CD QuickTakes Archive

CD QuickTakes Archive

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10 Years: The Autumn Effect
Label: Universal

For their major label debut, Knoxville band 10 Years enlisted producer Josh Abraham (Staind, Velvet Revolver) and the result is a crisp and clean approach that lets the songs shine through. 10 Years relies lyrically on human emotion, and musically on the guitar assault and dark melodies that defines the active rock format. That may not be a glowing statement in a flooded market of cookie cutter bands, but the songs on The Autumn Effect are a “cut” above, and that’s what will give 10 Years a little more staying power. Pay special attention to the first single, “Wasteland,” as well as the powerful “Prey” and the creepy title track. ~Mike Farley (07/14/05)

+44: When Your Heart Stops Beating
Label: Interscope 2006

You can’t keep musicians from making music for very long. While punk band Blink 182 is on a widely publicized hiatus, singer Mark Hoppus and drummer Travis Barker decided to form a side project, curiously with numbers in the band name again: +44. The debut from +44, When Your Heart Stops Beating, shows the ability of Hoppus and Barker to stay just far enough ahead of the “cool” curve to not be lumped in with their annoying punk pop brethren, and that’s because these guys simply go out and make good rock music without trying to follow any trends. But +44 still can’t help but come off like a more grown-up Blink 182. The band uses slick guitar work, layers of sweet harmonies and of course Barker’s monstrous yet tasteful drumming to create something more akin to Foo Fighters than Fall Out Boy. “Lycanthrope” and the title track are balls-out rockers but this band is at its best when it effectively uses dynamics, like on “Little Death” and “No It Isn’t.”
~Mike Farley (12/14/06)

45 Grave: Only the Good Die Young
Label: Restless / Rykodisc

To a certain degree, Los Angeles’s 45 Grave were as influential as the Misfits when it came to kick-starting the Goth-punk movement of the early ‘80s; they were not, however, anywhere near as good, which is probably why their profile has never been terribly substantial outside of Southern California. Only the Good Die Young is a live album that was actually recorded three years after the band broke up, capturing the group performing at one of their occasional reunion gigs. The group – which included members Dinah Cancer (ho, ho) and Paul B. Cutler, who went on to serve as part of the Dream Syndicate – certainly sounds to be having a good time here, and God (or his counterpart) knows they’re energetic, particularly on songs like “Fucked Up by the Devil,” “My Type,” and “Sheila.” First, however, listeners have to get past “Take Five,” which is eight minutes that may or may not be inspired by the Dave Brubeck song of the same name...but, if it is, surely he can sue them for what they’ve done to it. Also feel free to skip over closer “Akira Raideen,” which is another eight-minute track that feels much longer. These guys – and, lest we forget, gal – are historically important, but that doesn’t mean they always make for good listening. ~Will Harris (12/29/05)

46bliss: 46bliss
Label: Pistachio

The link to 46bliss’s website states that the band “combines elements of 80s music with modern trance/electronica,” but a simpler summary of many of their tunes can be performed with but one word: trip-hop. You remember the genre, surely: Portishead, the Sneaker Pimps, Massive Attack, that sort of thing. It certainly doesn’t cover every track, but the group clearly draws some inspiration from those folks (and freely admits it on their MySpace page. For an indie band, 46bliss have managed to get their songs placed pretty high up in the entertainment food chain; “The Way You Are,” a highlight of this album, managed to get played on the season premiere of “CSI: New York” and, perhaps more crucially, is on the soundtrack to “Veronica Mars.” Much of the disc tends toward the mellower end of dance music, but with songs like “Love in Vision” and “Inner Sensation” (well, part of it, anyway) scattered about, there’s enough variety that listeners won’t get bored. ~Will Harris (01/26/06)

54 Seconds: 54 Seconds
Label: Rock Ridge 2007

The music is interesting, the melodies are pleasant and the musicians seem to have formed a connection, a groove… then you hear the vocalist and he sounds like a depressed warbling goat. That might be an overstatement, but Spencer Gibb has limited range, sounds way too depressed and when he stretches his vocal range, it hurts to listen. That is really sad because the subtleties of the musicians behind him – including the horns, mandolins and some very good harmony vocals that try to save him – are intriguing. In the end, his lack of range overshadows everything else. This is kind of like Switchfoot or Incubus without the punch. There is a laid-back California vibe to the album, which is pleasant, but the vocals are too distracting. I bet in person, Gibb is an impassioned vocalist, giving it everything he has on every note. That doesn’t mean I want to hear him sing. Maybe they should let the bassist, Rachel Loy, have a crack at the lead – her harmonies almost save Gibb from himself. ~R. David Smola (09/14/07)

707: Greatest Hits Live
Label: GB Music 2005

Completely non-descript cult arena rockers recorded in concert back in the ‘80s. The band’s only real claim to fame was that member Tod Howarth went on to play with Ace Frehley. The songs are barely second-level rippers that didn’t carry nearly enough appeal to carry over to the mainstream. The band seemed to have the chops, though, as evidenced on the various extended song breaks. The production is a bit thin, too, which in the end does nothing to make you want to listen to these songs more than once. ~Kurt Torster (08/03/07)

Karling Abbeygate: Karling Abbeygate
Label: Dionysus 2006

If James Hunter’s 2006 album, People Gonna Talk, was like discovering a long-lost blue-eyed soul album from the early ‘60s, then Karling Abbeygate’s self-titled debut is the country equivalent. Surprisingly, the two have something else in common as well: they’re both from the UK. Abbeygate, however, has a Kansas-born father…and therein lies the most plausible explanation as to how she can sound so damned authentic when singing country music. It also seems too easy to suggest that she’s channeling the spirit of Patsy Cline, but no critic alive will be able to avoid the temptation to do so; the songs as well as the production are clearly designed to emphasize the resemblance. There’s also a considerable degree of similarity to Dolly Parton’s earlier work, courtesy of Abbeygate’s little-girl-sounding voice. The majority of the tracks are covers, like Hank Snow’s “Who Left the Door to Heaven Open,” but Abbeygate’s originals – the best of which are “Tonight Is Gonna Last” and “Someone Else’s Man” – are so solidly rooted in the grand old country tradition that it’s clear this won’t be a one-off album. Whatever you do, though, don’t let Abbeygate within a hundred miles of Nashville; her sound is nothing like the country music of today, and it’ll be nothing short of a sin if it gets tainted. ~Will Harris (01/04/07)

Paula Abdul: Greatest Hits: Straight Up!
Label: EMI/Virgin 2007

You want straight up? Here you go: this new Paula Abdul greatest-hits collection is just a mostly-unnecessary re-visitation of the one that came out back in 2000, with just a slight tweak to the track listing and no newly recorded material. There, how’s that for straight up? Gone from the previous version are the then-new track, “Crazy Love,” and the so-called “Megamix Medley.” Now in the house: “Will You Marry Me?” from 1991’s Spellbound (a notable omission from the original disc, given that it was a Top 20 hit), two additional tracks from 1995’s Head Over Heels, and, for no discernable reason, “One or the Other,” the closing track from her debut album, 1988’s Forever Your Girl. Few would claim that Paula Abdul made a truly lasting impression on pop music with her three studio albums, but that first record was about as good as mainstream dance-pop got during the late ‘80s, and the singles from the other two albums were all pretty enjoyable as well. Paula hasn’t been bothered to return to the studio since that “American Idol” gig took off for her, so, in short, this is probably the only Paula Abdul album you’ll ever need to own...but if you don’t care anything about the aforementioned additions, don’t waste your money. ~Will Harris (05/04/07)

Absentstar: Absentstar
Label: Canvasback/Columbia 2007

With influences that range from Radiohead and Coldplay to Snow Patrol and Muse, there is a lot to like about Chicago-based five-piece band Absentstar. And the best part is that they really don’t sound derivative on their self-titled EP (a full length will be released in the spring of 2008), but rather, this is a band that simply fits right into the upper crust of the pack. Their songs are bright, catchy and smartly arranged. That, and they score points for their good musicianship. Produced by songwriter/studio rat Dan Wilson (Semisonic), the best tracks are the up-tempo, driving “For God’s Sakes,” and the balls-out rocker “If You Like It.” Keep your eye on these guys—with songs like this they’re sure to make a bit of industry noise. ~Mike Farley (11/16/07)

Ryan Adams & the Cardinals: Follow the Lights
Label: Lost Highway 2007

Author Stephen King gushed of Ryan Adams recently, “I won’t say Adams is the best North American singer-songwriter since Neil Young, but I won’t say he isn’t, either.” Of course, it’s been nearly four months since the fab Easy Tiger dropped, so we’re due for something new, right? I mean, this is the guy who dumped four new albums (if you count Cold Roses as two) of original material in the marketplace during one calendar year in 2005. Even as Follow the Lights is but a seven-song EP, it delivers as much earthy, twangy, good-for-your-soul faux country bliss as most any current artist could hope for in a full album. Six Adams’ originals here (though a couple that have seen different versions on past works) plus a gritty, no-frills take on Alice In Chains’ “Down in a Hole,” a clever choice for a cover that falls well within his range. A new Cardinals version of “This is It” (from Rock N’ Roll), as well as the shimmering acoustic piano title track, makes Follow the Lights a must-have for freaks and casual Adams fans alike. Lord knows, you don’t want to turn your back on a legend in his prime. Not even for a few months. ~Red Rocker (11/02/07)

Aerosmith: Chronicles: Permanent Vacation / Pump / Get A Grip
Label: Geffen

Record companies are evil, and if you don’t think packaging five different greatest hit packages by an artist is proof, Geffen has re-released the three albums that re-vitalized Aerosmith’s career (Permanent Vacation from 1987, Pump from 1989 and Get a Grip from 1993) with no new material included and the exact same liner notes from the original releases. If you have these albums, and based on the numbers they sold you probably do, there is no need to go and grab them again. Permanent Vacation, Pump and Get a Grip, are four and five star records but with no demos, no outtakes and no narrative going into the making of these records, this is an unnecessary purchase.

