always be careful what you wish for), has a “Summer Hit” vibe to it. Funky, as hell, with a bouncy beach ball vibe, it’s sure to brighten ever the gloomiest Winter!

On her last album “Introducing Joss Stone,” she started writing more of her own songs (“The Soul Sessions” and “Mind, Body & Soul” were great neo-soul albums that used mostly covers), and on “Colour Me Free,” besides writing the lion’s share of songs, she also co-produced the album with Jonathan Shorten and Connor Reeves. The results are a bright, colorful blend of musical styles, as Joss puts all of her being into each and every song here.

“Could Have Been You” is more of a lament than a putdown, as she and the band weave a story of love and loss around an head-boppin’ R&B groove that twists and turns with the story line. It has the vibe of a Smokey Robinson song of ‘opposites attract’ that he so cleverly used in Motown classics like “Tears of a Clown,” and “My Girl.”

If you’ve ever seen Joss Stone on stage (I’ve only seen her live DVD so far), she has the prowess and stage presence of a singer twice her age (she started out singing professionally at age 16, and recently turned 22). “Colour Me Free’ has the feel of an album that will translate well to her live show. It sometimes has a less-is-more cadence throughout the album, that works both subliminal, and as powerful attraction.

“Parallel Lines” is deep, soul/funk number with a Stevie Wonder “Higher Ground” guitar vibe. With guests like Raphael Saadiq and Sheila E. that mix works fine, but when they get to “Govermentalist,” which is Joss’ first political song ( a very good one), they try to drive home the point with Nas, with an otherwise unnecessary rap toward the end, which is a distraction. Joss has a stand-alone voice that needs no embellishment.

On the cover of Ray Charles’ “I Believe to My Soul,” Joss’ vocal prowess is in tact, but the band has a Kenny G.-uninspired vibe that sounds lackluster.

The rest of the album is pure Joss. “Incredible,” “You Got the Love,” “Big Ol’ Game” and epically “Girlfriend on Demand,” fill out an album that contain a few of the best album cuts to come out this year. The latter song is a soulful ballad about how a good relationship can go sour, or ever worse.

I’d like to see Joss work out a few rock numbers in the future. She as an old world/other worldly vocal style that can pretty much handle any style of music.

Soul, R&B, or whatever the genre, shouldn’t be put in a box. Music is a living, thriving, breathing thing. Joss Stone has broken away from the neo-soul stereo types and has broken barriers without sacrificing her integrity.

Halloween 2 - Soundtrack (Hip-O.com)

Michael Meyers is back!! And he’s still pissed off!!

The soundtrack to the sequel to the original Halloween is reminiscent of the movie, “An American Werewolf in London.” In “American Werewolf…” they’d use a well-know song like the 50’s R&B number “Blue Moon” to emphasize a scene ( where the lead role turns into a werewolf), and scare the B-Jesus out of you!! The twelve songs on the soundtrack are spaced with dialogue from the movie, giving you a taste of what to expect. Again as in “American Werewolf…” there’s the element of surprise, the unexpected that will have you sitting on needles and pins, waiting to see what happens next- and next- and next- and…

Best of the Bunch; “The Things We do for Love” - 10cc, “Kick Out the Jams” MC5, “The Chase is Better Than the Catch” - Motorhead, “Transylvania Terror Train” - Captain Clegg and The Night Creatures, “I Just Want to Make Love to You” - Foghat, and “Nights in White Satin” - Moody Blues

If you haven’t already, get your hands on a copy of the original Halloween, than go see Halloween 2. It’s a sci-fi double feature that’s not to be missed!!

Chuck Ragan - Gold Country (Sideonedummy Records)

Gold Country contains track after track of impassioned, heartfelt political anger, peppered with songs about life on the road like “10 West,” and “Rotterdam.” Articulate lyrics accented by semi-roaring guitars, and barebones minimalist, work together to form the nucleus of the album. The memorable songs, which are just about everyone on Country Gold, seethe with honest conviction, and convert the power of a good song into anthemic energy. The band possesses a mainstream sound with rough edges. Slower numbers like “Good Enough for Rock and Roll,” or “Don’t Say a Word” contain a bouncy shuffle, which is perfect for an in-concert sing-along.

