Tall Days - Battling the Elements (talldays.com)

OH-MY-GOD!!

I’m listening to the first song “If You Don’t Change” on the new Tall Days CD and I’m just about ready to shut the whole damn thing down! It’s a somewhat cool song about - you guessed it - “Changing.” But it’s kinda wishy-washy, but give it a few listens and it grows on you. But it has this slower-than-slow cadence, just a weird kind of song. It’s only 43 seconds long, but it throws you off from the rest of the album, which I’m guessing was their intention. The following song, “All in My Way,” is a blast of pure snarling, nasty garage rock. Forget the lyrics (it’s about all the shit that life can throw at you), and just vibe-out on the music; you’re gonna be back again and again anyway, so the story will eventually get ingrained in your membrane.

Tall Days are the dynamic duo of Graham Hartke (guitar/vocals) and Joe DeAngelus (drums/percussion). Yeah, I know you can whip up some cool stuff in the studio these days, but Battling the Elements is just so-Neanderthalic! Just a snarly, ringing guitar sound with drumming that sounds like a super-charged stomp machine at times, with spot-on vocals.

“Hold On,” which is about the economy (although you can even apply it to life in general,) sounds like something the Black Keys would come up with. I know I’m making a good number of comparisons here, but Tall Days are “the sum of all its parts,” as they say. They draw on their influences and shake, rattle, & roll them into their own unique creations. I think someday other bands will be drawing on Tall Days material. These are the roots that make the tree grow stronger, branching out almost endlessly.

“Sunlight in Your Frown (Everybody Stop No.1)” sounds like a long lost Stones number from Exile on Main Street. Graham’s slide work is punctuated by Joe’s less-is-more backbeat. The vocals are somewhat loopy (the good kind), that sways the song along with a nod toward “Midnight Rambler.” You can’t fake this kind of stuff. You either have it or you don’t. Tall Days has it in spades!

Crosstown Country Allstars -5 song EP (crosstowncountryallstars.com)

There’s a LOT of potential on the first album from the Crosstown Country Allstars. They play honky-tonk with nods toward The Grateful Dead, country rock with an eye towards swing, and basic rock ‘n’ roll. - But their playing and singing is just mediocre and stiff. Maybe in a live setting they would let their hair down and just go at it.

The originals like “Jet Black” and “Whisper in My Beer” also have potential, with solid song writing that holds your attention; but the singing is mediocre at best. They cover The Stones classic “Honky Tonk Women” with a western swing edge to it, but a song like “South Jersey Girl” is just a wanna-be Springsteen tune with too many clichés. If they wanted to, they could cover all the bases and change a few words around for “North Jersey Girl,” or how about “Central Jersey Girl?” The band has potential like I said, but I’m just not hearing it here.

The Grip Weeds - Under the Influence of Christmas (rainbowquartz.com)

Who Needs Another Christmas Album? Bahh… Humbug!

Yeah, that’s how I felt up ‘til now. I was seeing Christmas decorations before Halloween, and I was hearing Christmas music right after Thanksgiving- even from the cool radio stations. Then I went to do Christmas shopping a week into December, and it was just… unbelievable! Parking lots full, people in SUCH A HURRY! I thought, “Fuck that…” Then, I started to think about someone other than myself. My kids, friends, family, people who don’t have a job, health care… Then I realized how fortunate I really am, and not just for Christmas but really blessed. I realize I was having a “pity party” for myself, and I was the only one invited.

Ok, so now I put on the new Grip Weeds Christmas album Under the Influence of Christmas, and it’s just…amazingly fun! In the past there were very few full Christmas albums that I enjoyed from start to finish (Sinatra, Smithereens, and Phil Spector, to name a few). I liked the idea that a lot of artists (Springsteen, Ramones, etc.), only put out one or two Christmas songs instead of boring us with an a few good songs and the rest filler.

The Grip Weeds seem to have found the best of both worlds. Of the eleven songs, four were written by the band and five feature guest artists like Mark Lindsay (Paul Revere & The Raiders kicked garage/ rock butt back in the 60’s & 70’s), on “Santa Make Me Good,” and for an extra treat, they asked Myke Scavone and Gar Francis from the Doughboys to add their virtuoso talents.-It absolutely rings your jingle bells!

On The Pretenders’ song of longing, “2000 Miles” Pat Dinizio and Jim Babjak along with The Grip Weeds, add their somber and striking vocals to what was a song “owned” by Chrissy Hyde & The Pretenders, turning it into a new, fleshed out version that rocks a little more than the original.
One of the coolest, interesting uses of guest artists is George Cameron from the 60’s pop band, The Left Bank (they did a cool cover of The Four Tops “Walk Away Renee,” and more than a few memorable originals), on another Grip Weeds original, “For the Holidays.” With George adding harmony vocals, the song , which is about a guy wanted to be get back with his girl for the holidays is a sad song, but it’s sparked by the band’s solid playing, and the harmonies are Beatles-worthy.

One of the most interesting twists on the album comes with the reimaging of Jethro Tull’s “A Christmas Song.” In the hands of Kristin Pinell ( besides vocals, she plays guitars, flute & percussion for The Grip Weeds), it took me a couple of listens, but she and the band took Ian Anderson’s story of thinking about others worse off not only at Christmas but throughout the year (seems to be a recurring theme with me). She shares vocals with Vince Grogan from the band, Third of Never, and propelled by The Grip Weeds rhythm section of Kurt Reil on drums and Michael Kelly on bass (they add just the right tension and release throughout the entire album (their arrangement of “God Rest Ye Merry Gentlemen” is full of the psychedelic/rock/power pop that The Grip Weeds are known for.

Greg Lake’s “I Believe in Father Christmas” is a spot –on cover that will send chills up your spine as much as the original does. The three part harmonies of brothers Rick and Kurt Reil, and Kristin Pinell are as much fun as they are amazing.

Like a musical family (brothers Kurt and Rick Reil have produced albums by The Smithereens, and Doughboys- and let’s not forget their over the top production (really a LOT of fun), of Evelyn Forever’s rockin’ cover of “Winter Wonderland”), the band has many roots and branches.
The Grip Weeds, along with Pete Horvath and Rob Farrell from The Anderson Council, plus Danny Adlerman completely energize The Grinch’s “Welcome Christmas.” They take a sleepy, choir-like tune, add a few choruses of “The Little Drummer Boy” and turn it into a cool-as- a-cucumber rocker!

Under the Influence of Christmas is the type of album (I hope they play it live), that will brighten your spirits all the year round. And like the Boss (Jim Testa) always says, Christmas is like punk rock, it’s always more fun when there are kids around. Have a Happy Christmas & a cool Yule!

We Are The Ocean - Go Now And Live (hasslerecords.com)

Right from the get-go, I really liked this band’s pop/punk attack, which was unrelenting all the way through Go Now And Live. Handling the vocals are Dan Brown and Liam Cromby (he also plays guitar), who’s placement of vocals really draws you into the music. These guys can sing-unlike some bands whose aggressive shouting vocals throughout an album can kind of get played out quickly. They twist and cajole the listener into the songs, especially on “Trials and Tribulations,” “Trouble is Temporary,” “Time is Tonic,” and “Before I Die.” Dan sings as aggressively as does Liam, but they definitely show that they can truly sing in unison when the chorus kicks in.

We Are the Ocean know how to structure a song and present it with meaning, and they’re a force to be reckoned with. My opinion isn’t by preference either. Take a look at the market. The days of emo/scream-o/shouting are pretty much over (happily), and singers who can actually sing are back! Songs like “Godspeed” or “”Follow What You Need” is fine examples of what I’m talking about when I say, it’s over! My advice to the talented guys in We Are the Ocean is: Take the road less traveled. It should also be interesting to see where We Are the Ocean goes with their songwriting, since they have the ability to write about themselves and their peers, with an older, world-weary attitude, that some bands their age (they’re in their 20’s), don’t possess, or even have a clue.

All the songs have everything you would look for in a good song- from top to bottom. Starting with incendiary, and passionate vocals, excellent guitar work courtesy of Liam and Alfie Skully, along with the rhythm section of Jack Spence on bass, and Tom Whittaker on drums, they amp up each and every song without losing your attention, You’re drawn in to the whole album.

R.E.M. - Part Lies, Part Heart, Part Truth, Part Garbage 1982-2011 (Warner Bros.)

Who would have expected an American music revolution to be launched from Athens, Georgia? R.E.M.’s (I don’t think the band ever said what the letters stood for, but legend has it that its Rapid Eye Movement), rough/sometimes mumbled vocals, matched perfectly with their paisley/garage pop rock which was introduced to the world in 1982 with the release of the stunning independent single (IRS Records), “Radio Free Europe.” With that and subsequent indie releases like “Driver 8,” and “Gardening at Night,” they were the darlings of MOST rabid underground fans and fanzine, although Jersey Beat may have had a somewhat different opinion at the time of the band. JB’s been around for over 30 years, and back about 15 years ago when I started writing for “The Boss” (Jim Testa), he would send out a two-page “Jersey Beat Writer’s Guide” to potential writers (my first reviews were rejected with a sympathy letter (US mail), from Jim), basically your marching orders as to how The Boss wanted the reviews to be written, which I still use (I’m a pack rat). Anyway, the reason I bring this up is, about halfway down the second page where Jim wanted to show you how to do a short review, and add your name: “R.E.M.- Athens Sucks (Warner Bros.) Jangly art-rock by a bunch of old millionaires. Sounds like the Byrds with a sore throat. - Jim T” Hmmm…I don’t know if The Boss is still of that opinion, but for me, R.E.M. have pretty much hung in there all these years.