The material, production, arrangements and execution is stellar on each of these albums. The “package” is full of hits including “Rag Doll”, “Dude (Looks Like A Lady)”, “Angel”, “Love in an Elevator”, “Janie’s Got a Gun”, and “Crazy”. The other songs are not throwaways. These are excellent, complete records. If you don’t have them, here they are, in one convenient place, but if you do, there is no reason to pick this up. The rating was compiled with the following computation: Five stars for the material plus a negative three for the unimaginative presentation of this so-called “box”. ~R. David Smola (08/11/05)

The Afters: I Wish We All Could Win
Label: Ino/Epic

These Christian power poppers have a sound like Phantom Planet’s debut album, albeit with a bit of a Jesus Jones thrown into the mix. Your mileage on the disc, however, depends on whether you can appreciate an incredibly catchy CD that espouses religious beliefs which may not match your own. The first three tracks are as good as power pop gets, with any lyrical references to the band’s faith remaining general, but heathen should beware the fifth song, where the Afters harmonize, “Jesus, I’ll love you with all of my mind / Jesus, I’ll love you with all of my soul / Jesus, I’ll love you with all that I am.” The problem with the song, however, isn’t its lyrics – though, if played at the office, co-workers may raise their eyebrows – but, rather, that it’s a sweeping, string-laden ballad which is utterly unlike anything preceding it. (It is, unfortunately, similar to the ninth song, “Wait.”) For the most part, however, this stands as the best album from the Christian power pop scene since the Elms’ debut in 2002. ~Will Harris (08/25/05)

Jason Aldean: Relentless
Label: Broken Bow Records 2007

Like Keith Urban and Dierks Bentley, Macon, Georgia native Jason Aldean is on the fast track and quickly becoming Nashville’s one of newest hitmakers. One year after earning an ACM award for Top New Male Vocalist, Aldean follows up his certified gold debut album with Relentless, a straight-up contemporary country offering which owes equal debts to his home state-based Southern rock and traditional honky tonk. Touring non-stop since 2005’s debut, currently with industry goliaths Rascal Flatts, he doubles his arsenal with slow burner “Back in This Cigarette,” high school yearbook ode “Laughed Until We Cried,” and the most overplayed video single of the summer, “Johnny Cash.” Somehow the lil’ feller can’t bark “quit my job, flipped off the boss, took my name off the payroll” with near the conviction of Kristofferson or Haggard, yet his stock continues to rise on expected future earnings. The album highlight is an all-skate ballad with fellow up-and-comer Miranda Lambert called “Grown Woman,” which boasts, “I ain’t no old lipstick you use up and throw away, when you’re ready for another shade.” You go, girl! ~Red Rocker (08/10/07)

America: Struttin’ Our Stuff
Label: Inakustik 2006

It’s a testament to America’s lack of concern about looking, acting, or seemingly even remotely cool that they should use such a woefully un-hip phrase as the title of their live album. Fortunately, the songs contained on Struttin’ Our Stuff handily demonstrate why, despite that lack of concern, the public has embraced them – both on record and in concert – since their self-titled debut in 1972. Given that longtime America fans Adam Schlesinger (Fountains of Wayne) and James Iha (Smashing Pumpkins) are producing the band’s next studio album – due October 17th and featuring guest appearances from Ryan Adams, Ben Kweller, Stephen Bishop, and members of Nada Surf and My Morning Jacket – this acoustic performance is a perfect way to get a glimpse of what the band is all about. In addition to all seven of the band’s top 10 hits, singers Gerry Beckley and Dewey Bunnell explore a few lesser singles, like “Daisy Jane” and the band’s theme song for the 1982 animated film, “The Last Unicorn.” It won’t replace either the band’s box set or even their single-disc anthology (both released by Rhino) as a definitive America collection, but it certainly makes for a nice, intimate introduction to the group. ~Will Harris (08/24/07)

American Hi-Fi: Hearts on Parade
Label: Maverick

After three albums, it is painfully clear that American Hi-Fi frontman and primary songwriter Stacy Jones likes a lot of different bands. After a sophomore release (2003’s The Art of Losing) that found the band paying tribute to their punk rock and new wave roots (the title track was the best thing Adam and the Ants never did), the band’s new album, Hearts on Parade, finds them writing Cheap Trick tributes, with a not-so-subtle nod to Blur in the mix as well. The problem, of course, is that there is a major difference between imitating your idols and transcending them. Sure, the power poppy “Hell Yeah!” is cute and fun, and “Separation Anxiety” has that Police vibe going for it. But the overall effort feels unfocused and unconfident, as if the style parodies alone were supposed to be enough to make a good song (hint: They’re not). In the end, American Hi-Fi seem so eager to impress their idols that they have forgotten the age-old rule that the song comes first. ~David Medsker (04/22/05)

American Minor: American Minor
Label: Jive/Red Ink

American Minor is a throwback to ‘70s arena rock. Or for those of you that weren’t born yet, this West Virginia based rock band can be classified in the riff-driven, throaty vocal vein of Lenny Kravitz or the Black Crowes. But while there are plenty of bands out there that have tried to emulate the aforementioned, American Minor rises above the pack because they write good songs and have the chops and the balls to deliver them. Tracks like “Walk On” and “Buffalo Creek” can stand the test of time if this band gets a fair shot, and “One Last Supper” is a powerful, haunting song about an inmate awaiting death row. ~Mike Farley (12/15/05)

American Princes: Little Spaces
Label: Yep Roc

Crash. Boom. Bam. The latest and arguably loudest indie rock band of the year is getting another chance to make their first impression. Yep Roc has picked up and dusted off American Princes, four pissed-off teens from Little Rock by way of Brooklyn, who are currently calling Chapel Hill and Richmond home while finishing their next album. Confused yet? Take one cup Pixies, one cup Strokes, a teaspoon of Bowie, and a dash of Dave Pirner vocals, blend for two minutes on high, and you begin to taste the recipe that is the American Princes. Full-throttle romps “Rock n’ Roll Singer” and the title track share space with punk ballads like “Providence, RI”, all exposing adolescent lyrics (“I’ll grab a bottle with my feelings inside it”) and incongruent themes of the pursuit of fame, fortune and eternal bliss...eternal being at least until next week. ~Red Rocker (07/21/05)

American Speedway: Ship of Fools
Label: Prophase Music 2008

It’s about time someone got the old formula of fast, loud metal right. Sure, bands like Mastadon and the Sword are great, but all that stuff about whales and mythical beasts can get old after a while. Sometimes you just want to listen to songs about screwing, fighting, and drinking – and that’s when you should listen to American Speedway. Offering nonstop, balls-out thrash with some punk thrown in for good measure, this Philly band delivers the goods on their debut album, Ship of Fools. This is music to listen to while you downing a bottle of whiskey and punching a hippie in the face. Song about sex? Check. Songs about fast cars? Check. Songs about illicit drugs and alcohol? Double check, via the one-two punch of “Drinkin’ and Drivin’” and “Cocaine.” This is not a record you let your kids listen to if you’re trying to instill in them a sense of responsible drinking and a “Just Say No” drug policy. However, if you’re a drunken mess who sees hardcore drugs as a perfect cure to a hangover, then congratulations – you just found the soundtrack to your life. Ten songs, 30 minutes, no bullshit. Someone call Lemmy, we just found the opening act for Motorhead’s next tour. ~James Eldred (04/04/08)

Jose Gonzalez: In Our Nature
Label: Mute 2007

Swedish folk singer/songwriter Jose Gonzalez may be considered a new age type of artist, because calling his latest album folk music is probably a stretch. Since Gonzalez might be best known for being the voice behind electro-pop outfit Zero 7, he automatically earns cool points with the hipsters. But really, Gonzalez can let his velvet voice speak for itself, and he does that with a simplistic beauty on this album, which is mainly acoustic guitar and vocals with a few harmonies, percussion hits and synth parts thrown in for embellishment. You’ll be hard-pressed to find a more compelling guy-with-guitar release, but that’s also the one little drawback to In Our Nature – it kind of all sounds the same after a while. Still, while listening to the best tracks here (“Killing for Love” and “Cycling Trivialities”), you’ll find yourself marveling at the power of songs in their most basic form. ~Mike Farley (10/19/07)

Angel/Devil: 7
Label: S3 2007

The debut album from rock trio Angel/Devil (called 7 because there are, cleverly, seven songs) is a throwback to ‘70s guitar rock, with elements of prog, fusion and arena rock. You’ll find a tight band playing testosterone-laden songs that are driven by guitar wizard and lead vocalist Gooding, and at times resemble acts like Rush, Power Station and even Cream. You might even draw the conclusion that the members of Angel/Devil were born a generation or two late, but if you’re a fan of this kind of music and long for the days when album rock ruled the airwaves, Angel/Devil should and will be your new flavor of the month. The angry “Damn You’re Mean” and the Zeppelin-esque “Weed My Garden” are standouts among a pretty solid first set. ~Mike Farley (11/02/07)

Nathan Angelo: Through Playing Me
Label: NA Music 2006

Rhetorical question of the day: why isn’t Nathan Angelo huge? I’ve listened to this album several times, and although the cynic in me originally wanted to write him off as Teddy Geiger without the major-label backing, I’m first and foremost a sucker for a nicely-produced pop hook…as a result, the charms of Through Playing Me won me over within a few songs. Producer Stephen Gause has re-teamed with mix-master Jimmy Jernigan – the two have worked together on projects by Micah Dalton (who’s co-written several songs on this album), Derek Webb, and Kathy Mattea, among others – to produce a slick, shiny wall of sound that’s appropriate to match Angelo’s soaring choruses. And Nathan’s not just a pretty boy with a nice set of lungs, either; his piano playing is outstanding, driving every song and sounding variously reminiscent of everyone from Ben Folds to Marc Cohn, Bruce Hornsby to Elton John. It’s inexplicable that Through Playing Me is flying so far under the radar. From propulsive pop like “Love Sucks” to high-flying ballads like “Leigh,” this is the sort of album that mainstream audiences would absolutely devour, if they were only given the opportunity. ~Will Harris (01/25/07)

Annie: Anniemal
Label: Big Beat/Atlantic

Norwegian blonde bombshell Annie’s debut album Anniemal gets three and a half stars alone for the irresistible “Chewing Gum,” a “Genius of Love”-riffing jeep beat jam that ranks as one of the best pop singles of the decade. The fact that the album also includes a killer St. Etienne impression (“Heartbeat,” which was produced by her neighbors Royksopp), and samples both Shakatak and Madonna, is gravy. It may be airy, lightweight electro pop, but it’s insanely catchy airy, lightweight electro pop. We surrender. ~David Medsker (06/24/05)

The Animators: How We Fight
Label: Angelhouse 0000

This is only the second studio album for the Animators, but the core duo of the band – Devon Copely and Alex Wong – have both been around the block a few times; Copely used to be in the Pasties, and Wong was a member of the Din Pedals, who put out a pretty decent album on Epic in the late ‘90s. If Wong learned anything about what kind of commercial sound the major labels are looking for, he seems to be ignoring it in his work with the Animators... and God bless him for that. How We Fight is a great piece of harmony-laden pop, with Wong and Copely harmonizing as sweetly as Simon and Garfunkel (it’s surely no coincidence the way they sing the name Cecilia on the appropriately-titled opener, “Good to Be Here”) on every track. The piano and oompah-pah of “The Senator Goes to Hell” is a particular musical highlight, and the pair’s harmonies on the title track are amongst the best on the album... and, trust me, that’s a tight race if there ever was one. The Animators bounce from peppy (“I Won’t Tell”) to gloomy (“Ordinary Moment”) from song to song, variously resembling everyone from the Old ‘97s to Postal Service to Evan and Jaron; there’s even some definite Beach Boys channeling at the beginning of “Die in L.A.” If you prefer some musical variety in your catchy pop goodness, How We Fight is just what you’ve been waiting for. ~Will Harris (04/27/06)