Chuck Ragan and his band at times use driving rock, like on “Glory,” or “Done and Done” and delicate melodicism to back thoughtful lyrics and impassioned singing. You get a spontaneous feel as Chuck paints characters that are sometimes living outside society, and it’s not clear whether or not they’re fictional. At times you can see yourself, or maybe someone you know, or a combination of both, which is the trademark of a really good writer and band.

Every song and idea is fully developed and confidently delivered in a manner suggesting a tight, well-rehearsed unit. It ranks with any Jackson Browne, Billy Bragg, or Tom Waits album in substance, and stands out as a strong work in style, using the band as a powerful lens that magnifies Chuck’s themes and obsessions down to the finest detail.

The last song “Get ‘Em All Home” contains no words and no music. Instead, for over thirty minutes, which runs out the album, you only hear what sounds like the slow, burning embers of a fire. It has the feel of sitting around a fireplace with you’re loved ones, quietly sharing the moment. A place we’d all like to be from time to time. To me, the song is a reference to all the men and woman in the armed forces who are overseas, and who we’d like to have home and safe as soon as possible.

Becca - Alive!! (beccahollcraft.com)

I know I’m dating myself, which sometimes is a bad thing, but twenty year-old Becca has the moxie and swagger of 70’s pop punkster Suzy Quattro, and a touch of mojo from 50’s rockabilly belter Wanda Jackson.

A minor miracle in this age of shooting pop stars to the top of the charts (has it ever stopped), Becca is unpretentious, and at times Becca sounds giddy from having such a good time singing, that you become enthralled, and what more (they’ll be announcing her 2010 tour dates soon).

Listening repeatedly to rockers like “Turn up the Stereo,” “Guilty Pleasure,” or “Kickin’ & Screamin,” it’s as of Becca and her band (no credits given), walked into the studio to tell stories of what happened that day rather than taking weeks and months (which it actually did), to create songs. It’s a more personal and punk rock level.

While a confident rhythm section preserves the hard foundation of the songs, there are is also some sweetness added, like on the mid-tempo rocker “Lose You Now.” A more sensitive observer would judge the results as if the band were going for MOR, but Becca’s moxie and the band’s punk push gives the song an edge. Most bands would be fine with an AOR hit, but this band avoids the easy way, and takes the road less traveled.

Becca is too cool for pop rock, but when it comes to real deal rock ’n’ roll she and her band can settle into the groove, with plenty of firepower to spare!

Owl City - Ocean Eyes (Universal Republic)

“Tie my handlebars to the stars so I stay on course…” “I’ve had enough of diamonds in the rough…” Trippy, topical, and kewl, Owl City’s synth rock style of playing is as good as anything Bowie wrote during his Ziggy Stardust era. Currently, they’re right up there with Vampire Weekend or Modest Mouse, but they’re actually good and relevant. Not some shoe glazers who pretend to be too cool for their own sake.
My son Steve had recommended Owl City after he had seen them on “Fearless Music” which airs on TV every Friday night (The Bouncing Souls and Reel Big Fish have been among the bands on there, including up-and-comers like Owl City. The show is usually a half-hour long).

The album is full of sheer pastel curtain of arty guitar figures, catchy synth strains, and crisp, flowing vocals. Moments of gentle art rock are surrounded by a more aggressive beat, that’s just shy of being danceable.- And that’s a good thing!

Owl City is Adam Young, and what sets him apart is his unique perspective, and simplistic approach. He stretches guitars, synths, drums, bass, and whatever else he can find all over the map, creating a rock drive with dance-happy energy. And the music doesn’t even suffer a jolt of isolation. I don’t know if he uses a band to play with live, but from the sound of Ocean Eyes, Adam could perform this album either way, or even acoustic. It lends itself to so many twists and turns which usually makes for an interesting, and unique album.