One of my favorites, besides “It’s the End of the World as we Know it (And I Feel Fine),” is “The Great Beyond.” A cool, garage/rock tune, but in the chorus where they say: “I’m pushing an elephant up the stairs…” really hits home. I heard the song about eight years ago and that’s how life felt for me going through a divorce. Now days it’s a good reminder of how my life was, and how hopeful it is now. R.E.M. was always very good at that type of life/world view.

The passion and heartbreak of songs like “Everybody Hurts,” “Fall on Me,” or “Living Well is the Best Revenge,” all resonate with soulful, alt. pop rock that the band is noted for. Pete Buck’s Byrdsian guitar playing with Michael Stipe’s hazy, sometimes melodic (sometimes miserable, sometimes upbeat), vocals and impressionistic lyrics, plus a strong, supple rhythm section (Bill Berry-he retired in 1997-and Mike Mills), R.E.M. plays memorable songs with unprepossessing simplicity and emotional depth.
As hip acceptance has given way to full-fledged stardom, R.E.M. is less exciting at times, but remains intelligent and committed to artistic expression. Of the three new songs that are included in this two record set (“A Month of Saturdays,” “We All go Back to Where We Belong,” and “Hallelujah”), all contain the ingredients like the title of the album --- “Lies –Heart-Truth- Garbage,” and we’re all the better for it.
R.E.M.’s breakup/long goodbye is a 40-song blowout!

The Brains - Drunk Not Dead (stomprecords.com)

Canada’s The Brains (yeah, who would of thunk that The Brains are from the same country as Brian Adams & Rush), horrific (really cool), psychobilly/horror-punks The Brains, are back to kick our collective asses once again-with gusto!!

They’ve been lurking around clubs, pool halls, and everywhere else that your mother told you to stay away from, for as few years now. Although The Brains story is typical of many independent bands who seem to make one, great album than seemingly disappear from the face of the earth, The Brains (not to be confused with the 80’s punk band, Brains), are here to stay, and we’re all the better for it!!With Rene D La Muerte on vocals and guitar, Colin The Dead on stand-up bass, and Pat Kadaver on skins, they inflict maniacal musical mayhem on anyone within earshot, and are an influential band (Necromatics and Horror Pops to name a few took a few pages from The Brains looks and music).

With nods to bands like The Stray Cats and Reverend Horton Heat, “High on Speed,” “Six Rounds,” and “Drunk Not Dead,” are high octane, fuel-injected, build for speed, psycho-rockers. There’s even a taste of the Clash in “Pourquoi Me Laisser.’ Like the Clash’s “Spanish Bombs,” it’s sung in Spanish, but the hot, restless vibe of the song comes shining through. But at the same time, The Brains are as original as all hell! With their very own theme song, “We Are The Brains,” (I think every band should have a theme song), they set themselves apart from the wanna-bees. A fast-paced, punk rocker about the band, it’s a template from which any upcoming band should hear.

Tart, bitter-sweet accounts of love, confusion, and all the shit that happens going through life are perfectly suited to the band’s aggressive guitar/bass/drums attack. You and your gal WILL NOT want to get off the dance floor! Psychobilly at its best and most passionate!

The Boss Mustangs
(spinoutmusic.com)

The Boss Mustangs are Dan Cadillac-vocals, Dave Jimenez-guitar, Mickey Catalina-guitar, Henry Jay-bass, J. Edsel Hoover-drums

B-Movie Rock & Roll Will Knock Yer Socks Off!

These cradle cats (they all seem to be in their early 20’s), are just the prescription you need for the winter blues/cabin fever, or whatever you what to call what gets you down in the dead-dog months of snow, and freezing weather.

The Boss Mustangs gleefully plunder various garage/ punk vaults, but rather than imitating any specific genre, this five-piece band synthesizes an original version of that musical era with searing guitars, exceptional bass work, a raved-up drummer who obviously is damn near the reincarnation of Keith Moon, and the lead singer’s manic vibe. This band conjures up some great, original mojo!

The production is second to none, which is created by Dick Chiclet and Johnny Hiwatt. They allow the Boss Mustangs to color their songs in different shades of black leather, day-glo, that stick-to-your-ribs on these ten outta sight tunes!

Shades of Iron Butterfly!!

The last song on The Boss Mustangs self-titled album “White Rose,” is a six minutes and change psychotic/psychedelic mind-bending number that morphs into an organ-inflamed (no credit given), jam with a slight nod to “In-A-Gadda-Da Vidda” that will get you right with God!

The Boss Mustangs sound like they just crawled out of the Stooges amplifiers.- Loud, brash, confident, nasty-as-fuck garage punk to the max!-And they wear Naru jackets, how cool is that!

The Fuzzrites - Baby Cakes (spinoutmusic.com)

The Fuzzrites are Dick Chicklet-guitars, bass, clavioline, vocals; Matt Mason-bass & vocals; Jonny Jacobs-drums, Farfisa, Wurllitzer, vocals

The Fuzzrites (I’ll give them a gazillion points for one of the coolest names this side of The Boss Mustangs), are a trio that seemed to be powered by yodels, Twinkies, pixie sticks, and a few gallons of cherry Cool-Aid! That is, the high-energy, moxie, and over-all mojo is as fast as it is contagious!

With their female/male vocals of Dick and Jonny, they present a one-two punch that is not too often seen. Jonny has a Ronnie Spector (60’s girl-group icon), vibe that will have the guys (and maybe some gals), swooning over her, but she also has that street-tough gal look where she could be smiling in your face, and at the same time be crushing her three inch high heel into your shoe. Dick has that manic vibe of a Jerry Lee Lewis in his hay-day. All guts and glory- he takes no prisoners either playing a wide range of guitar sounds from twangy to psychotic reaction. Matt Mason handles the skins very Dave Clark5-worthy (wild and wooly), propelling the band head on into the song, or he can play it tight& right. This is a band besides listening to, needs to be seen. The way they conjure up images of their tunes like “Little Rocker,” “Not Around,” or It’s All Over,” makes me want to Google their website (thefuzzrites.com), trying to find out when they’ll be in my neck of the woods.

Of the ten tunes on Baby Cakes, one is a cover. Link Wray’s “Easy,” and yeah, I’m gonna sound cliché, but The Fuzzrites make it sound easy. It’s a song about falling in love, and man, these guys really honor Link and the legacy he built. The Fuzzrites play it as a cool-as-a-cucumber rocker, with Jonny handling the vocals and drums, with Dick and Matt chiming in with Everly Brothers-like harmonies, and colorful swaths of guitar and bass. –Oh, have I mentioned that The Fuzzrites are one of THE BEST garage/rock/punk bands this side of the Mississippi? Yes indeed, they are!

This is actually my first run-in with Spinout Records (and hopefully there will be many, many, more), other than one of their other bands, The Boss Mustangs (see separate review), and I’m hooked! I mean, I love the bands, I wanna see their live shows and I wanna interview them, and possibly have a bar-b-que and pool party at some point get their band sticker. pin, t-shirt.

Vintage Blue - Strike the Mics (vintagebluemusic.com)

In the liner notes, the band talks about how passionate producer Jamie Candiloro (The Eagles, Willie Nelson, and a few others), and the band were about their recording session. A t some point the interns had messed up the mics and equipment they had set up for the next day. The story goes that the usually calm Caniloro was so incensed that he made sure that throughout the rest of the sessions no one dared to readjust the equipment. Signs like “Don’t Strike the Mics, or I’ll kill you,” kept the interns on alert the rest of the sessions.

As for the music on Strike the Mics, the first song “Set You Free” sounds like a really interesting modern-day ska tune.- Which was a little puzzling (but cool), since the band has pretty much a modern rock & roll sound. I Mean, they have a good vibe to their sound, but the production is just a little too clean, or the vocals are a little too sweet at times.- I don’t know what it is exactly, but I have the feeling that Vintage Blue would probably sound a lot better in a live setting. The band really tries hard, but unfortunately they don’t get the brass ring this time around.

New York Dolls - Lookin’ Fine on Television - A Film By Nadya & Bob Gruen (MVDvisual.com)

No Personality Crisis Here, The Flamboyant Dolls Will Amaze, Shock & Absolutely Rock Yer Socks Off!!

Back in 1973 The New York Dolls had (and still do), the style, attitude, rawness, and audacity to reinterpret the notion of punk as it had existed in the ‘60’s and to create a decidedly ‘70’s over-the-edge new reality prior to latter 70’s punk. Although they made two proper albums and were barely hanging in as a band by the time the Sex Pistols played their first gig, the Dolls almost singlehandedly began the local New York scene (let’s not forget those dastardly Dictators), that would soon after spawn the Ramones, Blondie, Television, Talking Heads, and a gazillion bands since then.
Fast forward to about two years ago, and I was listening to a radio interview with David Johansen taking about the current lineup of only two of the original Dolls. David and Syl Sylvain being the only two surviving members left, and two new young guns joining the band (Johnny Thunders, Artie Kane, Jerry Nolan, and Billy Murcia have passed). During the interview David had made a sad, but somewhat funny remark that, “There were more dead New York Dolls than where were live.”
After hearing that remark, I dug out my vinyl copy of the New York Dolls first album, and got that same shot of adrenaline that I first got when I brought the album over 30 years ago.

I’m sure there were a few DVD’s of the band out there over the years, but when I popped this baby in, it wasn’t just flashbacks, I felt like I was there.- New York City, Max’s Kansas City, CBGB’s, TV shows, and live concerts. It was a fuckin’ blast!
The husband /wife team of Nayda & Bob Gruen were there from the get-go! Their first-hand interviews, comments, and some of the best video tape of the band is just…incredible! A lot of people who do this type of archiving these days were not there when the band’s first hit the scene. A lot of times it’s second or third hand, or hearsay, but the Gruen have lived it, loved it, and were smart enough to record it. - Something that was very rare in those days. Instead of like today where EVERYONE has at least a camera phone, back than you had to put out hundreds if not thousands to get a halfway decent tape recorder of video camera.