Annie Minogue Band: Tripping the Velvet
Label: Liberty

Before most of you start envisioning pop queen Kylie Minogue, there is no relation between the Aussie cheesecake and rocker Annie Minogue. The Annie Minogue Band has released a few albums on its own, but with their latest, Tripping the Velvet, there is sure to be mounting industry attention. Minogue and her band deliver chick rock grown-up style, along the lines of Melissa Etheridge and the Wilson sisters. A keen sense of melody and guitar-driven production rival most anything a female-fronted band has ever released, especially on edgy tracks like “Black and Blue” and “Love Goes Down.” Then there is the powerful “Down,” a song with crossover potential that should help Minogue continue the success she has enjoyed with film and TV placements. ~Mike Farley (02/16/06)

Marc Antoine: Hi-Lo Split
Label: Peak/Concord 2007

With his eighth album and first on the Peak/Concord label, jazz guitarist Marc Antoine doesn’t really have anything to prove -- everyone who has heard him play knows the guy has mad skills. So the latest effort from the Frenchman, Hi-Lo Split, is just a continuation in a fine if under-the-radar career. What does distinguish Antoine from his peers is the fact that he mostly plays a nylon string acoustic guitar, giving a Latin flair to standard smooth jazz fare. He also writes most of his own material, and it’s as hooky as anything else that’s tailor made for “Wave” radio. But the one curveball on this album is a cover of the Classics IV’s sixties smash, “Spooky.” You may think you’ve heard this track covered a million times, and you probably have, but Antoine still makes it sound fresh. Hi-Lo Split should be the next CD you add to your Sunday morning collection. ~Mike Farley (08/10/07)

Apollo Up: Light the End and Burn It Through
Label: Theory 8

There is a lot of good that can come from a pull distribution system in the record business. Via the internet, bands can easily market and distribute their music, while it’s easier for fans to find music that matches their taste. This is great for bands that are ready – Clap Your Hands Say Yeah comes to mind – but on Light the End and Burn It Through, Apollo Up (out of Nashville) sounds like a band that should have spent more time crafting their sound. On their MySpace page they describe their music as “the New Wave of British Angry Young Men,” and on the one song that works – “Ticonderoga” – that description rings true, but the rest of the disc varies from mediocre (“Jagged Eisenhower”) to maddening (“Like That!”). The songcraft is pretty tight, and while the drumming and guitars keep up with the album’s frenetic pace, the vocals aren’t impressive, which may be why they are so far back in the mix. Let’s hope the band takes a step forward on their next album, Chariots of Fire, which drops in June. ~John Paulsen (04/20/06)

The April Skies: Flood
Label: WIAB

The April Skies hail from Hershey, PA, home of the Ocean Blue (fondly remembered by those who worshipped at the altar of Sire Records during the early ‘90s), but their hometown isn’t the only thing they have in common with those guys; for one, they’ve been around almost as long, having been founded in 1988, but they also love their British artists and aren’t afraid to borrow from them, often liberally. Where the Blue favored the melancholy pop of the Smiths and the glistening production of the Bunnymen, however, the Skies sound at times like Elvis Costello circa the mid-‘80s. There’s something about the piano on “Still” that makes it sound a little too much like Soul Asylum’s “Runaway Train,” but with Jake Crawford’s vocals on songs like “Long Way Down,” “Something To Shine About,” and “A Game,” there are ample reasons to recommend this to those who want to check out something besides the latest “new” synth-pop band. ~Will Harris (09/08/05)

Aqualung: Strange and Beautiful
Label: Red Ink/Columbia

The next in a seemingly endless line of sensitive English minstrels, Matthew Hale, who for all intents and purposes is Aqualung, assembles an album of dreamy pop that is mostly pleasant and occasionally stunning. The influences are clear: Radiohead here (“Extra Ordinary Thing”), Travis there (“Easier to Lie,” “Left Behind”), Coldplay and Keane everywhere else, with a dash of Grandaddy for good measure. The best moments are when Hale ventures into virgin territory and leaves his influences behind, like the magnificent “Brighter Than Sunshine,” and the gorgeous closer “Another Little Hole,” which recalls Fumbling Towards Ecstasy-era Sarah McLachlan. The most impressive part of Strange and Beautiful may be the fact that these songs were culled from two UK releases, yet there’s a cohesiveness here that belies the time between the recordings. It will be curious to see where he goes from here. A different direction than Coldplay, hopefully. ~David Medsker (04/22/05)

Army of Me: Citizen
Label: Doghouse 2007

When Army of Me teased the world at large with the release of their Rise EP at the tail end of 2006, it was just enough to keep people’s ears open for the inevitable full-length to follow; it’s nice, therefore, that Citizen – the full-length in question – successfully lives up to the promise of its predecessor. The band’s frontman, Vince Scheuerman, and bassist John Hutchins spent their childhoods as members of a religious cult (they’ve referred to their respective upbringings as “repressive and damaging”), but that seems to have in no way affected Army of Me’s ability to whip up a soaring chorus at a moment’s notice. If it wasn’t for the lack of a British accent, you’d think the band was from the UK, so much does their music feel inspired by artists like Richard Ashcroft, Oasis, and any number of melodically rockin’ Britpoppers from the past several years. Opener “Perfect” and “Saved Your Life” are particularly memorable, as is the piano-led “Walking On,” but it’s “How Long” that grabs you and won’t let go. The only song that doesn’t particularly work is the too-grungy “Meet You at the Mouth,” but it’s an exception. Army of Me might not have a truly unique sound, but they still manage to stand out from the pack with their profoundly catchy material. ~Will Harris (05/25/07)

Army of Me: Rise EP
Label: Doghouse 2006

This is a very nice EP that Army of Me has released, and I don’t mean that in an Eddie Haskell kind of way. Dennis Manuel’s drums lead off “Going Through Changes” with the kind of bombast usually reserved for a Bob Clearmountain production (or, failing that, the beginning of Frida’s “I Know There’s Something Going On”), and they’re immediately followed by some scorching guitar work by Brad Tursi and a harmony-laden chorus, making for a hell of an opening salvo. “Rise,” which follows, is a nice ballad, but it’s so much more mellow than its predecessor that it should’ve switched places with the power-poppy third track, “Come Out.” The two demos used to fill out the EP, “Saved Your Life” and “Watch for Snakes,” are okay (the former’s melody makes it the better of the pair), but it’s those first three songs that make the band’s forthcoming full-length debut – scheduled for release in April 2007 – something to keep an ear out for. ~Will Harris (01/25/07)

ASG: Feeling Good is Good Enough
Label: Volcom

Don’t be scared by the fact that these guys from Wrightsville Beach, NC, share a label with the funny-but-not-ha-ha-funny Valient Thorr; ASG take their musical cues not from Spinal Tap but, rather, from Metallica and Black Sabbath, with occasional vocal similarities to newer kids on the block (comparatively speaking) like Foo Fighters and the Offspring. Call it an amalgam of rock, metal, and punk, but the overall emphasis still tends to be on the metal; in particular, you can hear the James Hetfield vocal resemblance shine through on “Dusty Roads” and “Horse Whipper.” The title track and “Killers for Hire” are particularly solid, but “Thirsting for More” and “Cracks in the Sky,” the pair of songs which close the album, might be the best tracks on the disc, mixing the heaviness of ASG’s head-banging heritage with melodies that linger after the album is over. ASG may not be the next Queens of the Stone Age quite yet, but they’re certainly well on their way. ~Will Harris (01/19/06)

Asia: Gold
Label: Geffen

A two-disc set consisting of their three Geffen albums, plus a couple choice B-sides and four tracks composed for 1990’s Then and Now collection, Gold rather effectively displays the creative descent that Asia suffered after their million-selling debut. Disc one is easily the better of the two since it contains Asia and the majority of 1983’s Alpha, with songs like “Sole Survivor” and “Without You” aging surprisingly well. Disc two starts out strong, with b-sides “Daylight” and “Lyin’ to Yourself” holding their own against the band’s best stuff. But by the time they get to the material from 1985’s Astra, Asia sounds more like Animotion, all synth rock with none of the progressive playfulness that made their debut such a hit. The Then and Now material fares even worse, sounding like late ‘80s Toto. Interesting side note: someone at THX must have been an Asia fan, because they lifted the intro to “Countdown to Zero” for their spots. ~David Medsker (07/21/05)

John Ashfield: Distance to Empty
Label: Poppop

When not releasing solo albums, John Ashfield serves as a member of power poppers the Bobbleheads... and, when he’s not doing that, he’s a teacher who, if his bio can be believed, spends his time teaching his students to play Blondie’s “Atomic” and "Light and Day,” by the Polyphonic Spree. (The latter is definitely more evident in his material than the former.) It’s a pleasant surprise, given the hand-drawn, almost childish art that graces the cover (no offense, John, if you drew it!) to find that this material isn’t paint-by-numbers power pop. More often than not, it’s slightly melancholy singer/songwriter fare. If the proceedings begin with the light-hearted bounce of “The Watermelon Song” and the light crunch of “Come Along,” by the time things are winding up, piano-led songs like “OK” and “(You Are) Everything to Me” find Ashfield’s voice sounding unexpectedly reminiscent of Martin Rossiter of Gene. Kudos, John, for taking a risk and painting outside the lines. ~Will Harris (09/08/05)

The Ataris: Welcome the Night
Label: Sanctuary Records 2007

Barely a shell of the former Ataris remains from 2003’s So Long, Astoria record, and even less of that band’s sound, as singer Kris Roe and guitarist John Collura march on. Clearly it’s taken all four years away to re-establish themselves as a band and decide which sound to continue creating. Gone is the ear candy power-pop bliss of “Takeoffs and Landings” or “In This Diary,” replaced instead with dreary, almost gothic themes of isolation and regret. The new sound retreats to late-'80s Depeche Mode and the Cure, though it isn’t nearly as good. The industrial opener, “Not Capable of Love,” swipes from Sisters of Mercy, “Cardiff-by-the-Sea” is as close as they get to revisiting Astoria, and “A Soundtrack for This Rainy Morning” would’ve worked on Dark Side of the Moon. The deeper you get into Welcome the Night, the more obvious it is how hard these remaining members are searching for an identity. Long, awkward song titles, dramatic over-production, and a completely random musical template all add up to what Simon Cowell would deem “rubbish.” Want one redeeming song? Go download “The Cheyenne Line” and be done with it. ~Red Rocker (03/22/07)

Avenged Sevenfold: City Of Evil
Label: Warner Brothers

“One of the year’s most anticipated releases!” screams the sticker on the front of Avenged Sevenfold’s (that’s A7X to you kiddies) new big label disc. Well, I don’t know who was anticipating it, because it sounds like the same old power-chord-with-double-bass-drums-shred-fest wank I’ve heard by a million other bands. Supposedly vocalist M. Shadows doesn’t scream anymore, thanks to some throat surgery. Is it too evil of me to wish he couldn’t make any sound at all? Oh, well. Andy Wallace turns in the usual pop perfection production he’s renowned for, and the band alternates between shred theatrics and cheeseball Top 40 pomp. Queen used to do a similar thing with hard rock, with the exception being that they were good at it. The 1 ½ star rating is for the hilariously awesome CD booklet artwork, which features a nude woman with horns lying placidly under a big red demon, a big ass pile of skulls in some kind of gothic room, and of course the classic flying skull with wings. The song “Bat Country” has to be the worst tribute to the late great Hunter S. Thompson ever written. These guys are all Fisher-Price; neutered, with plastic stone replacements. ~Jason Thompson (07/28/05)