---

.357 Lover - Diorama of the Golden Lion (357lover.com)

On paper, this semi-humorous attempt at a rock opera has it all: a distinctive singer (Corn Mo- that’s his name- sings with conviction), well-crafted, arty pop rock songs with intelligent, substantial lyrics, and delicately skillful musicianship. On record, however, 357 Lover (one of the worst names for a band- ever!), sounds like a once-sprightly group that’s had the life washed out of it. Lacking any eccentricities or basic rock ‘n’ roll skills their artistic depth it’s not much fun to listen to, or, nor would you want to see the band in a live setting. This polished veneer of adult refinement is much easier to admire than enjoy. It sounds like a bad Elton John record recorded in Vegas.

The Furious Seasons - Thank You for Saturday (Stonegardenrecords)

On “Swirling Around,” The Furious Seasons try to pull off a Lennon-like protest song. Back when he was writing “Imagine,” he had mentioned something to the effect that, if you added a little sweetness to a protest song, it would really go over. That’s exactly what The Furious Seasons attempted to do, only they added artificial sweetener, instead of the real-deal stuff, and turn what could be a substantial song about President Obama’s term in office into a saccharine-coated love fest.

The rest of the album is pretty much more of the same with a few good exceptions. With predictable lyrics (“Where are You,” “Lose Your Way,” “A Lawyer at a Time”), they come across as Bon Jovi wannabes. It sounds like The Furious Seasons possess the ability to go further, but just aren’t sure how.

Most successfully, when the band cross-pollinates Jeff Buckley’s soulful, heartfelt music with their own like on “One Wasted Hour,” and “Commit it to the Flame,‘ they come up with a vintage sound that shows stylistic growth and gritty artistic ambitions.

The Break Evens - Win if You Can… (myspace.com/thebreakevens)

Win if You Can… is as tight as a duck’s behind! The Break Evens pound the hell out of the kind of looping melodies currently ringing out on alt-rock radio. The album is LOUD, intense, funny, accessible, and downright catchy. At the heart of these ten songs, are “Rawhide,” “Fence,” and the knock-me-over-with-a-feather rocker, “Think I’d Die.” Starting off with a nasty, righteous instrumental“Rawhide,” along with the all-out rock ’n’ roller, “Think I’d Die” bookend “Fence.” The latter song pushes the melody right into your head with hurricane force. Seldom have hooks been this powerful, nor full-throttle rock this melodic.

No over-reaching or self-indulgence here, just a band playing their collective asses off, and taking us merrily along for the joyous ride! The production is taut, uncluttered, like a big fat breath of fresh air. You can distinctly hear each instrument and vocals individually or collectively. Sharp, boppy, and exciting!

Win if You Can… is a rocker from start-to-finish. The Break Evens are the type of band that, seeing them live you’d never leave the front of the stage until they wring out the final hypnotically swirling notes!

The Woggles- Tempo Tantrum (Wickedcoolrecords.com)

Fronted by the Flesh Hammer as lead string bender, The Woggles are the type of surf rock instrumental band that, like brothers-in-arms Los straightjackets, on the surface don’t seem like they aren’t overtly serious about their music. Heck, with a kinda goofy name like The Woggles, and with song titles like “Mr. Peppermint Man,” “The Elbow Twist,” or “Bullfrog,” you may think that they could easily be a novelty band, but that’s where those comparisons are left in the dust! Singing (very limited but cool, since they’re basically an instrumental band), and playing with a spirit that money can’t buy, and synthesizers or Pro Tools can’t replicate, they easily make these 12 songs sound like old-school, loose, one-take wonders!

This record is full of non-stop, crazed rock’n’ roll, that is the main ingredient to any party that has booze, broads, and generally lustful fun! With nods to those cool-as-cucumbers instu-mental bands that has come before them, like The Ventures, Los Straightjackets, Springsteen & The E-Street Band (yeah, check out Brucie’s and the band’s live instrumental cut “Paradise by the C,” on “Live 75-85” it’s a gas and a half!), The Woggles rev-up that same unrestricted spirit. Perfect for parties held in the gymnasium!