Besides cool versions of early Dolls’ infamous hits like “Jet Boy” (two versions), “Personality Crisis,” “Trash,” and “Who Are the Mystery Girls” (15 songs total), they also include an interview with David and Johnny back in ’76 by radio DJ Lisa Robinson. I have to admit, Lisa held her own during the interview. Both Dolls were funny, outlandish, and provocative, as Lisa not only kept her journalistic composure, but got a “one-up” on the guys here and there. The interview is worth the price of admission alone!

To me, The New York Dolls were the second dividing line between kids and grownups, The Beatles being the first. The Dolls were wild, played out-of-this-world glam/punk rock, and were maliciously beautiful, rebellious, and cool-as-fuck. And they continue to be diverse (David just did an acoustic solo show at The Downtown Café in Red Bank a couple of months ago), putting on solid shows.

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Jon Caspi & The First Gun - The Little Ones (joncaspi.com)

Amplified Humanity, Along With Nuts & Bolts Rock Punk, Jon Caspi & the First Gun’s New Album Is A Scorcher!

Jon Caspi & the First Gun is a three piece band that practically defies genre-defining. With hard blues and rock & roll as a template, the best similarity I could come up with was another three piece Jersey band that hasn’t played in years, but are still together from what I hear - Shades Apart. Both bands have similar approaches to their music where they both like to get to the heart of the matter, whether it is politics, music, love, or a balls-to-the wall rocker. Also, the gritty rock & roll vocal wallop that both bands possess, is as distinct as Springsteen’s.

Ok, thanks for letting me rave on, but let’s get back to The Little Ones.

Like I mentioned about politics, music, love, and balls-to-the-wall rockers… First off, on the cover of the album is a distorted photo of a child carrying what looks like a high-powered, automatic rifle. On the inside cover there’s a photo of another child kind of like a Toys R Us advertisement also holding a gun- but it’s a super-soaker water gun. Listening to the title song “The Little Ones,” you find the connection. Third World teenagers (as depicted on the cover art) are abducted from their homes and brainwashed to fight a war not of their own. The other teen (inside cover) could be yours or mine, and possibly the same scenario could happen. Evil knows no boundaries. “Drill a Whole,” with the distorted, often misused knuckle-headed anthem of, “Get out the way, lead or follow,” is both a knock to the single-minded rush-to-judgment folks saying, “My country right or wrong” (which was taken out of context, twisting the original’s true, heartfelt, patriotic meaning), and a tribute to those who, “Cheers, we all raise our beers, to those who faced their fears, to build a better sphere.” So, in this context, “Drill a Whole” is given an unusually interesting different way to look at the situation.-Genius! Similar songs like “Take Me Home,” “Thick & Thin,” and “This Game” are weaved into the albums fabric to make it concise as well as diverse.

On a lighter note, “The DJ” and the closing number “Schwinn” all have a catchy chorus, and simple but fun-all-hell story lines! “The DJ” is none other than Glen “Jonesey” Jones, one-half of the fabled radio talk/music duo of “Jonesey” and Ray “X-Ray” Burns who host their talk/music radio show on Sundays from 1-3pm on 91.1 WFMU, “Jonesey” also has his own show where he plays music on the over-night shift (I love those guys)! In the song, in which “Jonesey,” “Just cares about the music not the bread,” is like a combination lyrically of Tom Petty’s “The Last DJ,” and the Ramones’ speedy punk anthem “Rock & Roll Radio,” all built around Asbury Park. The closer, “Schwinn” is a one minute, seven second scorching barnburner. Like The Bouncing Souls’ Who Threw The Toilet Off the Roof?” it’s all fast, spirited punk energy, only The “Schwinn” is about a bicycle.- Sometimes simple stories are the best.

This is a great album from start to finish!-Phil Rainone

The First Gun is Jon Caspi-Vocals and Guitar, Jimmie Mizell-drums and vocals, and Doug Lane-bass and vocals

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Iggy and the Stooges - Raw Power Live: In the Hands of the Fans DVD (MVD.com)

Through an online contest, six fans were selected to film Iggy & the Stooges’ September 3, 2010 reunion (guitarist Ron Asheton had passed away in 2009, and later-day Stooge guitarist James Willliamson had replaced him), as the band performed their “Raw Power” album plus other Stooges gems in their full, warts-and-all glory! The show was filmed at the All Tomorrow’s Parties Festival in New York State.

The fans that won the contest included Britt L. Clardy, Nick Esposito, Matt Goldman, Steve Schmidt, Edwin Samuelson, and Amy Verdon. What’s cool about the DVD , other than the spirited, emotional, and out-right raw performance by the band, is that it’s definitely fan-friendly. You get to experience the fan’s joy and sheer amazement as they bring us closer than any regular camera man could - or should. It may sound corny, but the fan-cams dared to go where no other camera has gone before. No, they didn’t get a vid of Iggy taking a shit, or anything half-ass, but they did go with their instincts, capturing the band at its most intense, and playful.

As the Stooges open their over-two-hour set with “Raw Power,” you immediately get the feeling of the room - small, crowded, and seemingly reeling with sweat - and not one note had been played yet. Directors Ed Seaman and Henry McGoggan, along with editors Luis Valdes and Joey Carey, had their work cut out for them with not only getting the show down, but also getting the fan videos right, balancing both with an eye toward what punk is all about. The fans that were chosen to film the show also got to meet the band face to face after the show, which was also filmed. The meeting is like Christmas and your birthday all at the same time, and that goes not only for the fans but the band also. It doesn’t get much better than this!

With new Stooge Mike Watt (Minutemen, etc.), on bass, James Williamson on guitar, Scott Asheton on drums, Steve Mackay on sax, and Iggy Pop handling the vocals and crowd control ( more like crowd un-control), the show is a non-stop blitz through the band’s punk manifesto, “Raw Power.” The title track is then followed in chronological order with “Search and Destroy,” and “Gimme Danger,” all of which are worth the price of admission alone. Not here, or anywhere through the two-hour plus show , does the band rest on its legend. They play like their lives depended on it. Thrashing, bashing, crowd surfing (Iggy), all-out punk rockers on a mission! Even some of the lesser known songs like “1970 (I Feel Alright),” “Shake Appeal,” or “I Need Somebody” all shake, rattle, and roll with a vengeance.

The liner notes are written by Mike Watt, and for a guy who’s pretty much seen it all as far as punk rock is concerned, he writes more like a fan of the band and punk in general; he hasn’t lost his reason why he started a band in the first place, and it sounds like he’s got a lot of more to give. The whole show is a give-and-take situation where both the band and fans energy level keeps rising as they work off each other. The manic mojo that’s evident during the last two numbers of “Fun House” and “No Fun” comes right through your TV screen- you feel like you’re there, even if you have a small 14” like me.

I’ll let Mike Watt have pretty much the last word. “Hell, I know for a fact we would’ve never even had a punk scene (back in the 70’s), if it wasn’t for the Stooges.” - Phil Rainone

I think a lot of us that feel that way. I remember getting a vinyl copy of “Fun House” from a friend of mine when it first came out in the early 70’s. I was so taken aback at the time with it; I didn’t get it at first and it took a few years to finally sink in. But man, when I did get the Stooges, I was off and running!

The Stooges - Head On: A Journey Through the Michigan Underground
By Brett Callwood
A Painted Turtle Book

In 1969, the Stooges debuted their first self-titled album. At the time, the band included guitarist Ron Asheton, drummer (brother) Scott Asheton, and bassist Dave Alexander ( later Stooges would include James Williamson on guitar, and Mike Watt on bass.) They sounded like nothing else released in 1969. Moronic lyrics and three-chord “tunes” clearly anticipated the lowest-common-denominator populism of 70’s punk, all the ingredients for what followed (Ramones, Sex Pistols, Minutemen, and a gazillion more bands). Either you got the band, or you didn’t at the time. There was no in-between. From then on, it was us against them - rock ‘n’ roll was once again vital, repulsive, and fun as all hell!!

This book is written like more of a personal diary from the band members’ respective, and less on hear-say. Brett Callwood interviewed all the past Stooges with all of them getting equal billing, including the reclusive Ron Asheton before his death in 2009. He also interviewed contemporaries of the band, including members of the MC5 and John Cale (Cale had produced the one of the band’s albums and played viola on “We Will Fall”), among other contemporaries and recent fans. He didn’t try to write a who’s-Who, or focus on the band’s legendary drinking and drugging episodes. Instead he preferred to dwell on the build-up to, and fallout from their three seminal albums. He still found plenty of color during interviews with some of the quirky characters that surrounded the Stooges. Explore, explore, explore - it was hard to put the book down to take a break. With each chapter, the story line got deeper and deeper, especially since Callwood chose to use direct quotes from his many interviews. It felt like I was getting a first-hand account of the time period, the bands, and the music scene.

In the last chapter, “Raw Again,” the band talks about Ron Asheton’s untimely death (the author does a very good job of getting Ron’s perspective of the band and their music throughout the book), and what the future holds for the band. Nothing is glossed over; this is real-deal punk.

With a thought-provoking forward by fellow Detroit rocker Alice Cooper, and an afterward by ardent fan Glenn Danzig, what comes in-between is funny, relevant, sometimes scary, from the heart, and on the money!