Back Door Slam: Roll Away
Label: Blix Street Records 2007

The U.K. is not historically a breeding ground for the blues, unless 20-year-old Robert Cray wannabe Davy Knowles and his band Back Door Slam are at the beginning of a new movement. Swiping their name from a Cray classic and pirating his style, then rubbing it down with equal parts ZZ Top, Stevie Ray Vaughan, and even some Allman Brothers Band, Back Door Slam staked their claim to U.S. listeners with a fiery performance at Austin’s South by Southwest last spring. Influences abound on Roll Away, from the Hendrix-fused “Heavy on My Mind” to the somber acoustics of “Stay,” which recall a younger, not-so-silvery Bob Seger. It’s impossible to categorize a band whose every song employs a different element – “Too Good for Me,” for instance, is a mandolin-soaked lost-love song that sounds like David Coverdale doing country. It’s this randomness of sound and style that keeps the album fresh -- though it also holds these guys hostage, in a way, never really establishing them consistently. ~Red Rocker (09/07/07)

Ian Ball: Who Goes There
Label: Dispensary 2007

When you take someone out of a great band, there are times when you realize that said person IS the band. In the case of Ian Ball, one of the principal songwriters and frontmen of critically acclaimed British rock band Gomez, that’s not quite the case. But while Ball’s first solo effort, Who Goes There, does not measure up to his band’s best material, it’s still adequate and has some really great moments. Ball, who moved to Los Angeles a few years back, began making friends with the likes of LA scenesters Will Golden (Gary Jules) and Phil Krohnengold (Duncan Sheik, Ween), and with the help of alcohol, the trio collaborated to make some music. While touring with Gomez, Ball found the time to piece some recordings together, and Who Goes There is the result. A few of the tracks kind of drone on, but the ones that stand out really stand out, in particular the stunning lead track, “Sweet Sweet Sleep,” the pulsing romp “Failure,” and the acoustic ballad “Enzymes.” Who Goes There is not going to break any records or shoot up any charts, but it will make some Gomez fans happy, and it’s obviously a fun diversion for a quality songwriter. ~Mike Farley (11/16/07)

Band of Horses: Everything All the Time
Label: Sub Pop

Not to be confused with Horse the Band, these guys keep it on the mellow side but not in the way that makes you stare holes through your shoes. With definite leanings towards My Morning Jacket, Band of Horses supplies the kind of accessible fare for an evening of drinking wine in the country next to a fire or a lake or some other peaceful setting. One can only hope that Band of Horses and label mates Rouge Wave tour together soon. If you're in an unstable relationship, buy this record for your significant other, and it will at least afford you an extra week or two. ~Josh Preston (04/06/06)

Barcelona: Absolutes
Label: NBD 2007

This review’s RIYL might be baffling for fans of Washington DC’s Barcelona, the pop band known for recording geek-wave songs such as “The Downside of Computer Camp” and “I Have the Password to Your Shell Account”; rest assured, this is not that Barcelona, but a new pop combo with the same name and an altogether less interesting sound. This album, like its cover, is all soft focuses and wintry landscapes – each song comes equipped with all the reverb-laden vocals and sadly majestic piano you can shake a fist at, or fall asleep to, whichever happens first. It’s hard to begrudge songwriter Brian Fennell his constant heart-clutching – who among us didn’t think in snicker-inducing lines like “she makes my heart scream color” when we were in our early 20s – but when he sings “this thing between my lungs is making me so tired,” it’s hard not to agree with him. Based on your tolerance for weepy melodrama, your mileage will vary. ~Jeff Giles (10/05/07)

Barfly: MySpace Sessions
Label: self-released

If Talk Talk’s Mark Hollis fronted the Delays, they’d sound an awful lot like this Manchester quartet. (In fact, singer Greg Matthews even looks like Hollis.) The songs are dreamier than dreamy, with bubbly synthesizers doing a playful give and take with the jangly guitar bits. Its biggest flaw, besides being too short (only five proper songs are available) is that the recordings were clearly a low budget affair, and sparkling pop like this should have the shimmery production goodness that it deserves. But that will be taken care of when these boys land a record deal, which is only a matter of time after making an EP of this caliber. Now here’s the best part: THE EP IS FREE, kids. Go to www.myspace.com/barfly and follow the instructions. You don’t have to register, give any personal information, none of that. Just click download, and enjoy. They even give you links to .jpg files for a front and back cover. Sweeeeet. ~David Medsker (11/03/05)

Bargain Music: American Born
Label: Cornerstone RAS 2006

It’s easy to sit here and knock anyone with an acoustic guitar that decides to release an album. But what not all of you realize is the pain that is sometimes inflicted on our ears when we have to endure crap like Bargain Music’s American Born. Bargain Music is basically singer/songwriter Josh Fischel, and this is an acoustic collection of stuff he’s been writing over the course of the last nine years that the band has existed. Somehow, miraculously, Cornerstone Records heard this music and decided it was worth releasing. Fischel doesn’t have a bad voice; it’s just that it grates on you after about 30 seconds. The songs have the kind of melodies that you’d expect from a 16-year-old who just learned to play guitar. In summary, this is music that might be good if you’re really high, if you smell, or both. And even then, it’s questionable. ~Mike Farley (08/24/07)

Dave Barnes: Chasing Mississippi
Label: Ripley

Dave Barnes is a throwback to a carefree era in music, with a soulful voice and songs akin to pop icons Hall & Oates or Michael McDonald, or even relative newcomer Josh Rouse. Barnes’ latest, Chasing Mississippi, is sure to put him on the map as an artist and as a songwriter – even though he hails from the songwriter-rich city of Nashville – because the tracks on here are not just really good, but the kind that you never tire of. From the groove of “Everybody but You” to the bluesy and ultra-addictive “All That Noise” to the tender “I Have and I Always Will,” Chasing Mississippi is a roller coaster ride you won’t want to get off of. But the best track on here is “Someday, Sarah,” with a timeless charm and just enough swirling guitars and retro keys to make anyone feel good. ~Mike Farley (03/09/06)

Barzin: Just More Drugs
Label: Monotreme Records 2007

The first thing you will probably think when you hear Barzin’s song “Just More Drugs” is “Gee, these guys sound an awful lot like Galaxie 500 without Dean Wareham’s nasally vocals.” Indeed, this trio trips out on a bit of basement shoegaze without all the My Bloody Valentine blur. That title track is also the best thing here. The rest of this EP shows Barzin in a moodier, folkier light that doesn’t really find its footing. “Let’s Go Driving” and “Mistakes” both sound stoned and melancholy, and the non-album tune “Queen Jane” falls in line in a similar fashion. It’s hard to imagine this group being a very lively bunch, with the live take of “Mistakes” as featured on CFRU FM proving the point entirely. The EP closes with the “Glass Shrimp Session on Resonance FM” version of “Just More Drugs” which isn’t as spacey as the studio take. It is sleepier, however. Luckily this EP is only five tracks long; you might fall asleep if it went on any longer. ~Jason Thompson (10/26/07)

The Basement: Illicit Hugs and Playground Thugs
Label: Velour Recordings 2007

Bands in the UK get so much hype from the British music weeklies, it’s usually turned into verbal wallpaper by the time said band reaches these shores. Rarely do the hapless musicians live up to the propaganda. Hey, it’s tough to fill the pages of a magazine or newspaper; can you imagine if Rolling Stone or Spin published every week? Egads…we’d be reading about Meg White’s bra size and what Jeff Tweedy had for dinner last Tuesday inside of a month (thankfully we have blogs for that). The originally-from-Ireland-now-from-Liverpool bar-rock troubadours the Basement have been compared to everyone from Van Morrison to Dylan to the Flying Burrito Brothers. What? Okay, the name’s a nod to Dylan (copped from the lyric ”Johnny’s in the basement,” referring to both lead singer John Mullin's former dwelling and the band's former rehearsal space). But the other comparisons? Not on your life. On such gritty fare as “Medicine Day” and the lilting “It Won’t Be Long,” these purveyors of an interesting British take on Americana aren’t country enough to be pure alt-country, but the overall feel is the same. With plenty of finger-picking evident in the not-overly romantic arrangements, it’s modern-day folk-rock, plain and simple. And it’s still refreshing to hear a current band whose musical inspiration pre-dates Blur (or some such), and who sidesteps the tired quiet-loud-quiet dynamic to focus on melody, harmony and rhythm in an unsentimental way. ~Una Persson (07/06/07)

The Bastard Fairies: Memento Mori
Label: Bastard Fairy Records 2007

Note to the Bastard Fairies: the part of “Ween” has already been successfully created and filled. Seems like no one relayed this info to Robin Davey and Yellow Thunder Woman, the duo responsible for these 17 tracks that come off as lopsided psychedelicraptastic faux-surreal ripoffs of the boys from New Hope. They’re not half as entertaining as Ween, either. So yeah, songs with titles like “Ode to the Prostitute,” “Habitual Inmate,” and “Exoskeleton” sound exactly what you’d expect from a project such as this where Yellow Thunder Woman’s boobs are shoved into your face before one note is even digested. Suffice it to say they neither are impressive enough to warrant anyone’s attention beyond a “What’s the crap you’re playing?” inquiry. Don’t even bother buying it; the original damn thing’s available on the band’s site for nada. Of course, five more tracks and a useless DVD have been added to the retail package if you want to actually give money to these people. Chances are you really don’t.~Jason Thompson (04/26/07)

Bedsit Poets: The Summer That Changed
Label: Bongo Beat

The Bedsit Poets are a NYC-based duo comprised of Edward Rogers and Amanda Thorpe; Rogers, former member of the Green Rooftops, released a solo album (Sunday Fables) on Not Lame a year or two ago, and Thorpe, co-founder of the Wirebirds, put out a solo disc herself back in 2001 (Mass). Together, however, they’ve produced a low-key, melancholy collection of harmony-laden pop songs: 10 originals and one cover (“Don’t Ask Me To Be Friends,” a Gerry Goffin / Jack Keller composition best known for having been recorded by the Everly Brothers). Maybe it’s the weather talking, but this is the perfect soundtrack for a rainy day...and not just because the album closes with a song called “Let It Rain.” No, it’s because the majority of the tracks are rather languid; if you’re sitting around and not of a mind to do much of anything, let these songs wash over you. If that description concerns you, fret not; the chorus of “Far From You” – “You drive me crazy, all the things that you do / And it drives me insane when I’m far from you” – is a head-bobber, and the Rickenbacker-powered jangle of “Reach For The Sky” is a particularly upbeat highlight. ~Will Harris (12/01/05)