Songs like The title, and opening cut “Tempo Tantrum,” “On the Move,” or the closer “El Toro,” are hip, solid, convincingly salacious, and sweaty- as in getting you sweating’ out on the dance floor at the afore mentioned gym.

On gonzo cover of The Monkees’ “Valerie,” the band easily shifts gears, vibing out on the vintage rocker’s crisply delivered with the opening Spanish guitar flourish intact.

“Mr. Peppermint Man” is self-propelled by sizzling punk rock chords, and raggedly rock ‘n’ roll vocals, proving once again that garage rock is alive and well, and flourishing! The Woggles push at the envelope, all the while displaying the anything-goes/anyone-can-do-it philosophy of punk about as far as it would stretch without breaking. Never a band to waste the audience’s time, these 12 songs( the vinyl LP contains two bonus tracks), clock in at a Ramones-worthy 30:55 minutes. This album is a collection of The Woggles coolest instrumental recordings, and also includes rare and unreleased tracks of earthquakin’ refrigerator shakin’ Summer party-playin’ rock ’n’ roll!! Their next studio album will be out in 2010.
The Woggles are on of those few bands that haven’t decided what they want to be when they grow up. and star taking themselves seriously. -I hope they NEVER grow up! Coolest Album in the World… This Week!

 

Skinny Dick Jones- Urban Hillbilly (Madison Underground Press)

The premise of Urban Hillbilly is cool. Just a guy (Bill Marr, aka Skinny Dick Jones) playing a guitar (think Springsteen‘s Nebraska sessions), and a laidback drummer. Playing somewhat funny and interesting songs like “Butter That Biscuit,” “Monkey Man Blues,” and an ode to Robert Johnson, “Satan Rides Shotgun,” the duo grab your attention, and you're now waiting for them to take it to the next level.

But unfortunately, there’s not much else going on in Urban Hillbilly. Most of the songs are in the same key, and the cadence is pretty much the same throughout the whole album. You could almost mix ’n’ match the lyrics and the music to just about any song on here. After about the third tune, all the songs start to blur together, and sound mundane. Dick’s only saving grace is his maniac wit, and perseverance. I think in a live setting and adding a bass player, with a little more electrification, these front porch, laid back tunes could become more spirited and dance evoking.

Lifeguard Nights- The Miss Factory- Volume (swimminginashallowsea.blogspot.com)

The unbeatable songwriting talent and unstoppable musicianship that Vincent Brue and his ace band Lifeguard Nights present on The Miss Factory Volume 1 is the result of relentless album releases that, over the last two or three years, have made me a fan. The way the band rolls up their collective shirtsleeves and dives head first into their influences like Johnny Cash, Beach Boys- I mean there’s always something new cooking when I get a Lifeguard Nights’ CD to review. That’s not to say that the band doesn’t have it’s own special mojo - they definitely do, and than some!

Breathless vocals and cascading music are perfectly matched with the rollicking playin on “CLR,” “Florida,” or the cool, and hysterically funny song about current American pop culture, “My Chevrolet.” “Chevrolet” has the skeletal framework of a Springsteen “Racing in the Streets” vibe, but then the horns chime in, as the band locks in around the vocals and takes it to the promised land.

The past albums that Lifeguard Nights have released have a balance sounding like an interesting experiment and well-crafted, and well-arranged songs that almost sound like they were recorded in someone’s really cool basement studio. It think that’s part of what gives these gems their unpolished luster. The rest is confidence and trusting in your instincts.

The Miss Factory Volume 1 has the spontaneity and enthusiasm of all the albums that have come before, and hopefully we‘ll get a few more releases before the end of the year!