New Found Glory - Radiosurgery (Epitaph)

Back in the day, some seven albums ago in 1997, when the band was originally known as A New Found Glory, this band was full of piss and vinegar, with some of the best punk attitude around. Since dropping the “A,” New Found Glory have explored other musical avenues. So what’s their new album like? Well, in its entirety, Radiosurgery focuses mainly on love-hate relationships, but they deal mostly with breakups. Now, don’t think of Emo-like breakups; on the contrary, they’re the real-deal, real-life kind.

All of this is underlined with catchy choruses and upbeat guitar riffs, deep bass grooves, and drumming that rivals the mighty Zeppelin’s John Bonham (they once compared Bonham to “the day God played drums”), all done with a eye toward keeping the rhythm upbeat and fresh. The opening track “Radiosurgery” sparks the album with a pop-punk flair that not only doesn’t get extinguished throughout the entire album, but actually enhances the flame, making it brighter and brighter as the stories progress.

These songs are radio/fan-friendly, the kind any good punk rock station worth its salt would definitely play, and everyone will know these eleven tunes by heart after just two listens, I would predict. And speaking of radio, the beginning of “I’m Not the One,” and the end of “Dumped” feature an old-style radio broadcast, which adds to the songs rather than subtracts as a distraction. In addition, “Dumped” - which despite the aforementioned radio tidbit, is a cliché breakup song - works because they get right to the heart of the matter, rather than emo it to death.

There are also slower paced darker tones, and beautiful harmonies between Jordan Pundik and Bethany Cosention on “Caught in the Act,” but the song that stands out most to me is the last song on the album, “Map of Your Body.” There’s a 50’s style doo-wop break in the middle that will give you a quick rush until the original cadence of the song is thrown back in, to close out the number with a quick, solid, finale.

Radiosurgery is not an album of little nooks and crannies- it’s full-blown highways and boulevards, a musical map. Passion, energy, pop-punk, and some of the best story telling around!

Girl in a Coma - Exits & All the Rest (blackheart.com)

Sometimes muted and somber, other times rip-roaring, Girl in a Coma knows how to get your attention and keep it on their new album, Exits & All the Rest. “Smart” has all the cool nuances of a Smiths record, but from a female point of view. The use of echo, reverb, and some kind of “sonic sounds” are used to maximum penetration to a point where you feel the outside world is shut out - maximum euphoria!

Sophisticated without being smug, smooth without being bland, songs like “Sly,” “Control,” or “Knocking at Your Door” show confidence beyond the band’s ages (in their 20’s). The songs’ noisy energy and unmitigated passion grow into strong melodies which are powerful enough to stand up to the band’s sometimes smooth handling. There are slower rhythms but there are no empty spaces. Everything is connected, but not in a connect-the-dots way, more like a natural progression, giving Girl in a Coma an intriguing sound that works well at both high and low volumes.
Stretching out and opening up their songwriting (this is their third album for Blackheart Records), the music is more stylistic, ambitious, and compelling. The band and producer Mike McCarthy goes to town on this record, and to see and hear it live would probably make it all the more memorable.

Girl in a Coma has built these 11 songs on what seems like life stories/observations about boredom, sarcasm, romance, that are as relevant now, as they would be in the past, and probably will be in the future. In other words great songs with solid story lines!

Girl in a Coma are: Nina Diaz on guitar, vocals, keyboards, Phane D. on drums, and Jenn Alva on bass

Super Heavy (Universal Republic)

Super Heavy are: Mick Jagger: vocals/guitar/harmonica, Dave Stewart: guitars, Joss Stone: vocals, Damien Marley: vocals/programming, A.R. Rahman: vocals/programming/synths

How many bands nowadays do you know that have their own theme song? I can’t think of many, other than 60’s iconic (let’s get them into the R&R Hall of Fame already, for Christ sake!) pop rockers The Monkees . Well, along comes Super Heavy with their who’s who of pop, rock, reggae, Bollywood, and all-out funk and soul members. Using Super Heavy as the name of the band, album, and first cut (Bowie did that cool marketing technique with Tin Machine), “Super Heavy” is all that it sounds like! And if you ain’t toasting right along with Damien “Jr. Gong “Marley by the end of the… well… “super heavy” title song (“We’re Heavy…evy..evy…super heavy”), then your brain dead! It’s a cool, somewhat self-mocking, tongue-in-cheek bragging, and just a fun, super blockbuster, monster-of-a-hit!

From there it just gets better and better! The first (of many) singles “Miracle Worker, ” is a lesson in Reggae 101. It’s bouncy, groove-alicious, and as rocksteady as they come. Like the rest of the album they add instruments that if I had told you beforehand what they were cooking up, you would have given me the stink-eye! The violin they add in “Miracle Worker” is subtle, but when Marley toasts on top of it the song goes other-worldly! Actually EVERY SONG has its own special mojo. When Rahman (of Bollywood soundtrack fame) weaves Indian Bollywood vibes into just about every song, it’s just…amazing! You’re gonna go back to the album time, and time, and time again, fleshing out the different sounds and vibes. It especially gets interesting when the trio of Dave Stewart (producer)., Marley, and Rahman combine their programming (the good stuff), serpentine the unique sounds in and out of the 16 songs on Super Heavy.

Mick, like Joss Stone, is impressive on their duets (Marley spices up the grooves) and solos, although no one takes on a whole song. There’s always one of the group sliding in adding few lines here or there, creating different textures and horizons.
Every artist is a stand-out, not only where you would expect them to, but also in some unusual ways. Jagger belts out a mean, bluesy harp on “Energy,” and adds some memorable guitar work on the majority of the tunes, gearing them up, even on acoustic numbers like “Never Gonna Change,” and “I Can’t Take it No More.” On “Never Gonna Change,” a slow-burning acoustic number, Mick strums and croons like its 1969. He takes us back to Neanderthal Stones-age circa “All Down the Line,” or “Salt of the Earth.” “Never Gonna Change” is an all-out rocker with everyone in the band contributing.

Joss Stone, who recently was freed-up from EMI (she has her own label Stoned Records and just released her new album, LP1), sounds like an early version of Tina Turner. She works her vocals around each song ranging from sweet soul music, to rock-Goddess stature. At the ripe old-age of 21, she is and will be a musical force to be reckoned with!

You would think that after an album full (12 songs on the regular album, and 16 on the deluxe edition), that a band no matter how good would start to run out of steam, but not Super Heavy. First they all brought their A+ games, without the attitude, or anxiety (Mick and Joss wrote the lion’s share of songs, litterly going from pen and paper to the recording studio in a matter of hours, if not sooner).

Of the four bonus songs, there’s not a clinker in the bunch. A.R. Rahman leads off with a Bollywood/chant number that rivals Springsteen’s “Worlds Apart” (Bruce threw his hat into the ring two albums ago with a knock-out world beat tune). “Warring People” is in stark contrast to an earlier number “Beautiful People.” The first song is a raging, would beat number that rallies against the Super Powers, Wall Street, and all the misery they bring. The Latter song has more of an upbeat, hip, All-You-Need-Is-Love vibe- and they both work. In these times we all can use a little more happiness in our lives, with an eye toward all the rotten stuff that’s going on around us. And “Common Ground” is the song that balances (obviously), the two black and white numbers, and it seems like there’s plenty left in the tank for a tour and another album, hopefully!

Joss Stone - LP1 (surfdog.com)

Joss Stone’s Fresh Start Yields a New Unyielding Album

On Joss Stone’s new album (the 21 year-old’s fifth album, her first for Surfdog/Stoned Records), she moves on from her tortuous relationship with musical conglomerate EMI (hmmm, who else do we know that had problems with EMI in the past…SEX PISTOLS!)

LP1 as the title signifies is a fresh start not only musically, but emotionally, and relationship-wise. Right from the get-go, on the first two songs “Newborn,” and “Karma,” Joss breaks out the good karma/bad karma with at first, good intentions (“Newborn”), but then she gets down-and-dirty on “Karma,” where hindsight is 20/20. She viciously strikes out a former lover (and possibly EMI), like Tina Turner (vocally, Joss nails Tina’s tortured-soul, soul-shout wail, like sticking a hot musical poker up Ike’s ass.- Vengeance IS sweet!

Produced by Dave Stewart (he produced and played on Super Heavy, of which Joss was an integral part of), and Joss, who partnered-up with a few co-writers, including Stewart, who who helped write the lion’s share of these ten songs, and a solid set of musicians including Chad Cromwell on drums, and Michael Rhodes on bass. This is her breakout album, but it’s not. That is to say, she shredded her label and lover to pieces leaving it all but impossible to go back to, but she left intact all she’s learned since she Betty Wright (one of her hits was the 60’s soul-rocker, “Clean-up Woman”), took her under her wing about six years ago.

On LP1 Joss not only took her lessons to heart, but now their embedded in her musical DNA and is cutting her own groove on numbers like “Take Good Care,” “Drive All Night,” “Boat Yard,” for starters. Soul, funk, sass, and rock grooves and abundant, Joss lives inside each and every song, experiencing the good, the bad, and the ugly, but she always manages in the end to light up the darkness with her mind, body and soul!

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Zydeco A-Go-Go - Let the Good Times Roll (Gumbo Music)

The first thing that catches your ear when you hear the opening salvo of “Zydeco Sont Pas Sale,” the jaunty, make-you-smile-from-ear-to-ear Cajun rocker, is an upbeat accordion, fueled by guitars, rhythm section, horns, and assorted New Orleans-style instruments like a rub board, among other instruments of mass construction- musically speaking.

Back in the day when enturpenur/ DJ and all-around cool cat Lenny Lounge was running The Leopard Lounge in Sayreville, he was putting together shows with retro-swing, punk, rockabilly, and cool-as-fuck eclectic bands on the same bill. Lenny’ still gets his pork-pie hat in the ring, putting on shows now and then at Asbury Lanes. Zydeco A-Go-Go would if it nicely at one of Lenny’s shows, and I’d also throw in The Bouncing Souls and Gashouse Gorillas to make it something extra special. Man, you would definitely have to bring you dancin’ shoes to that show! Hey, let’s throw in Reel Big Fish- dang, what a lineup that would be!