Andy Bell: Electric Blue
Label: Sanctuary

It seems odd that Andy Bell, frontman for Erasure, would choose to venture into the treacherous waters of a solo career in the same year that his band (okay, so they’re less a band than a duo) released a new album, Nightbird, that’s the best they’ve put out in the better part of a decade, but there are several great dancefloor fillers here, including first single “Crazy,” “Shaking My Soul,” and the title track. The song that will have the gay community – well, at least, the portion of it that has rhythm, anyway – really shaking their collective asses, however, is “I Thought It Was You,” a duet with Scissor Sisters frontman Jake Shears. The biggest difference between Electric Blue and Nightbird is that Bell’s album sounds more...sterile. Vince Clarke, Bell’s partner in Erasure, has honed his ability to compose keyboard-based songs that have considerable texture, whereas Bell’s solo endeavor is less complex and sounds as though it was designed for the discothèque rather than for casual listening. Not that there’s anything wrong with that. ~Will Harris (11/03/05)

Beneath the Sky: What Demons Do to Saints
Label: Victory Records 2007

“Goodfellas,” the first song off of Cincinnati-based Beneath the Sky’s debut album, What Demons Do to Saints, begins with the line “Every day is a nightmare” – and if I was stuck in a band as aggressively untalented as this one, I’d feel the same way. Yet another horrible mediocre metalcore band to come out of the sinking ship that is Victory Records, Beneath the Sky symbolizes everything that is wrong with the genre today; each song is filled with repetitive and instantly forgettable music that accompanies some of the worst “singing” attempted by a metalcore band. Lead singer Joey Nelson can’t even crib the basic Cookie Monster vocal style that most singers of the genre seem to be attempting, his jarring raspy scream instead sounds more like Elmo…while he’s being anally violated by Snuffleupagus’ trunk. Painful mental picture? Not as painful as having to listen to this worthless piece of trash. This is the worst thing to come out of Cincinnati since that ‘90s revival of “WKRP.” ~James B Eldred (02/22/07)

Paris Bennett: Princess P
Label: 306 Music/TVT 2007

When Paris Bennett was a contestant on “American Idol” last year, she was easily one of the most likeable and talented singers. She had an old-school charm that made her a throwback to the days of Gladys Knight and Patti Labelle. So why she went and made a contemporary R&B/pop album raises a great question, especially when Bennett’s debut isn’t the least bit catchy. The songs on Princess P are formulaic and border on annoying — scratch that, they ARE annoying. In fact, this is even below the crap bar set by fellow Idol contestant Katharine McPhee. “Dreamin’” is about the only decent track, but the rest of the album is so grating you may just want to go and punch someone. We’ll give Princess half a star though just for including lispy Idol contestant Kevin Covais in a rap duet, “Let Me Rap,” but the song is more comic relief than good. Bennett adds a frenetic cover of “My Boyfriend’s Back,” and it does nothing but offer mild props to a classic. Here’s hoping Princess P goes back and records something less contemporary next time, because this thing is bound to flop. ~Mike Farley (06/29/07)

Brendan Benson: The Alternative to Love
Label: V2

His bio claims that this is not a singer/songwriter, but that Brendan Benson is really a band. And that’s definitely the case, as this is fleshed out pop/rock that has melodic sparks and enough energy to power an airplane. There are flavors of artists like the Beatles and the Finn Brothers. The follow-up to 2002’s critically acclaimed Lapalco, Alternative to Love has more ultra-cool songs on it, especially “Cold Hands Warm Heart,” the synthesizer-infused “I Feel Like Myself Again,” and the dark yet poppy “Between Us.” ~Mike Farley (04/22/05)

George Benson & Al Jarreau: Givin’ It Up
Label: Concord 2006

What do you get when you pair one of the greatest jazz guitar players ever with one of the greatest jazz vocalists ever? Throw in guest appearances by the likes of Paul McCartney, Patti Austin and Jill Scott, and you get something that is can’t-miss. And that’s basically what living legends and label mates George Benson and Al Jarreau are offering up with Givin’ It Up. Yes, it isn’t anything you wouldn’t expect, but this album is still nothing short of stunning. There is play off of each others’ music, such as Jarreau adding vocals to Benson’s “Breezin’” and Benson playing the vocal line to Jarreau’s smash hit, “Mornin’.” But there’s so much more. Smooth jazz programmers are going to salivate over the cover of Seals & Croft’s “Summer Breeze” as well as a Jarreau/Patti Austin duet on “Let It Rain.” The funky “Don’t Start No Schtuff” and gospel-infused McCartney guesting on “Bring It on Home to Me” are just icing on a very tasty cake. ~Mike Farley (11/02/06)

Sarah Bettens: Scream
Label: Hybrid

Former K’s Choice singer Sarah Bettens steps out on her own and delivers an impressive set of pop rock that seems tailor made for mass consumption. Leadoff rocker, and title track, is actually the verse and chorus of two different songs expertly mashed together, while “Not Insane” has “TV soundtrack” written all over it. Unfortunately, that’s part of the problem with Scream. As good as these songs are, and as lovely as her voice is (think Sarah McLachlan crossed with Amy Ray), there’s a whiff of corporate synergizing behind it all, as if she wrote these songs not for the music world but rather for TV producers and the people who pick songs for movie trailers. It’s catchy, and pretty, but a little contrived as well. Don’t be surprised if you hear these songs every time you change the channel, and don’t be surprised if you find yourself singing along. That may seem like an okay fate for an artist, but Toni Childs will likely tell you otherwise. ~David Medsker (09/01/05)

Big 10-4: Testing the Atmosphere
Label: Republic 2006

Well, hey, good buddy, that’s not the greatest name in the world, but at least your music’s pretty good. Hailing from Orlando, Florida, Big 10-4 have one foot in the present and the other squarely in world of late-‘90s rock radio regulars like Third Eye Blind and Vertical Horizon. It might not be the hippest place to stake your claim nowadays, but the combination of ear-catching material and the studio gloss of producer Matt Wallace (Train, Maroon 5, Sugarcult) makes Testing the Atmosphere work pretty well. Like so many bands with this sound, suggesting that the entire album is phenomenal would be stretching the truth a bit, but taken song by song, almost any track could pick up airplay. “Walking Disaster,” the opening track, has a pounding verse than leads into a soaring chorus with almost as much punch to it, while “Irony Is Thick” begins with the light tinkle of a piano before heading into a powerhouse of a pop/rock song. “Deadman” might be the best song on the album with its melodic guitar line, but for every compliment, there should be a criticism…and, guys, it has to be said that “Undertow” is absolutely a Third Eye Blind song…like, to the point where radio listeners would, in fact, call in requesting that the DJ “play that new Third Eye Blind song” again. Stick with developing that Big 10-4 sonic identity rather than cloning that of others. And in closing, to keep with the CB theme, may I just say, keep the whites on your nose and the reds on your tail. And we gone…. ~Will Harris (08/24/07)

Big Blue Hearts: Here Come Those Dreams Again
Label: Eagle Eye

This is the sort of album that starts musical debates where, after a few beers, things can easily descend into the hurling not only of obscenities but, indeed, large objects. Rock fans will swear that if you take Chris Isaak, make his voice a little higher, and add a bit more twang, you’ll have the Big Blue Hearts; your friendly neighborhood cowpokes may or may not know who Chris Isaak is, but they’ll gladly assure that what you hear on Here Come Those Dreams Again ain’t nothin’ but a li’l bit of country music, plain and simple. Somewhere in-between falls the alt-country fan, who will try to solve the argument by declaring that this is clearly Americana. (For the record, it’s this last musical subset to which the band is pitching the first single, “Lovin’ You.”) If students of any of these three genres have an open mind, they’ll throw their arguments aside and just admit that this is a catchy, fun album of pop songs, with or without the twang. Fans of Foster & Lloyd, the Jayhawks, and, yes, Chris Isaak will be easily captivated. ~Will Harris (07/21/05)

Big Dume: Inside My Head
Label: Chartless

This Malibu, California-based band is going to get most of its recognition from the fact that its members include singer/songwriter Brandon Jenner (son of Olympic athlete Bruce) and keyboardist/vocalist Leah Felder (daughter of Eagles guitarist Don), and because Jenner co-wrote the TV pilot “Princes of Malibu.” But Big Dume’s debut album, Inside My Head, boasts solid musicianship and some really good songs. There are different styles at work here in Jenner’s writing, from the anthemic title track, to the blues-infused “Mexico,” to the angry “Perfect World.” Felder shines on “Vanity,” which sounds like a cross between Jewel and Fiona Apple. ~Mike Farley (07/14/05)

Ryan Bingham: Mescalito
Label: Lost Highway 2007

Fans of John Prine and Billy Joe Shaver will want to make sure they get their ears around Mescalito, the major-label debut from this onetime itinerant rodeo worker. Bingham’s only 25, but he sounds at least twice that on these 14 tracks – and occasionally, he even sounds like something special. Ex-Black Crowe guitarist Marc Ford produced, and he brings an appropriate level of grit to the proceedings; when a kid who’s barely old enough to buy a beer from a 7-11 can sing “with my pillow lies my gun” and not make you bust out laughing, it’s safe to assume that everyone involved knew what they were doing. There really aren’t any bad songs here, but most of the record’s 65 minutes are taken up with mid-tempo sawdust ballads, and it all starts to drag after awhile – especially when compared to the set’s more rocking moments, like the rollicking, Sonny Landreth-esque “Bread and Water.” With a more balanced album, Bingham could find himself the toast of the AAA set. ~Jeff Giles (11/09/07)

The Birthday Massacre:: Walking with Strangers
Label: Metropolis 2007

Toronto sextet the Birthday Massacre are a band out of time, still waving the Goth flag a good five years past the sell-by date – one guy is even unlucky enough to bear a striking resemblance to Marilyn Manson – yet the band’s new album, Walking with Strangers, sounds remarkably refreshing. Singer Chibi wisely stays away from the kind of vocalizing that would draw a comparison to Amy Lee, and while the band does bring out some Evanescence-like power chords, they’re much more interested in the kind of syncopated melodies that the Pet Shop Boys must hear in their darkest dreams. Where the band’s ‘80s-cribbing contemporaries are doing superficial imitations of synth pop, the Birthday Massacre gets to the essence of what made those early Goth records so great. About damn time. ~David Medsker (09/07/07)

Gus Black: Autumn Days
Label: Cheap Lullaby

The artist formerly known as Gus – it was he who forced a certain Boston trio to change its name to Guster – circles the wagons after a brief stint in the majors to make Autumn Days, a lo-fi sister of sorts to 1999’s impeccably produced Word of Mouth Parade. Black’s just doing what he always does, churning out dark acoustic ditties that are like Grant Lee Buffalo without the history lessons, with one song (“Trillion Things”) getting a little friendly with “Maggie May.” And while you’re sure to get a song or two stuck in your craw (“Long Beach (It’s a Miracle),” for example), even the most high energy stuff here has a cloud of foreboding hanging over it. Black’s songs have always been like this, of course, but this time out, things seem a little gloomier than usual. If any of his albums could use a song like “Laugh I Could Learn to Love,” it’s this one. Lighten up, Gus: remember, laugh and the world laughs with you. ~Mike Farley (03/16/06)