---

Cheap Trick - Sgt. Pepper Live CD/DVD (big3records.com)

“In 2007 we were honored to be special guests (among them Joan Osborne and Ian Ball) of the LA Philharmonic Orchestra as it celebrated the 40th Anniversary of Sgt. Pepper’s Lonely Hearts Club Band for two sold out shows in Los Angeles. We performed a track-by-track rendition with the orchestra, an Indian music ensemble, and an array of several very special guests. We also had the privilege of working with Geoff Emerick once again. Geoff engineered the original album for the Beatles in 1967. In memorial of the loss of loved ones to Prostate Cancer, Cheap Trick and all the special guests artists are donating their share of all proceeds towards achieving eradication of such disease.” - Cheap Trick from the liner notes.

With a nostalgic, hardy wallop, searing guitar coda, and a voice that could move mountains, belting out, “It was twenty years ago today, Sgt. Pepper taught the band to play," Cheap Trick, their special guests, and the orchestra bring Sgt. Pepper to life! Drawing primarily from inspiration, the band provides a dose of their commercial savvy on “With a Little Help From My Friends.” But the song that really seals the deal is“Lucy in the Sky With Diamonds.” It’s Cheap Trick and the orchestra performing The Beatles, but it’s not. You would swear that the heavy, psychedelic rocker had been tailor made for the band! Robin, Rick, Bun E., Tom, and EVERYONE just friggin’ aces it! A loud, synthesized, and brilliant rock powerhouse without gimmickry.

From there, they take us to Never-Never-Land… You're hearing The Beatles as they might have played “Pepper,” but you're not… You're hearing Cheap Trick cover “Pepper,” but you’re not… It’s more like the special mojo of both camps and it works amazingly well. Amazingly well!!

“Getting Better” and “Fixing a Hole” are spot-on covers that if you were at this show, you would get up outta your seat, if you weren’t already! They supply all punch and pizzazz of the originals, making an intricate song seem simple.- You can tell that they are having an absolute blast!

On “She’s Leaving Home,” Rick and Robin capture Paul & John’s emotional give-and-take on the parent/child story about coming-of-age. The bounce of “Being for the Benefit of Mr. Kite,” employs all the circus atmospherics of the original with a cool dash of pomp and circumstance.

“Within You Without You” is performed with an Indian ensemble that rivals George Harrison's contribution to this historic pop gem. I think George would be proud!

“When I’m Sixty-Four,” McCartney’s ode to what would become The AARP Generation (hey, Springsteen turns 60 this month, and made the cover of AARP Magazine), with its loopy clarinet-fueled cadence (John called it one of Paul’s “Granny songs”) swerves nicely into “Lovely Rita,” another of McCartney’s looks at everyday life that’s as funny as it is intricate.

Hardly taking a breath between the finale of “Good Morning, Good Morning,” “Sgt. Peppers Lonely Hearts Club Band (Reprise),” and “A Day in the Life,” the band, ensemble, special guests, and the crowd sound knock the hat-trick out of the park! The well-honed songs swoop and soar during “Good Morning…“ and “Sgt. Pepper… (Reprise;)” then the bottom falls out as Robin and Rick once again assume the roles of John and Paul as they do one of the finest Beatle impersonations ever, as the orchestra builds to the spectacular crescendo, the orchestra and rock band become one! An absolute stunner of an finale - but it doesn’t end there!

I had heard about this album coming out a couple of months ago. Besides wondering if Cheap Trick could rise to the occasion - which they and the orchestra did in spades - I was curious to see if they would add any of their songs or Beatle tunes after they finished all of “Sgt. Pepper.” Well, the last song, “Medley Song,” is the mash-up from the end of Abbey Road. It’s an epically dynamic rendition that, beginning with “Golden Slumbers” and finishing up with “The End’ (Bun E. Carlos does a Ringo-worthy drum solo), doesn’t leave you wanting more. And that’s a good thing! You don’t need more - Cheap Trick, the orchestra, and guests, gave it their all, and have said all that needs to be said. Amen, brother!

At a time when heavy metal had lost its menace and was fading away into side-show stupidity, Rockford, Illinois’ Cheap Trick blew out of the Midwest dominating clubs and bars, and set about proving that commercial rock that had a big sound and could fill ballparks could also be relaxed, witty, and sarcastic. Rick Nielsen stepped right through the guitar hero stereotype, wringing out glorious garage rock, all the while upholding the punk ethos by refusing to take the pose seriously, as the whole band made rock stardom look like fun. Not to be confused with Kiss’ phony, and coldly self-importance.