On Let the Good times Roll, Zydeco A-Go-Go mixes up their New Orleans roots rock with a contemporary stance spouting some wicked energy. Old fashioned bar-room romps with up-tempo numbers soaked with a barrelhouse/ragtime atmosphere. Imagine a young Jerry Lee Lewis in prime condition with no religious hang-ups, only with an accordion instead of a piano. Turn this sucker up REAL LOUD, hoist a few, and get you and a few 100 close friends or so out on the dance floor shakin’ your tail feathers all-night-long!

“Dance all night, stay a little longer!” – "Dance All Night"

By the time you get to just the second song “Let the Good Times Roll” (Pete trades vocals with Pam Eshelman, who’s joyous, rockin’ vocals are Marsha Ball-worthy), you’ll be absolutely hook! “How hooked,” you may ask? Well, besides heading on down the road to pick up your very own personal copy of “Let the Good Times Roll,” you’ll also beg you ‘rents for accordion lessons!

The Doughboys - Rock N’ Raw Live (DVD/CD) (thedoughboysnj.com)

As the old rock-biz cliché goes: The album’s cool, but the band is better live (I’m guilty as hell for using it myself). But in fact, the new live album (1 DVD & 1 CD), from Jersey’s own Doughboys is exactly how their rock ‘n’ roll/punk/blues sounds in a club and on their studio albums (the best of both worlds. With an early Rolling Stones’ 60’s vibe, a frantic barroom piano (on “Queen City” courtesy of John Hawken), guitars set maximum level, a rhythm section that can play pedal-to-the-metal rock, and singer Myke Scavone at times roaring like he’s got Mick Jagger stuck in his larynx, the combined clout of the band is simply amazing!

Interwoven with The Doughboys full, live set that was recorded at Arlene’s Grocery, in New York City is the band’s back story which is like a cool musical history lesson. Also, throughout the DVD they often talk about original guitarist Willy Kirchofer who passed away a few years ago, with pride and respect, who was an integral part of The Doughboys’ sound.

The DVD is not a slice ‘n’ dice video- you’ll actually find yourself enjoying how they give you a bit of the band’s history with interviews with each member, than cut to a live song from the show, than back again to the band’s history. Unlike the cut ‘n’ paste of an MTV video, you’ll find yourself wondering what you’ll see and hear next. The live audio portion was recorded by Kurt Reil (The Gripweeds), and Kristin Pinell, at The House of Vibes, in New Jersey. They give the video a rich/raunchy vibe without the glaring gloss so many music videos have these days. Directed and edited by Rob Adams in Freehold NJ, he had said that, “Frankly, I have witnessed the deep, burning passion they (The Doughboys), each have for their music. It’s the kind of passion that only 40-plus years of practice and performing can muster. This raw passion rings in every note and resonates with every lyric and it is the stuff that live performances are made of; the artist, on-stage, giving you everything they have.
Produced by Rob Adams, The Doughboys, and Nancy Heyman, this musical document could be titled “Part 1.” With a ton of live shows upcoming and a new studio album in the works, The Doughboys show no signs of slowing down.

My only minor gripe is, the DVD ends with The Doughboys amazing, cool-as-fuck rendition of two of BoDiddley’s signature songs, “Bo Diddley,” and “Mona” which were on the DVD but not the CD (I’m guessing that it was left off because the 20 refridirator-shakin’ earth-quakin’ songs pretty much took up most of the CD). And you definitely HAVE to see the DVD, and epically those two songs. Words alone cannot describe the manic mojo mayhem (I saw The Doughboys at Asbury Lanes a couple of years ago), that they build up to throughout their whole set. The old saying goes, “Always leave them wanting more,” but this band will leave you exhausted, and happily delirious. The only thing they leave you wanting is to see them the next time ‘round.

People assume something gets successful by fitting in, but the greatest and most revolutionary artists don’t fit in, Good music transcends what fits in the culture. This album could have come out ten years ago or ten years from now and you would still have the same reaction: THE DOUGHBOYS FUCKIN’ ROCK!!

Chuck Ragan - Covering Ground (sideonedummyrecords.com)

Chuck Ragan’s popularity with young and older rebels stems primarily from his last album and constant touring. This new collection of anthemic/heartfelt songs is based on attitude as much as music. With only a three-piece band and a few friends on various instruments - including Chris Phillips (Squirrel Nut Zippers), on percussion, Christopher Thom Mandolin/pedal steel guitar), and Brian Fallon (Gaslight Anthem) on backing vocals - Ragan’s streetwise, down-to-earth tunes voice a sense of disillusionment and failure as much as love, and happiness. Punks of the late 70’s can see themselves in these ten songs as easily as any punks since; and newcomers, fighting against the same climate of unreality, vanity, and how we treat each other in general will also see themselves.

In songs like “Nothing Left to Prove,” “You get What You Give,” or “Lost and Found,” you hear the tight, driving acoustic guitar sound balanced against Chuck’s harp, while the rhythm section holds a steady, passionate cadence. At times bleak, other times spirited and uplifting, this powerful ensemble is capable of gripping drama.

This past May we saw Chuck Ragan open for Social Distortion when they played the Summer Stage at The Stone Pony. Along with almost a thousand fans, we were all chomping at the bit to see Social D since their show there had been cancelled in January. Ragan ambled onto the stage toting an acoustic guitar and three piece band (including Jon Gaunt on fiddle, and Joe Ginsberg on upright bass, the same band as on Covering Ground). With about 1,000 punks waiting for the full-force blow of Social D’s manic mojo, Chuck and this band not only held everyone’s attention with but had them moshing and swaying. Chuck Ragan is starting to emerge as a patron saint of punk - and that’s not only a good thing, but a necessity.

Dangerous! - Teenage Rampage (Epitaph Records)

As any good marketing executive will tell you, one key to successfully introducing a new product is an effectively descriptive name. So when a young band decides to call themselves “Dangerous,” epically with an exclamation point after their name, they had better walk the walk and talk the talk. Also, they’d better not be counting on a career in new age harpsichord music, knowwhutImean? Fortunately, this fiery four-piece band (Tommy, Nicky, Jarred, & Liam), can bring the heat, roar, and swagger through familiar-sounding originals that cross the Cramps, Mojo Nixon, and The Stooges. Convincingly obvious anti-anthems about girls (“Chasing the Girls,” “Big Muff”), death (“D! Or Die”), and dubiously topical lyrics about drugs (“Needle”) are ingenious, and imaginative.

Teenage Rampage is loud, hard, and in-your-face, and less stylized, with very exciting over-amped guitars and raw vocals, all wrapped up in a demented hybrid of a backbeat. All 12 songs are razor sharp, with rhythm ‘n’ punk. This album never falls flat. On the contrary, Teenage Rampage is cleverly arranged, with smartly played hooks that grow more impressive (not to mention catchier), with each hearing. Turn in up, tune in, and get you mosh on! Dangerous! Is a band you’re gonna wanna see live. Not many bands have this much spark and credibility.

The Grinds - Whatcha Lookin’ At? 5 song EP (thegrindsboston@gmail.com)

The Grinds are a Boston based band (have I ever told you about my Yankee hat in Boston story before? Yeah, one too many times, from what my son Steve says), consisting of Erin Wickens on lead vox, Chrissy Spoiler on guitar and vox, Nate Bisbee on lead guitar and vox, Daniel Sussman on bass and vox, and Eliahu Sussman on drums .

I can see the headlines now: “Young band (The Grinds) regains the punk rock ‘n’ roll holy grail from the grasp of conservative bands (list your favorite emo/pop “punk” band here), with stale ideas.” Well, it is kind of a long headline, but I’m sure if they use it the powers that be will find a few shortcuts here or there to fit the page, but you get the point. The Grind is a new band that breaks new ground, and will indeed inspire more than a few kids to start bands. The five songs here all blossom into major-league hits, and I’m thinking that with a full album hopefully just around the bend, this is just the tip of the iceberg!

But outrageous rock ‘n’ roll is not the only thing you’ll hear on Whatcha Lookin’ At? There’s also some brilliant, biting commentary here, epically on “Lost Our Fun,” and “Don’t Need You.” The band is big on humor, but sometimes they slip a little tongue-in-cheek philosophy in for good measure, like on “Hound or Hare.” Now, don’t get me wrong, there is rage here, but it’s channeled into fiery playing and singing, offering you a glimpse of what the band sounds like live. Me, I’m gonna keep on playing this album while I look up their show schedule. Hopefully they’ll be in the Jersey area soon!

The Grinds play a junky/funky/punky, kinda garagey noise, that barely resembles rock ‘n’ roll-AND THAT’S A WONDERFUL THING!! I’m gonna nick a line from Little Steven’s Underground Garage: Not only is “Hound or Hair” one of the coolest songs ever, but Whatcha Lookin’ At? “is one of the coolest records in the world, this week!” Good primal rock ‘n’ roll - period!

Cinema Cinema - Shoot the Freak 3 song EP (cinemacinemaband.com)

I think what strikes me the most about Cinema Cinema right from the start is, listening to the opening cut “Lady Abortion” is first of all the band’s unpompous attitude, and second their unchecked ambition. You just know from the start that this is not your typical I-hate-the-world album. There are moments where the words and music run together into a somber cesspool of slow-paced grimness, like on “Day Leash,” but the emotions are as real as you can get.

“Pleased to Meet You” opens with a cool-as-fuck Clash “Lost in the Supermarket” vibe, than toward the end the song breaks into a Hendrix (“Spanish Castle Magic” is a good example), guitar freak-out that puts the tune over the top. All this in only three songs. - Can’t wait for the full album!