Black Label Society: Mafia
Label: Artemis

Zakk Wylde’s latest Black Label Society release, Mafia, is a good metal record, period. It contains the required distinctive axe work from one of the best in the business, apocalyptic and dark lyrical content, a couple of fairly elegant and sad ballads, and plenty of memorable, ass-kicking riffs. From the opening talk box on “Fire It Up” to the fading guitar of “I Never Dreamed” which concludes the record, Mafia is a 54-minute, 15-track joy ride of hard rock as it is intended to be. ~R. David Smola (07/21/05)

Blackmore’s Night: Winter Carols
Label: Locomotive Record 2006

Christmas records are not necessarily my bag. I like them to be a bit different so I can break them out anytime of the year. The Reverend Horton Heat blasted out We Three Kins last year, and that is good for at least one listen before St. Nick visits. The Brian Setzer Orchestra’s Boogie Woogie Christmas features that virtuoso having a blast, so that is good for even a non-Christmas spin. And although this disc does contain some very cool guitar work by the legendary Richie Blackmore, Winter Carols is a Christmas-only record. And as far as Christmas-only records go, this is a very pleasant one. Candice Night’s voice sounds perfect for this collection of mostly traditional carols and the Renaissance-influenced arrangements and instrumentations are quirky but fun in this context. The album opener “Hark the Herald Angels Sing/Come All Ye Faithful” features some fabulous and restrained acoustic guitar by Blackmore and the instrumental “Winter (Basse Dance)” is quite pretty. This collection would provide an excellent soundtrack to the kids opening their presents on Ye Ole Christmas Morn. ~R. David Smola (12/20/06)

Black Tie Dynasty: Black Tie Dynasty
Label: Idol 2006

Turn back the clock, folks. For the past couple of years, bands like Black Tie Dynasty have tapped into the aging market that grew up in the ‘80s, trying to emulate great acts like Depeche Mode, the Cure and Joy Division. While all of those bands mentioned continue to make music 20 years later (well, except for the Joy Division, who were sidetracked by that whole suicide thing), fans of that style have the option to turn away from their heroes of yesteryear and focus on fresh acts that look younger and don’t have to work out every day to stay in shape. That said, the latest effort from Black Tie Dynasty, Movements, sounds harshly derivative. I mean, they hail from Dallas, of all places. But even if you stripped everything down to what’s important, the songs, Black Tie Dynasty delivers an average batch of them that wouldn’t measure up to those powerhouse Brit pop bands back in the day. The best tracks are the speedy “Bells” and hooky “Tender,” but other than that, this album will induce more than a few yawns. So when you want to drum up visions of Molly Ringwald and Ally Sheedy, do yourself a favor and listen to the pioneers, instead of their kids. ~Mike Farley (01/11/07)

The Blakes: The Blakes
Label: Light in the Attic 2007

Seattle rock trio the Blakes already have one thing going for them – they look like rock stars. On the cover of their debut full-length, self-titled LP for Light in the Attic Records, these guys look like they are gonna rock your socks off. Then they do. Keep this band’s name in your back pocket, because you’re likely to hear a lot about them in the coming little while. Comparisons in their bio are made to the Kinks, the Stooges, and the Strokes. Maybe it’s the whole “the” thing, but here is a more accurate comparison: the Plimsouls. If you remember and love the Plimsouls’ Everywhere at Once album, you are going to love the Blakes, guaranteed. It leaves you wondering why more bands haven’t tried this no-frills but balls-to-the-wall approach, but the Blakes sure do have it down. This is unpretentious, melodic rock at its best, but it takes a strong vocalist to make it work – and guitarist/singer Garnet Keim does, with a growl and swagger that tie everything together nicely. Standout tracks are the raw and crunchy “Two Times” and “Lie Next to Me,” and the ‘80s-influenced tracks “Don’t Bother Me” and “Run.” ~Mike Farley (10/19/07)

Blankety Blank: Is This Your Pill?
Label: Self-released

While Atlanta-based Blankety Blank starts out their album with a witty pop/punk track, “5 Minutes Ago,” they soon show that they’re not one-dimensional. These guys are influenced by melodic pop/rock genius Butch Walker (and even recorded at Walker’s studio) and the ballad “Flow” as well as the dark “You Come Through” are the kind of tracks Butch would be proud of. It’s not like these guys are lacking an identity; they’re just well rounded and write good songs. ~Mike Farley (05/20/05)

Scott Blasey: Travelin’ On
Label: King Mouse Music 2007

Scott Blasey has been a travelin’ fool over the past few years, and now has an entire album to document it. The Clarks’ lead singer and primary songwriter for an under-appreciated 20 years, Blasey turns in his third solo record, Travelin’ On, and first in almost eight years. In between constant touring with the Clarks, uprooting his life and family and moving from Pittsburgh to Dallas, and becoming a father, the oh-so-soulful crooner with Tom Cruise good looks has just kept writing and writing. “Time to Go,” a woozy slide guitar number, gets things started with Blasey journaling “I’m leaving town, I’m southern bound, where the skies are always blue” like he’s jotting notes in a diary. But from the farewell lament of “See You Around” to a forgettable clap-happy “Be Your Man,” this chapter of the diary, unfortunately, wouldn’t make much of a movie. Even a quick run through Sam Cooke’s “Bring It on Home to Me” doesn’t work when Blasey opts for creative layering of multiple vocal tracks instead of just singing the damned song. As a longtime fan of the Clarks, I was disappointed to see such talent go to waste this time around. ~Red Rocker (04/13/07)

Porter Block: Suburban Sprawl
Label: Engine Room 2007

Beware the press release that’s dripping with hyperbole: Take the sheet that came with Suburban Sprawl, the debut from New York quartet Porter Block. XTC and Bread are dropped in the first paragraph, with Fountains of Wayne, Crowded House, Badfinger and the Beatles appearing later. Those are lofty, oxygen-deficient heights, to be sure, and it should surprise no one that Porter Block does not reach them. However, that is less an indictment of their songwriting ability – though it is indeed that – than it is the fact that the frequent use of mandolin and slide guitar means that they sound absolutely nothing like the bands to which they have allegedly drawn comparison. Then there is the matter of the band’s vocals: David Gates, Neil Finn and Adam Schlesinger have pretty voices to go with their pretty songs. Peter Block, on the other hand, does not. His voice is a notch prettier than, say, Dave Lowery’s, and Lord knows there’s nothing pretty about Dave Lowery. If Porter Block truly wants to be mentioned in the same breath as the Beatles and Crowded House, they should ask themselves: Would Neil Finn write a song like “Blackberry Girl”? If not, then throw it out and start over. ~David Medsker (02/22/07)

Blue James Band: That’s That
Label: Self-released

This band is fronted by Cliff Williams, and not a guy named James. But that’s not really an issue here, because this is some pretty cool stuff. Floating back and forth between jam bandy reggae/pop and bluesy rock, Blue James features the catchy songs and smooth rock voice of Williams, all the while accompanied by some really great musicianship. The best comparison I can offer is a cross between Paul Simon and Sting, and the best tracks are “Remember Me” and “Going Home.” ~Mike Farley (05/06/05)

Blue Merle: Burning in the Sun
Label: Island

Listening to Blue Merle’s debut album will make one wonder if lead singer Luke Reynolds and Chris Martin have ever been spotted together, since one could argue that Reynolds and the Coldplay singer are one and the same. The comparisons don’t end there, either: “If I Could” oozes heartache the same way Coldplay’s “Warning Sign” does, though Beau Stapleton’s mandolin gives Blue Merle a distinctly Americana flavor. The album is ultimately undone by the sameness of the songs; it’s okay to write a good mid-tempo song here or there, but an entire album of them gets old in a hurry. Still, there is tremendous potential here. If they ever get around to shaking things up a little, we could be in for something special. ~David Medsker (05/13/05)

Blue October: Foiled
Label: Universal

If you like Peter Gabriel, or if you remember ‘80s prog rock band Marillion, you will find something to like about Texas-based band Blue October. Lead singer Justin Furstenfeld has a voice that is a dead ringer for Gabriel or Marillion’s Fish, and the music is quirky and dark enough to be labeled alternative. But while Blue October distinguishes itself from almost any band in today’s rock genre, the songwriting on their latest, Foiled, is no more than a B-minus. “Sound of Pulling Heaven Down” and “Into the Ocean” (does anyone remember Howard Jones?) are solid tunes, and “Drilled A Wire Through My Cheek” is a kickass title and equally impactful song. But for the most part Foiled wears thin after a couple of listens, losing its luster like the vanilla ice cream underneath a mountain of hot fudge. ~Mike Farley (04/12/06)

Blues Traveler: Bastardos!
Label: Vanguard

There are bands that have long lives, and there are those that are destined for the equivalent of a retirement community: obscurity. With their third consecutive indie label release and first on Vanguard, John Popper and company are well on their way to that retirement community. After the somewhat hooky first two tracks, “You Can’t Stop Thinking About Me” and “Amber Awaits,” Bastardos! manages to take us all on a stroll through a field of boredom. Just how much can we take of that whiney harmonica and Popper’s vocal, which are beginning to sound like one and the same? ~Mike Farley (09/08/05)

Bob Marley & the Wailers: Africa Unite: The Singles Collection
Label: Island

The compilations featuring the work of Bob Marley far exceed the number of studio records he released in his all-too-short life. Africa Unite: The Singles Collection contains 20 tracks, 17 classics, two remixes and a new track constructed from a rough demo by two of his children (Stephen and David). “Slogans” features guitar work by Eric Clapton and background vocals by singer/songwriter Marcia Ball, and is a pleasant surprise. The two remixes are fair, but it is the core material that makes the collection desirable. 1984’s Legend has always been a great introduction to Marley, and this collection is as good, sharing almost all of the material. If you have worn out your old copy of Legend and need to replace it (maybe you still have vinyl?) or you don’t have any Bob lying around, go out and grab it, mon. ~R. David Smola (01/04/06)

Bodyrockers: Bodyrockers
Label: Universal 2005

It’s rather fitting that dance duo the Bodyrockers consist of an Australian and a European (okay, a Brit; I’m stretching the truth to make my point), because their melding of fat dance beats with scorching guitars is precisely what one would expect if Daft Punk ever hooked up with AC/DC. The songs could fill a dance floor faster than you can say “Free Ecstasy,” but they also provide enough punch to keep the girls’ boyfriends entertained while they drink at the bar. The problem is that the songs are unbelievably dumb, with the deepest thought being “Hanging with such a losing crowd / Wanna talk about it, sort the whole thing out?” on “Stuck in a Rut,” the album’s lone ballad. Still, as bad as the lyrics are – and they are shockingly bad – it’s difficult to resist either shaking your booty or whipping out the air guitar to “I Like the Way,” “You Got Me Singing,” “Dirty,” and especially “Round and Round,” which is “Sharp Dressed Man” on steroids. ~David Medsker (01/04/06)