Along with the rapid-fire rhythm section of Bun E. Carlos on drums and the heavy thump of Tom Petersson’s bass, punctuated by Robin Zander’s nuclear assault-like vocals and guitar, and Rick’s backing vocals and guitar-overachiever theatrics, Cheap Trick’s ragingly melodic musical onslaught was complete. Beatles comparisons (The Move’s “Do Ya” was also an influence) be damned- this was an original, creative, and fun band that always felt comfortable in their own skin.

Cheap Trick has had their share of uneven albums over the years, but on Sgt. Pepper Live (like The Smithereens, who covered the studio version of Meet the Beatles,) they sound invigorated, fresh, and in the groove!

The Casualties - We Are All We Have (Sideonedummy Records)

As one of the groups responsible for the continued strength of early 70’s punk rock, it’s to The Casualties' credit that they have avoided the demagogic stupidity of other bands in their genre by maintaining a progressive attitude and speaking out about everyday wrongs and inequities, on songs like “Depression-Unemployment Lines,” “Looking Through Bloodshot Eyes,” and “Lonely on the Streets-Jersey City.” They also champion world events on “Apocalypse Today,” “Life Clone,” and “Stand Against Them All.”

Classic/standard working-class thrash, a timeless jolt of accented electric rabble--rousing courses through every song here. In fact, the first two songs “Carry on the Flag” and “We Are All We Have,” are both not really a call to arms but more like a call for solidarity, with catchy, sing-along gang vocals that rock out to the extreme.

The Casualties take a great leap forward into the past, blending the anger of socio-political lyrics with a controlled, and melodic attack that is all punk, as the lead singer’s unpolished bellow and the band’s gang-shouted backing vocals build on the guitars and rhythm section. The production captures The Casualties with all their energy and clarity in tact.

As modern folk singers of punk traditionalism, simplicity is in direct proportion to the sincerity. Proceeding from there, “We Are All We Have” has a great snarly guitar tone and top playing and singing. The quartet thrashes their way through just about every song, except “In the Tombs,” and “Rockers’ Reggae (Working Man’s Dub).” Both are potent Clash-era reggae rockers that remove any lingering doubt about the band’s inclination or ability to progress.

All things considered, The Casualties’ We Are All We Have is a scalding assault that reasserts the band’s punk bearings with chunky chords, varying tempos, and searing vocals.

---

Sister Hazel - Release
(Rockridgemusic.com)

Unlike The Gin Blossoms who can create catchy, meaningful pop rock tunes, Sister Hazel lacks incentive, and imagination on Release. It sounds like the band was listening to Z-100 before, during, and after they went into the studio. Actually, they’ll probably sell a gazillion albums if they do get that kind of exposure. They’ll be the new poster band for that genre until Aerosmith makes their next over-produced-bombastic, uncreative album . Or even worse, they enter into weepy-Coldplay territory.

Songs like the title cut, “I Believe in You,” and “Run for the Hills” - actually just about every song here - are Pizza Hut-worthy. Little more than music for your dining and listening pleasure. But Sister Hazel are smart enough to know that the ladies love them even more when they make their boyfriends suffer on songs like “Take it Back,” or “See Me Beautiful.”

A couple of not-worthy songs toward the end of the album, “Fade” and “Ghost in the Crowd” are exceptional. They embrace all that is good songs about jangly guitars, sweet harmonies, and solid song writing. If like they say, a band’s last couple of songs on an album give you an idea as to where they are headed, than I suggest that they get there as quickly as possible, because there is a lot of potential.