On Shoot the Freak Cinema Cinema create inventive arrangements that capture the band’s mood in full B-movie fidelity.

Doug Rockwell Band - 6 song EP
(http://reverbnation.com/dougrockwell)

The Doug Rockwell Band’s strength lies in the six well-constructed pop punk tunes, and Doug’s charged emotive vocals. This tight talented unit is capable of subtly and power both on voice and the band’s girth. Numerous young American bands have attempted to recapture the soulful spirit of pop rock as pioneered by bands like Semi Sonic or New Found Glory, for example, but few have come as close as getting it right as the Doug Rockwell Band. Where similarly inclined combos have used the sound as little more than a stylistic affectation, this Jersey band captures the mojo of the aforementioned bands, remaining scrupulously faithful to their musical sources yet never seeming contrived. This is a cool debut; the band stakes out its style with great spirit. I look forward to seeing their live show having heard this EP. The band paints with bright colors, whether tongue-in-cheek or outright happy. Either way this is a refreshing change, and the six tracks form a cohesive work.

The Static Jacks - If You’re Young (thestaticjacks.com)

Since formed in 2007 in Westfield, NJ, The Static Jacks have been on a LOT of musical radar screens, including mine. I’ve always been hearing good things about the band, and now I finally have a chance to give my opinion on their new album.
Well, it was more than worth the wait! The Static Jacks are a no-holds-barred band! Powered-punk melodies (“Sonata (Maybe We Can Work it Out” sounds like a lost Smiths melodic tragedy), with industrial-strength guitar noise like “Wall’s (We Can’t Work it Out)” which has a cool-as-fuck Dick Dale surf vibe to it, and a rhythm section that seems like it’s a perpetual motion machine. Together they create a sound that can’t quite be described, because it’s miles apart from anything that’s been done before. It’s nice to see musicians with the courage of their convictions. The Static jacks simply personify the most incendiary and rebellious elements of punk rock. Hellions who apprenticed in Jersey bars and clubs, and who were able to breakout nationally through constant touring and sheer determination. The Static Jacks are the blueprint for any band that wants to not necessarily “make it big,” but to bring their originality to a new level.

If If You’re Young were a vinyl album (I’m sure you can probably find it in that configuration), after hearing all of side one, your anticipation would be at the edge, wanting to take the phone off the hook (kids, please put your cell phones on vibrate), lock the doors, get comfortable, and flip over to side two, and get even more into The Static Jacks, ‘cause they never let their music drift into mediocrity. You’ll be pumped from the first listen!

Echo Movement - Music Played On (echomovement.com)

About a year ago I caught Echo Movement playing one hot, summery, early afternoon gig at of all places Martell’s Tiki Bar in Point Pleasant, NJ (the place usually has hack cover bands). To my surprise they tossed out a whole bunch of classic Reggae, Ska, and a few classic rock (Jimmy Buffet, etc.), tunes. Well, their set definitely made my day, and by the looks of the folks (muscle heads and “Jersey Shore” gals) that usually just hang and swill the al-kee-hall, they were up in front of the band groovin’ ‘n’ grindin’ to the sizzlin’ sounds of Echo Movement.

Fast forward to 2011 and lo and behold, a new disc of nine tasty originals just watin’ to be sampled. Well, let’s hear what the band has to say about their new album, before I delve head-first into it… Stephen Fowler: “Reggae is more than just a rhythm-it’s a genre founded in politics, equality and humanity. We bring ‘new reggae’ to a new generation with a call for social progress, a deeper knowledge of our surroundings and a simple love for life.”

Ok, well, it’s not time to throw-away your Bob Malay, Sublime, or Toots & The Maytals records by any means. What Echo Movement is attempting (and accomplishing quite well) is a roots/rock/reggae groove that pays respect to tradition, but also carries the genre into the here and now. “Ganja” and “Music Played On” are perfect examples. From the get-go (these are the first two songs that lead off the album), the appeal of both tunes goes way beyond the specialized market; they are the most commercial (that’s a good thing), songs on the album. Quietly percolating grooves garnished with a sultry backbeat, and cool-as-a-cucumber vocals, make them instantly identifiable, even after only a listen or two. No formula - all fun!

“Bring it to You” is a stand out with its natural vibe and dub treatment. You’ll what to breakout your Lee “Scratch” Perry LP’s and dance the night away!

What really impresses me about Echo Movement is that they didn’t rest on their laurels. They could have thrown in a few novelty covers to make nice, but they chose the high road instead. Nine originals that are creative, fun, and totally enjoyable. Inventive production, cool rock steady rhythms (check the funky sax blast on “Down Time”), memorable songwriting and new outlooks, which all combine to make a really good record that remains rooted in reggae, but are much more diverse than the form generally allows. A very impressive step forward for a band who already knows the formula for success.

Paul Czekaj - Young & Free (paulczekaj.com)

Blue Moon-Worthy Paul Czekaj Conjures Up Early Visions Of The Asbury Jukes, And The Real Jersey Shore

If you listen to the some of the bands that played around the Jersey shore area back in the 60’s and 70’s like Sonny Kenn, Billy Hector, and the early Jukes, than you would have a good idea of what Paul Czekaj’s band sounds like. There’s even a little of Roger McGinn’s passionate high-flying vocals in Paul’s singing.
It’s a fun album with rock ‘n’ roll as a recurring theme, along with stories of life, love, and pretty much everything in between. The production doesn’t give these 12 songs a proper reading. At times too bright, and others a little murky, it’s uneven to say the least. But otherwise, this is a band that doesn’t take itself too seriously, and knows their limitations. They don’t strive to be the best bar band around, but they do deserve a solid following.

On “My Home New Jersey” they name-check some of the brighter spots that the state is more known for like Rutgers, Seaside Heights, pizza (for my money, try the thin crust at Buddies in Parlin),Hoboken, Springsteen…ummm…well, a cool idea but it sounds like they’re trying to write a jingle for the governor (fuck that asshole, let him run for president-it would be a cold day in Hell if he won), than a cool homage. They would be a hit at clubs like the Blue Moon in South Amboy, and the local club circuit. I’m betting dollars to donuts that they probably sound better live than on disc.-Phil Rainone

My Glorious - “Mindfield” (3 Song EP) (myglorious.com)

My Glorious plays no-frills alt/rock ‘n’ roll with clever lyrics, clever titles “Mindfield,” “Blowup the Sun”), and catchy tunes. Character-filled stories from an uneasy emotional perspective that cannot be ignored. In a nut shell, pickup My Glorious’ new album Mindfield, than checkout their live show. I know I will! - Phil Rainone

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Shonen Knife - Osaka Ramones-Tribute to the Ramones (shonenknife.net)

“Ramones were my all-time idols since I first heard their music from a radio and rushed to a record shop. This year is the 30th anniversary of Shonen Knife. For celebration, we decided to record a cover album of our favorite band the Ramones. The title is “Osaka Ramones” with our respect. I’m very happy to release an Osaka Ramones project and to recognize their contribution to the evolution of Shonen Knife.” Nooko, Shonen Knife

It is tempting - though not quite accurate - to call this female trio the Japanese Ramones. While every bit as musically tough and affectedly rough as the four brothers from New Yawk, Shonen Knife brings their A+ game to this tribute album. Also, they bring a very real appreciation and grasp for goopy pop punk song structures. Finally, the Knife, as they’re affectionately known to their fans, reveal a very real, modern Japanese obsession with commercial/pop punk culture, and cuteness (they carry Hello Kitty lunch boxes, and other girly trinkets).

Like the Ramones, Shonen Knife have had a few band member changes over the years; currently, the band consists of Nooko-vocals, guitar; Ritsuko-bass, vocals; Emi-Drums, vocals, Their original songs are ridiculously catchy and punker-than-you, as The Boss would say! Their love and dedication to the Ramones and Beatles (I’d love to hear a Beatles tribute from these gals) is undying, and the Knife wear their influences on their collective sleeves.

On Osaka Ramones they tackle the hits (I think the Ramones only cracked the Top 100 albums once - unfortunately), as well as the obscure cool-as-fuck tunes. On these 12 songs that are easily between 20 and 30 years old, the Knife breathe new life into each and everyone, which is not an easy task. The opening guitar salvo of “Blitzkrieg Bop” is just so much fun to hear. It’s like Shonen Knife channeling the Ramones. I’m sure the boys were well aware of Shonen Knife back in the day, and I think I remember reading that they met at least once. I don’t know exactly what both bands each took away from the meeting, but as far as Shonen Knife is concerned, it looks like it was a life-transforming moment!

On Osaka Ramones they play all the songs pretty much close to the vest, but hearing the Knife’s versions, sung in somewhat broken English, is just-amazing! On “We Want the Airwaves” they keep the despair and anger of the original in complete tack. You can just tell that the Knife pretty much went through the same type of shit (slow record sales, little radio play, etc.), that the Ramones went through back in the day.

I know it’s a stretch, but like John Fogerty (Credence Clearwater Revival), who had said that he had never been to New Orleans before he wrote the classic, “Born on the Bayou, Shonen Knife most probably have never been to “Rockaway Beach,” or “Rock ‘n’ Roll High School,” but DAMN, you wouldn’t know it from this tribute album! The Knife’s sincerity and dedication go a long way, and they add some good mojo too! It’s kind of ironic and funny that they cover “Chinese Rock.” The Knife’s sometimes black humor is reminisce of the Ramones- fun stuff!
PLAY THIS ALBUM AT MAMIMUM VOLUME!!