Michael Bolton: Bolton Swings Sinatra
Label: Passion / Concord 2006

I know, you’re looking for jokes, but, c’mon, Michael Bolton’s one of those targets that’s past its prime, and you hate to kick a man when he’s down; quite frankly, he hasn’t had a hit in a while now. Bolton Swings Sinatra, however, could change that for him. Not because it’s so spectacular (though it’s certainly listenable enough), but because…and don’t think he hasn’t already thought of this…he can totally pick up some of the same audience who went apeshit over the schmaltz-ridden piece of crap that was Barry Manilow’s The Greatest Songs of the Fifties. Seriously, if Bolton mounts a promotional campaign that includes TV spots and full-page ads in AARP Magazine, this thing could blow wide open and give Bolton his first Top Ten record in quite some time. Now, as to the content of the album itself, well, as the title suggests, it’s all Sinatra covers; they’re all done in a pretty straightforward, easy listening way, but Bolton’s still got that powerhouse voice that made millions of women with poor taste in music swoon. He doesn’t take it over the top as often as everyone knows he can, and the result is a surprisingly well-delivered collection of tracks. Of course, it goes without saying that Michael Bolton is no Frank Sinatra, but, hell, even Bolton himself would admit that. ~Will Harris (05/18/06)

Boomtown Rats: 20th Century Masters, the Millennium Collection
Label: Mercury/Universal

The Boomtown Rats are one of the most criminally overlooked bands to come out of the late ‘70s. They could rock, they could pop, they could sing, and Bob Geldof was a gifted lyricist with a biting wit and vivid imagination. This compilation, the cheapest of three Rats collections currently on the market, wisely focuses more on the first three, Robert John Lange-produced albums in the band’s catalog, unearthing classics like “Diamond Smiles,” “Someone’s Looking at You” and “Mary of the 4th Form.” However, we’re tempted to pull out a pair of pliers and a blow torch on the person who decided that “Up All Night” and “House on Fire” did not need to be included (curiously, none of the current compilations have “Up All Night,” the band’s best known song after “I Don’t Like Mondays”). Also, it is just us, or are “Rat Trap” and “Joey’s on the Street Again” running just a little bit faster than the original versions? (The version of “Joey” here is unedited, yet 30 seconds shorter than the “Tonic for the Troops” version.) One last thing: why use radio edits? There’s 40 minutes of extra space on the disc; surely it wouldn’t have killed anyone to use the full length version of “Banana Republic,” would it? Okay, we’ll get off the soapbox now; all gripes aside, for anyone looking to get some cheap Rats, this is a great place to start. ~David Medsker (11/17/05)

Juewett Bostick: It’s Not So Easy
Label: Self-released

Being a guitarist, songwriter and producer for more than 25 years, Juewett Bostick has worked with a “who’s who” of popular soul artists. But his new release, It’s Not So Easy, is all his own doing, including the marriage of a CD-ROM with the traditional CD to deepen the musical experience. There are some great songs on here, and solid production, especially on “You Need Love,” featuring the lead vocals of ex-Temptations member Ali Woodson. ~Mike Farley (05/13/05)

Chris Botti: December
Label: Columbia

If you’re looking for that romantic Christmas album to surprise your lady with, look no further than Chris Botti’s December. A mesmerizing trumpet player, Botti has spent the past ten-plus years adding his touch to recordings by Aretha Franklin, Bob Dylan, Paul Simon, and Thomas Dolby. And all of his training and experience as a session player have primed him for this jazzy take on Christmas standards. You can almost see snowflakes falling outside your window and taste the alcohol in your eggnog as you get cozy to December. There isn’t really a bad track, but some highlights are “The Christmas Song,” “Winter Wonderland,” and a somewhat funky version of “The Little Drummer Boy.” Now what are you waiting for? Your shopping days are dwindling! ~Mike Farley (11/30/06)

David Bowie: The Best of 1980-1987
Label: Virgin 2007

The ‘80s may have been the decade where David Bowie became a superstar, but let’s be honest: the vast majority of his output from that time did not deserve the adulation that he received. After beginning the decade with a critical smash (Scary Monsters) and a commercial blockbuster (Let’s Dance), he spent the next few years wandering aimlessly between deliberately jarring post-punk (his cover of “Alabama Song” – yes, the Doors’ “whiskey bar” song, has to be heard to be believed), and the not-quite-rock rock of Tonight and Never Let Me Down. Wisely, Virgin fleshes out the set with a flurry of soundtrack contributions, from “This Is Not America,” his duet with Pat Matheny, to “Underground,” from the “Labyrinth” soundtrack, and the title tracks to “Absolute Beginners” and “When the Wind Blows.” It may not exactly flow, but there is no question that it is indeed the best that Bowie did during that time period. As for you video collectors, get ready to pony up: the DVD contains three vids (“Under Pressure,” “The Drowned Girl,” “When the Wind Blows”) that do not appear on the two-DVD “Best of Bowie” set. On the plus side, they had the good sense to leave Bowie and Mick’s cover of “Dancing in the Streets” off both the CD and the DVD. Whew. ~David Medsker (06/22/07)

David Bowie: Young Americans Special Edition
Label: Virgin 2007

David Bowie’s career-long penchant for reinvention was never more evident than on this 1975 outing, where the former glam rock messiah immersed himself in R&B and Philly soul and became the Thin White Duke. An often-overlooked or only glancingly recognized addition to Bowie’s canon, Young Americans also boasts two of Bowie’s most enduring and still kick-ass songs, namely the title track and “Fame” (which was co-written, co-sung and featured some guitar work by John Lennon). Sure, he did this kind of Philly R&B material better a couple years later on Station to Station, but this is the album that really broke him in the US. So why am I giving it only two stars? Because we already got a reissue of Young Americans, by Rykodisc in 1991. Other than a new surround sound mix (by Tony Visconti…whatever), it’s an almost identical release. The only previously unreleased track here is a syrupy version of “It’s Gonna Be Me” (complete with strings, sigh). Oh, a bonus DVD is included as part of this “special edition” – footage of Bowie on The Dick Cavett Show in 1974, performing “Young Americans” and “1984” and making a coke-addled ass of himself during Cavett’s interview – but it’s hardly worth it, and probably better suited to a DVD video retrospective of Bowie’s career than tacked onto Young Americans as an obvious money-grubbing gambit.
~Una Persson (07/13/07)

Bowling for Soup: The Great Burrito Extortion Case
Label: Jive/Zomba 2006

When artist/producer Butch Walker coined the “pickle-in-mouth” vocal technique made famous by the likes of Eddie Vedder and Scott Stapp, we all thought he was equally cool and brilliant. And while Walker is still a great producer and knows how to help artists churn out catchy pop/rock that makes millions in royalty dollars, he’s part of a nationwide problem – that of endorsing the “clothespin-on-nose” vocal technique that all the kids have been subscribing to. With The Great Burrito Extortion Case, pop/rock/whiny punk band Bowling for Soup has delivered an album of solid hooks, but lead singer Jaret Reddick is the latest to pretend he’s singing on Sesame Street. Do you remember that Herbie kid on the clay-mation “Rudolph the Red-Nosed Reindeer” show? The kid who wants to be a dentist? That’s what Reddick sounds like when he sings on this record, and it’s time we put an end to it, here and now. Dude, you used to sing with your real voice. To get it back, go take vocal lessons from Dee Snider or Sammy Hagar, because otherwise your band is going to get flushed away along with every other shitty band in this genre. Come on, we all know you’re better than that, and so do you. ~Mike Farley (12/07/06)

Brakes: Give Blood
Label: Rough Trade

A supergroup of sorts, containing members of British Sea Power and Electric Soft Parade, the Brakes debut of rough, and we mean rough, rock-outs and song fragments was recorded over eight days, though it’s hard to believe they needed half that many. Only two songs dare to pass the three minute mark, and one of the songs is a mere six seconds (“Comma Comma Comma Full Stop”). If the members sought to make a record that sounded nothing like their respective bands, they definitely achieved their goal, with singer Eamon Hamilton putting his best Gordon Gano impression to songs that recall everything from the Thrills and CCR to punk rock. The problem is that unlike mini-song gods Guided by Voices, these songs tend to come and go without leaving much of a mark, even the raucous ones. There are some decent moments here and there, but not much to keep it in power rotation. ~David Medsker (09/22/05)

Breaking Laces: Lemonade
Label: Meeka Salise

If Breaking Laces had come around in the post-grunge mid-‘90s, they would have enjoyed the same success as modern rock radio stalwarts such as Toad the Wet Sprocket, Better than Ezra and Counting Crows. But in 2006, bands like this are forced to use a grass roots marketing approach to spread the word and get their songs heard. Luckily for Brooklyn-based Breaking Laces, their latest, Lemonade, is bursting with melodic flavor and sweetness just like the drink, making it a much easier sell to the masses. And like a fruity drink laced with alcohol, there is enough dark alternative edge (“Garbanzo Beans” and “Get Up Today”) to balance the breezy tracks (“Call You Home” and “Shack Up SOS”). But Breaking Laces really shines when they tone things down a bit, as on “I Do I Don’t” and “The Ocean,” the kind of songs that shows like “The O.C.” use to launch bands to greatness. ~Mike Farley (03/16/06)

The Brightwings: Stay
Label: self-released 2006

Former power pop band Missing Joe out of New England was one of those groups that had incredible songs but could never seem to get a label to agree. But frontman Matt Rafal and former MJ members Dave Dombroski and Dan Holden are back with their latest project, the Brightwings. The slightly-more-than-an EP, Stay, has eight songs that have different members taking the lead vocal. There are breezy melodies and harmonies, and though it’s got a bit more pop and less alternative grit than Missing Joe, there is a peanut butter to the roof of your mouth element going on here. Simply put, this is ear candy at its finest. Anyone who has ever liked bands like the Eagles or CSNY is going to find something they like about the Brightwings. Every song is catchy, but the standouts are “All I Need,” “I Want You to Stay,” and “Mallory.” There’s even a super cool cover of Dave Loggins’ seventies hit, “Please Come to Boston.” Those of you who live in the Northeast and dig this kind of stuff will want to do just that when you hear the Brightwings. ~Mike Farley (08/24/07)

British Sea Power: Open Season
Label: Rough Trade

Could it be that bands are finally starting to mean it again? If British Sea Power’s sophomore album Open Season is any indication, it certainly appears that way. Of course, Coldplay and the Doves mean it too, but Open Season means it the way that U2 used to mean it, or even a band like Cactus World News or the Wedding Present meant it. There is a touch of the anthemic here that recalls the start of the modern rock revolution in the mid ‘80s (Echo, U2, Psychedelic Furs, even the Alarm, in spirit if not in execution). But this is no retro throwback album ala Killers/Bravery/VHS or Beta. It’s very much in the now, with guitars aplenty and the occasional string accompaniment. The only catch is lead singer Yan, whose frail tenor isn’t strong enough to reach the rafters these songs strive for. But if you can get past that, rewards await. ~David Medsker (04/29/05)