The Love Me Nots - Upsidedown Insideout
(atomicagogorecords.com)

The Love Me Nots bring their influences-on-their-sleeves, Sixties pop-rock mojo to Upsidedown, Insideout (sounds like as cool tribute to The Yardbird’s psychedelicsized, garage rock gem, “Over, Under, Sideways, Down”), specifically with their swirling keyboards and melodies that recall the band Love, and yes, even Iron Butterfly’s “In-A-Gadda-Da-Vidda! Oh yeah, and let’s not forget punk rock, which squirts out like jelly from a PB&J sandwich. This disc will stick to your ribs!

The rhythm section sounds like the Dave Clark Five on hallucinogens - hey when you’re knee-deep in giant guitar sounds, and out-of-this-world vocals, ya gotta do what ya gotta do to get noticed, and that’s a good thing!

Simple, Ramones-style. I-dare-you-to-take-me-seriously stories of everyday life like, “You’re Bringing Me Down,” “He’s What I Want,” or “Not That Kind of Girl,” explode into kaleidoscopic, electric colors, and sexy grooves, which makes me glad I didn’t get rid of my 1910 Fruitgum Co. 45’s.

Uptight, outta sight, and definitely in the groove, by the time you get to the eighth song “Take Pity,” with it’s Bo Diddley beat punctuated by lead singer Nicole Laurenne’s chameleon-like vocals and organ (she can purr in your ear, or piss on you leg), with Michael Johnny Walker on guitar, Kyle Rose Stokes on bass, Vince Ramirez on drums, and Bob Hoog on percussion, it’s like a restrained free-for-all on every song. You hear every instrument individually, and as they collectively ride a rock ’n’ roll rocket aimed for the center of your musical universe!

The album’s last tune, a slow-burner of a torch song “Undone,” is as molten as The Beatles’ “Oh, Darling.” It sounds like a 50’s slow, scalding, barnburner of a hit!

The Love Me Nots are one of rock ‘n’ roll’s most dependable (this is their third album), and still-evolving bands around!

Mean Creek - The Sky (Or The Underground) (Meancreekmusic.com)

Mean Creek are a band that tests various musical possibilities from a progressive rock-derived context. Beginning with the title cut, and pretty much all through the album, they generate fascinating ambient (think Catherine Wheel, and their musical brethren) and pulsating rhythms that do a slow rock burn.

Kinetic noodling is kept to a minimum, but it helps to underpin the semi-metallic art tunes like “Light Into Dark,” “Wild Beasts,” or “Radio Drought.” The latter song is a heavy knock about the music industry, that will have you pumping your fish and chiming along to the chorus. It’s has that type of been-there-done-that type of lyrics, giving a big middle finger to the man, but the whole song rocks like there’s no tomorrow!

Tricks and conceptual gimmicks are absent, but improvisation, and originality are abundant, as on, well, any song here really. They don’t skimp on production or free-for-all ideas. There are clearly defined song structures that allow plenty of room for the band’s unique approach. Kind of like XTC-Meets-X-and-goes-over -to REM’s pad to shoot pool. A cool mix of an alphabetical rock ’n’ roll stew!

The Blakes- Souvenir (theblakesband.com)

The Blakes low-profile style of music with straightforward skills delivers sparkling pop rock originals like “Move to the City,” “Charmed,” … you know, the more I listen to Souvenir, the more I find my reaction to every song pretty much the same. “Straightforward skills…” Yet there are twists and turns at every musical avenue, slow-burning, rockin’ stompers!

There’s some cool 60’s British Invasion (Kinks, Herman’s Hermits, etc.), mixed with the same era Northwest Seattle Sound (Paul Revere & The Raiders, The Kingsmen, etc.), but you really can’t pinpoint too much of it, because the originality is there, which brings all these collective genre’s forward. Hell, I’m even hearing some Stooges and Clash in there - what a cool blend!

“Little Bit About You” is one of my favorites. It’s a back-straightening, breathtaking, guitar/bass/drums/tambourine rocker, intentionally low-brow with wiseacre lyrics and chant-along choruses (“So Easy” is even more of the same- it’s so cool), that demand enthusiastic attention. In other words this disc is slowly but surely gonna rock your socks off!

back to jerseybeat.com l back to top