All Wood and Doors- A Tribute to the Doors by James Lee Stanley & Cliff Eberhardt (allwoodanddoors.com)

What do Peter Tork (Monkees), Laurence Juber (Wings), Timothy B. Schmit (Eagles), John Densmore and Robby Krieger (Doors), all have in common-other than being musicians?- Give up? Well, among some other fine musicians that played on the album they all played on All Wood and Doors, the tribute album to, well, the Doors.
The album is the brainchild of James Lee Stanley (he also did a tribute to The Stones, allwoodandstones.com) and Cliff Eberhardt.

O.K. with that all said, on to the nuts ‘n’ bolts of the album…
All the songs are bludgeoned of their rock ‘n’ roll vibe, and that’s not necessarily a bad thing. What’s left are somewhat stripped-down, bluesy, sometimes boozy, and cool-as-hell versions. The Doors were originally inspired by the blues (what band worth its salt wasn’t), as they covered Willie Dixon among other basic blues originators on their first album. The original vibe of the songs is there-it doesn’t take a lot to recognize “Break on through.” “Moonlight Drive” or any of the other 12 covers tunes.
The only song that they seem not to get a handle on is, “The End.” They leave it until the last song, just like The Doors freshman album, but unlike the originals for boating, crazed, eight-minute-plus opus, this version (just over three minutes), is kind of flat, but hey- lemme see you try to upstage Morrison’s gothic, morbid mojo!- Ain’t as easy as it seems, eh?

They tackle The Doors signature song “Light My Fire” with the laid-back, somewhat manic flavor of Jose Feliciano (Yeah, dude- Jose rocks). Again, they deflate the originals rock coda, and balls-to-the-wall finale, but damn if it ain’t super cool!
Spirited and inspired, All Wood and Doors is a gem!

If Jim Morrison were still with us, and the Doors were a full, functioning band (c’mon guys get it done already, kiss and make up), this may have been the type of unplugged album they may have done to turn things a round a little, and shine a light on the meat ‘n’ potatoes of their music.-Phil Rainone

 

Bomb the Music Industry- Vacation (bombthemusicindustry.com)

Since 2004 Jeff Rosenstock and his revolving band of merry music makers have been using the Bomb the Music Industry moniker in creative and non-conformist ways. Although most of the songs on Vacation threaten to runaway to noiseland, and Rosenstock’s vocals border on deranged, there is a lot of rhythm and reason flowing through every song, which takes us to some surprisingly new musical territories.

Incendiary and at times self-amusing, songs like “Campaign for a Better Next Weekend,” “Can’t Complain,” or “Everybody That Loves You” are attention grabbers that are a semi-psychedelic mix of personal experiences and wishful thinking- the best of both worlds. Well-produced and honest, clichés, and whiny complaints are no where to be found. The band’s other strengths are dynamics and respect to the hardcore punk bands that have gone before them. Bomb the Music Industry can thunder oppressively or drop back for contrast on a moments notice. Tight, and imaginative, Bomb the Music Industry’s sound is 80’s punk that’s been overhauled, souped-up, and ready to rumble!

Honah Lee - Life Won’t let Me (honahleemusic.com)

Calling Trenton, New Jersey their hometown, Honah Lee sounds just like…ummm… Honah Lee! Yeah, I know there are comparisons like The Bouncing Souls, Replacements, and Against Me!, but their music is strictly ORIGINAL! Distorted thrusts of drums, bass, and guitars are the essentials you’ll find on Life Won’t let Me.

Although their tools-of-the-trade are utterly simple, the band is very capable of enormous strength and depth in their writing and performing, spinning off heartfelt rave-ups, as well as trenchant social satire, and political commentary. Also, they make a crime out of eclecticism- there’s plenty to go around!

You know how sometimes you’ll listen to a new album and the first few songs are really good, than further down the road the music seems to swallow itself whole? Well, on Life Won’t Let Me, these nine songs are back-to-back-to- back hits. “Don’t be Me,” “Come on let’s Go,” “Sex N’ Cigarettes,” are like finding gold in a sliver mine. On each song the band combines spontaneity and musicianship, and are right up there with the afore mentioned musical influences. Urgent and rough-edged punk rock, their execution is first-rate.

Many bands have been described as a wall of punk rock sound, but few have deserved it as much as Honan Lee. Innovative, intoxicating, and above all ear-catching, this is a band I wanna see and experience first hand.

The Handcuffs- Waiting for the Robot (thehandcuffs.com)

The dynamic duo of Chloe F. Orwell (vocals), and Brad Elvis (drums), aided by Emily Togni (vocals), Ellis Clark (guitar), and Allison Hinderliter (keyboards), pick up on glam rock where David Bowie left off a couple of decades ago. That’s not to say that their sound is dated, they just grabbed all that good mojo from that era and mix it up with their own special karma. Also pulsing and palpitating through Waiting for the Robot is snot-punk-rock-pop, and just good, good, good, vibrations.

Neither self-obsessed or bloated, songs like “Dirty Glitter,” “The Scary Side of Me,” or “Take a Picture” are hybrids of all the afore mentioned genres. An accumulation of styles but definitely their own cinematic strokes and killer riffs. Rather than singing about the apocalypse, or over-done world issues, The Handcuffs care more about love (“Baby I Love You,” “Ooh Baby Baby”), and ironic, funny, and witty situations (“Miss You on Tuesday,” “Everybody Wave Hello,” “Vinyl Isabella”).

The Handcuffs are one of the few bands capable of effectively combining the spontaneity and musicianship of glam/punk with the urgency and rough-edged sound of garage rock. Waiting for the Robots contains 13 manic cuts which sets the instruments on a wild collision course behind the rhythm sections backbeat by injecting unexpected subtleties that gives more impact to the hyperactive guitars counterpoint. A solid, frenzied album guaranteed to keep listeners on their toes!

Psychostick - Space Vampires vs. Zombie Dinosaurs in 3D (rockridgemusic.com)

Reel Big Fish’s Sarcastic, Ironic, and Potty-Mouthed Humor Finally Meets It’s Match!

Psychostick are a self-described “humorcore” band (Reel Big Fish label mates). Imagine if you will, a modern all-hardcore update of all the crappy hardcore/heavy metal poser bands (actually, I just saw Black Veiled Brides when the Warped Tour hit Jersey, and they were the leading torch-bearers of pompous-assed glam rock. And yes, ALL THE GIRLS-and probably some of the guys-were screamin’ their friggin’ heads off every time one of the band members even scratched his nose), then add Reel Big Fish’s wild, witty, ironic sense of humor, and you’ve got Psychostick!
The Phoenix, Arizona band has a highly sophisticated sense of absurd humor- they might in fact be geniuses. Their new album, Space Vampires vs. Zombie Dinosaurs is a diabolically clever and wildly eclectic collection of fully realized masterpieces that could not possibly fail to entertain even the fussiest, hardest-core metal head! Literate, accomplished, bursting with ideas, hooks, puns, Dadaist absurdities and other neat tricks, Psychostick are almost beyond belief.

Just checkout the song titles: “Because Boobs,” “It’s Just a Movie, Stupid” Hate Times Eight,” I mean, just the titles alone would draw the average music lover/metal hater into Psychostick’s web of ungodly, sarcastically sick humor. “Welcome to the Show,” the opening tune is a killer cut that is a faux live show, with maximum hard rock riffage, and fall-off-your-chair, funny-as all-hell lyrics like, “What’s up bitches/We are Psychostick/ I like to yell things in the microphone/ And say bad words-Fucky, fucker…Get your keys in the air/Now fuckin’ jingle those keys/put your keys away…” The song and the outlandish vibe of the album are maintained all the way through. Imagine Lenny & Motorhead doing that kind of shtick, and you’ve got PSYCHOSTICK!!

Usually a decent band can get away with a few fuck jokes here and there, but like I said, along with Reel Big Fish (I could see Psychostick opening for RBF), they are relentless in their pursuit of all the asshole, stupid, anything-for attention asshole bands that really believe that their shit don’t stink!

Song, after song, after song, the band’s baffling level of invention while raising the musical complexity, electricity, energy level, and stylistic variety.

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Blackie & The Rodeo Kings - Kings & Queens (blackieandtherodeokings.com)

“The idea for Kings and Queens was hatched in a rental van at the end of a Rodeo Kings tour. Late one night, on a long drive between Somewhere and Somewhere-else, the band began talking about the various female artists they have had the privilege of working with over the years. What began with a page torn out of a notebook and a lot of interjections like, ‘Hey, what about…’ and ‘Wouldn’t it be great to work with…’ has transformed into a whole new album featuring these legendary and iconic female voices on each song.” –From the Rodeo Kings press kit.

Blackie & the Rodeo Kings play a stirring, and memorable country rock hybrid- the kind that was legitimized by bands like The Byrds, or The Flying Burrito Brothers. But it’s more than a spiritual update, its real-deal rockabilly, honky-tonk, blues, and rock & roll. Blackie & the Rodeo Kings practically create their own version of the afore mentioned genres.

The band finds solid footing with their unique idea of recording with all female guest artists. You can easily tell by the vibe and mojo of the album that this was not a one-song studio visit. It sounds more like an album that’s been in the works for years. Lucinda Williams sparks up “If I can’t have you” with her low-key moxie, and stubborn, truthful vocals. Exene Cervenka (X), almost steals “Made of Love” right out from under the band- but it’s done with a positive vibe- it’s hot, spicy, and in-the-groove! In fact, The Rodeo Kings are very generous. They build the songs around each guest artist like a halo on an angel’s head.

The band also has a distilling punky edge on songs like, “Love Lay Me Down,” which features Sam Phillips, who stirs up the band with her sass and sexiness. “Got You Covered,” with Roseanne Cash trading vocals with Blackie, is akin to what it might have sounded like had she done this number with her Dad- amazing!

The well of obscure and well-known female singers seems bottomless (I can easily see a Part Two), as Patti Scialfa does what I’ve always thought she was very capable of doing, since hearing her two solo albums.- She and the band take us to church, front row. They sound like The Band backing Odetta! Emmylou Harris sounds as soulful as ever on “Step Away,” the closing number. If ever a song left you wanting more, this is it. Both quietly spiritual, and earthbound at the same time, it’s slow, rhythmic feel is soul-searching.

Kings & Queens is exciting, evocative, and highly invigorating!

Sassy!!! - Diggin Deep (myspace.com/sassytheband)

Playing skillful, unstylized garage punk rock & roll with suburban lyrics (“Wild Summer,” “You Can Have Him,” and “She’s a Liar,” for starters), this funny/serious duo makes no bones about their likes and dislikes. Lynda Mandolyn and Christa D’biase like most of us, dislike cheaters (“She’s a Liar,” “It Really Hurts,” “You Can Have Him”), but absolutely love the wild side of rock & roll (“Wild Summer,” “Honey Bee,” “Devil’s Dance”). The titles may sound generic, but there’s a superior intelligence at work here.

The witty group moves from tuneful, structured songs without sacrificing any of their incendiary punk energy. Stomping merrily through pop culture, romance, and reality, they even find time to send a mash note to a past boyfriend (“Something about You”).
Sassy!!! plays a rollicking, punk rockish, burn-down-the-garage, individual style that’s well-suited to their adventurous musicals goals. And incase you were wondering, yes they really do deserve the three!!! after the band’s name. After just one listen you’ll be screaming their name out-loud in your sleep!!!

Bridge Under Fire - The Night Court Sessions (facebook.com/BridgeUnderFire)

Like a young Foo Fighters or Bouncing Souls (not that these two bands are old, by any means), Bridge Under Fire take their primary inspiration from early punk roots , and breathe life into the genre, providing a most effective medium for singer Mark Turley to deliver his messages.

The six angry, vehement cuts on The Night Court Sessions rely equally on Matt Proietta’s acrobatic bass lines, Clayton Stetz manic drumming and Brendan Hilyard’s swooping/swishing guitar playing.

Adding a palpable sense of urgency to already strong songs, The Night Court Sessions exhibits an admirable levelheadedness on the sharp, directness of ever song. This album is not a vigilante’s call to arms. On the contrary, they are holding a mirror up to what life is about these days, and letting us decide- the good, the bad, and the ugly.
Although for some the intensity may be a bit much, but after a few listens it all makes sense. Bridge Under Fire is a pissed-off band, and rightly so.

The Horror The Horror- Wilderness (tapeterecords.com)

“I would walk alone as I always did/ I got everything wrong/I’m coming back from the wilderness/ You know I wanted it all/ I’m coming back from the wilderness, and into your arms.”- Wilderness

Wow…WOW! This song works on so many levels. Addictions, love, life…and the beauty of it is that it even though it’s sung by a guy, and it works from a woman’s perspective also. With it’s cheery, alt. pop sound, it easily reminds me of Van Morrison’s “Day’s Like This,” or “Bright Side of the Road.” All three songs take on depression, hate, anger, and fucked-up situations, and flip the focus to the positive- never glossing over the bad stuff, but giving hope, and “Lighting up the darkness,” as Bob Marley would say.

The record also offers more varied tempos; the rather Cure-ish “Believe in Magic” rocks more, and the positive message comes shinning through. Rich textures with adjustable structures abound, especially on “Move it!” and “Out of Here.” The songwriting technique and vocal performances will have you going back for second and third listens, getting the full vibe of the songs, and just enjoying the album in its entirety.

At times delicate, and at times bubbling-over with catchy, jangly riffs, but tasty through and through. The production is meticulously detailed; the rhythm section never gets over-bearing, and they hold the bottom end down energetically, as the rest of the band seems to free-form to the max. Wilderness is an utterly unforgettable album.

Man Overboard - Real Talk (runforcoverrecords.com)

Man Overboard is a unique pop/punk band in that they don’t seem nearly self-conscious enough to shoulder any heavy, cultural baggage. Mojo, moxie, and old-fashioned karma are the operative words that describe Real Talk. This energetic record has a blisteringly loud sound, and is not lacking in stupendous lyrics. A total package without the shrink wrap.

The hearty singing sounds ageless, as the band merrily swoops down from the hills into glorious, musical battle. Not poetry or high art, Man Overboard goes for the meat-and-potatoes. Basic, good, and catchy as fuck!

Whether these guys recon they’re capturing the 90’s rebel zeitgeist of their genre, or just don’t know any better (they do), such juvenile (the good stuff), expressions of hostility (check; “Parting Gift,” “She’s Got Her Own Man Now,” or “Sidekick”), are the real deal. Man Overboard plays for themselves, they not a flavor-of-the-week band. They’re in it for the long run, and we’re all the better for it!

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The Knight Owls - Who Gives a Hoot (theknightowls.com)

The Knight Owls are a band that rest on the laurels of what has come before them. With the emphasis on 70’s hard rock, they put on a somewhat flat display of their influences, opening with a meandering instrumental that doesn’t go very far emotionally. From there, the lead singer at his best wobbles through the rest of the album barely adding anything to the tracks, and the musicianship is so-so. The album isn’t atrocious, just disappointing. The vocals come across as consistently underwhelming, but you can hear potential. I think the title says it all.

Shaky Deville - Hot Asphalt (shakydeville.com)

Named after one of the coolest of the cool Cadillac’s ever (the ’76 Cadillac Coupe De Ville), Shaky Deville are a raunchy, riotous, rock ‘n’ roll power trio based in good ‘ol Nashville, Tennessee. Sounds like these guys were weaned on stuff like Southern Culture on the Skids and Cramps, for breakfast, lunch, dinner, and a late night snack.

The songs on Hot Asphalt like “Come Out Ye Black,’ “Charity,” and “Tornonado,”- actually ever song here, is so alive and immediate that it’s like you’re getting to see the paint splash the canvas. It’s like the first stroke of the brush- it works great so why try to improve on it? You feel the joy of discovery right along with the band as each song and story unfolds until the full experience of Shaky Deville is wholly revealed.

When the desire to communicate is met with equal and opposite urge not to compromise in order to communicate- when those two things are in perfect balance- is when everything happens with rock & roll. And that’s what the band achieves throughout these eleven songs.

The real thrill for me, and I’m guessing for the band also, is that once upon a time an album this radical was a hit on the radio. I’m pretty sure that at least public radio has picked up on Shaky Deville. Real deal punk, rockabilly and garage.

Hot Asphalt is the kind of album that you’d want to listen to on the way home in your car after a long day at The Warped Tour… Tired, dirty, soaking wet from the hot heat of the day, press play, and get instantly revitalized listening to an album chock-full of earth quakin’ big, delirious rock ‘n’ roll! Now here’s a band that lives up to the title of their album!

The Mimi Nowak Project - 5 Song EP (bigmoosemusic.com)

When Is A Cover Song Not A Cover Song?

I love hearing a cover song that changes everything- except for maybe someone covering The Beatles “I Saw her Standing There” (“I Saw HIM Standing There”- I don’t think so). Like Springsteen and The E Street Band (Clarence Clemens will be sorely missed), covering John Lee Hooker’s “Boom, Boom, Boom,” or Me First & The Gimmie Gimmie’s covering- well, just about anything, or Neil Diamond covering The Beach Boys’ “God Only Knows”- no, really Neil does a great job- really!

Anyway, vying for a branch on this cooler than cool musical tree filled with deep, healthy roots are The Mimi Nowak Project. One of the things that sets them apart is that Mini pretty much picks out male-oriented songs (I haven’t heard her sing “I Saw HIM Standing There,” but I think she and her band could ace it), that are somewhat obscure, but once you hear it, you’ll want to dig up a copy to see what the original is all about.

On this five song EP the band (Mini on vocals, Steve Sadowski on guitar (he also produced the album), Rich Mehlhorn on bass, Paul Levinsky on drums, and Franco Jay on sax), juggle beauty and truth, adding their own vibe and mojo, with an eye toward the original’s flavor.

“What I want to do is what I’m doing, except I want to do it a little better tonight than I did last night.”- Bruce Springsteen

I’ve heard warhorses like “Definition of Insanity” or “Married to the Blues” that the band’s been tweaking at live shows like The Blue Moon, and Roxy and Dukes. Each time you can hear a little more of this here, or a little less of that there, making for an interesting fun, gig, that takes you out of your comfort zone, exploring the song with the band. The two most upbeat songs, Al Green’s “Take Me to the River,” which cleverly morphs into CCR’s “Born on the Bayou,” are soulful and rockin’ with a jammy middle that will have you and your date out on the dance floor cuttin’ a rug!

I’ve heard Nina Simone sing “Please Don’t Let Me be Misunderstood,” with a good deal of sway and wager, but The Mimi Nowak Project gives it a slow, burning groove that shifts between confessional and heartbreak, and still mixes in Simone’s sassy, sexy vibe. The Closing number “I Just Wanna make Love to You,” rarely strays from the perfect crossroads of the original (the song lends itself to numerous blues singers like Muddy waters and Willie Dixon, and rockers like Savoy Brown, or Brownsville Station), where emotional longing meets lust. It ends a little odd with a sax-led instrumental that kind of stops abruptly, but than again, here’s a band that thinks out of the box- it works!

So, to answer the musical question that I had first posed- a cover is not a cover when it’s re-grooved and revitalized by the Mimi Nowak Project! This album is just the tip of the iceberg. If you want to hear what these songs and a full show sounds like, check out her page at www.bigmoosemusic.com.

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