Jonatha Brooke: Careful What You Wish For
Label: Bad Dog 2007

Singer/songwriter Jonatha Brooke is back with her first album in three years, and with each passing release she seems to develop more of an edge. Careful What You Wish For has a lot of the same elements that made Brooke such a stunning acoustic artist in the '90s – the pretty chord progressions and catchy-yet-unique melodies – but this one experiments just a bit more, and collaborations with Eric Bazilian (of the Hooters) and popsters Nick Lachey (98 Degrees) and J.C. Chasez (N’Sync) give the tone of this effort more of a universal pop flavor, with hooks coming from every which way. Brooke starts right out of the gate with a sexy growl on the title track, and songs like “I’ll Leave the Light On” and “Baby Wait” have a Sheryl Crow-meets-Norah Jones feel – just breezy, sunny, and uplifting. She even manages to give darker offerings like “Hearsay” a lift of sorts. And “Never Too Late for Love” is a throwback to Brooke’s days co-fronting the Story – it’s possible that no female singer/songwriter has ever made alternate tunings sound so engaging. ~Mike Farley (07/13/07)

David Brookings: Chorus Verses the Bridge
Label: Byar 2005

Well, at the very least, you have to give David Brookings credit for one thing: he’s in no way afraid of a pun. His last album was called End of an Error, and this one’s entitled Chorus Verses the Bridge. Sure, they’re groan-worthy, but the titles stick with you... and so, as it happens, do the tunes. Fans of modern day power poppers like Cherry Twister and Linus of Hollywood will certainly dig this disc, particularly since – unlike others within the genre, it must be said – the songs demonstrate enough stylistic variety that they stand out rather than simply blend into one other. Brookings... who hails from Richmond, VA, but now calls Memphis, TN, home... can write a gloriously soaring chorus one minute, as he proves on “Another World,” or channel Jim Ellison from Material Issue the next (“It’s All Good”), then move to the gentle strum of a song like “Hawaii.” Music journalists everywhere, however, are well within their rights to call Brookings on the carpet for a glaring typo in his liner notes; c’mon, now, David, if they influenced you that much, you really should know that Mark Knopfler’s former band is “Dire Straits,” not “Dire Straights.” ~Will Harris (04/27/06)

Brooks & Dunn: Hillbilly Deluxe
Label: Arista Nashville

Kix Brooks and Ronnie Dunn have had a ball writing tongue-in-cheek modern country anthems for a decade longer than most of today’s country fans have even been listening. Kick-ass brushstrokes like “Boot Scootin’ Boogie,” “You Can’t Take the Honky Tonk Out of the Girl,” and “Rock My World (Little Country Girl)” will undoubtedly stand the test of time no matter who is occupying this genre’s charts. Unfortunately, they’ve widely missed their mark on Hillbilly Deluxe, a predictable, cliché-ridden pile of schlock that is bound for the bargain bin. Aside from the current CMT staple “Play Something Country” (a must-see video!) and “Whiskey Do My Talkin’”, a barroom burner that sounds like early Eddie Money, these songs are lackluster. Not altogether bad for a first outing by Nashville unknowns, but when you’ve logged the miles Brooks & Dunn have, a rookie effort ain’t gonna cut it. ~Red Rocker (09/08/05)

Norman Brown: Stay with Me
Label: Peak/Concord 2007

You can just about throw the whole smooth jazz genre in a blender and spit out the same product – smooth, breezy, easy-on-the-ears fare that features stellar musicianship. Whether led by guitars or saxophones, or even a guest vocalist or two, the artists that make this stuff can probably do so in their sleep. But that doesn’t mean they aren’t talented and don’t have to work at their craft. Guitarist Norman Brown is a Grammy Award winner who has just released his first album on the Peak Records label, Stay with Me. It’s a stellar set full of tasty guitar work (duh), but the one of the best songs is the title track, written and sung by R&B icon Brian McKnight. There are also collaborations, as on a lot of smooth jazz albums, with Rick Braun (trumpet) and Kirk Whalum (saxophone), who along with Brown once formed the group BWB. The trio makes for a melodic wank-fest on “It Ain’t Over.” All in all, Brown doesn’t reinvent the wheel, but no one is telling anyone in this genre that they have to. ~Mike Farley (08/10/07)

Paul Brown: White Sand
Label: Peak 2007

Paul Brown could be crowned the King of Smooth Jazz if such a title existed. The producer, guitarist and songwriter has had 50 Number One hits in his genre as an artist and a producer, and he isn’t showing any signs of coming to a halt. With his latest collection and first album on the Peak label, White Sand, Brown delivers what is sure to be ten tracks that will traverse his genre’s airwaves like friends who just keep bumping into each other. As with a lot of these smooth jazz sets, there is an all-star cast of guest musicians such as Boney James, Bobby Caldwell, Al Jarreau and David Benoit. The title track is apt, because it will induce relaxation to the point where you feel you’re lying on the beach of some tropical island. Along with several other sweet instrumental nuggets, there are a few covers such as the Dionne Warwick smash, “I Say a Little Prayer,” which features stunning guest vocalist Lina. You don’t have to listen to smooth jazz all the time to appreciate the work of a fine artist like Paul Brown. In fact, even if your Sundays begin in the afternoon, you can still appreciate the Sunday morning feel and beauty of this guy’s music. ~Mike Farley (02/22/07)

Art Brut: It’s a Bit Complicated
Label: Downtown 2007

Art Brut owes a large part of its modest success to the sardonic, spoken-word lyrics of frontman Eddie Argos, but his unique delivery probably limits his band at the same time. The group’s debut, Bang Bang Rock & Roll, was a collection of Argos’ witty poems backed by some very good music. It’s a Bit Complicated sounds more confident (if less inspired), but one has to wonder if the market for Argos’ thickly accented poetry slams has already dried up. Things start off pretty well with “Pump Up the Volume” and “Direct Hit,” two tracks that pick up where Bang Bang left off. Musically, they’re fresh and catchy, and Argos’ lyrics are as addictive as ever. But like any addiction, at some point, things just get old – and somewhere in the middle of It’s a Bit Complicated, that’s exactly what happens. Argos’ act wears a little thin and the focus is shifted to the music. There are some interesting riffs throughout (especially on “Post Soothing Out,” “People in Love” and “Late Sunday Evening”), but as the back half arrives, there’s this undeniable urge to listen to something else. With Argos’ delivery leading the way, the band will always be viewed as kind of a joke. As musical craftsmen, they are just as talented as Franz Ferdinand or the Arctic Monkeys, but they are better consumed as part of a mix so that Argos’ vocals can be sampled in small doses instead of force-fed all at once. ~John Paulsen (07/27/07

Buckethead & Friends: Enter The Chicken
Label: Serjical Strike Records

Buckethead is not your average nearly seven-foot guitar virtuoso (with KFC bucket on his head) who just also happens to wear a Michael Myers mask. No, with the guidance of System of a Down’s Serj Tankian (who produced the record), Buckethead creates one of the more interesting and entertaining releases of the year. Like Steve Vai’s Archives Volume IV, Enter the Chicken demonstrates the wide range of the guitarist’s abilities. Rapid-fire, SOAD-influenced “We Are One,” with Tankian singing lead, joins “Botnus,” featuring Death by Stereo’s Efrem Schulz, on the heavier end of the spectrum, while “Coma” is atmospheric and seductive. “Three Fingers” is a rap track featuring Saul Williams. Buckethead and Tankian spray effectively to all fields on this effort. ~R. David Smola (12/29/05)

Kate Bush: Aerial
Label: Sony

It’s been 12 years since Kate Bush has graced us with an album of new material, and 16 years since she’s graced us with a good album of new material. Such a lengthy hiatus might lead some to think that her well had simply run dry, but those people would be wrong. Aerial, about 80 minutes of music split into a two-disc set, feels like the unofficial follow-up to The Sensual World; indeed, first single “King of the Mountain” sounds like a sister to The Sensual World’s title track. Of course, it wouldn’t be a Kate Bush album without a little arty silliness. “Pi” is a gorgeous meditation on, yep, 22 divided by 7, and half its lyrics are the number drawn out to 114 decimal places. But the winner for the truly silliest moment has to be “Mrs. Bartoluzzi,” where Kate sings about cleaning the house and her brand new washing machine. Aerial won’t make anyone burn their copy of <Hounds of Love>, but at least the long wait between albums was not a fruitless one. ~David Medsker (11/17/05)

Isobel Campbell: Milkwhite Sheets
Label: Interscope 2006

Millkwhite Sheets is redundant and irritating. It is comprised of ten indistinguishable songs that feature Campbell’s voice singing indecipherable lyrics over cellos, acoustic guitars and banjos. There are three instrumentals which are more interesting and two of them, “James” and “Milkwhite Sheets,” are kind of pretty. The third instrumental, “Over the Wheat and Barley” is an angry cello song in which some notes sound like mating whales. I absolutely loved Ballad of the Broken Seas, her 2006 album with Mark Lanagen, because her voice was a fascinating contrast to his whiskey-soaked phrasing. On this release, her vocals either exist at a ridiculously high octave or a breathy kind of whisper. Thank God for the instrumentals. I like the fact that she is exploring a different side of music, but I can’t see any reason to ever listen to this again. This is the kind of record that critics love because it is very arty and different. That doesn’t make it good. ~R. David Smola (03/01/07)

Isobel Campbell & Mark Lanegan: Ballad of the Broken Seas
Label: V2 Records

Their background couldn’t be more different. Campbell cut her teeth in the art experiment-turned indie darling chamber pop of Belle & Sebastian, while Lanegan’s desert dry, whiskey-soaked vocals were utilized by Josh Homme in the Queens of the Stone Age, and were front and center in the underappreciated Screaming Trees. Their duet album, Ballad of the Broken Seas, sports some beautiful arrangements featuring strings, acoustic guitars and piano mixed so that every sound is crystal clear. The contrast of their voices is absolutely breathtaking on the title track, which is two minutes and forty two seconds of the most interesting music released this year. You aren’t going to hear better cello work on any other 2006 record, either. Make no mistake, this is Campbell’s baby as she produced it, was involved in the mixing, wrote eight of the 11 tracks and co-wrote another. There is a somber beauty to this recording that sounds like nothing else you have heard, from the simplicity of piano and two voices on “(Do You Wanna) Come and Walk With Me” to the mellow poppy sound of “Honey Child What Can I Do.” This is a great record, and jumps to my top ten for the year. ~R. David Smola (04/06/06)

Vivian Campbell: Two Sides of If
Label: Sanctuary Records

Sounding a bit like a raspier Jon Bon Jovi, axeman Vivian Campbell (of Dio, Whitesnake and Def Leppard fame) lets loose with open love letter to the blues. For the most part, this is an enjoyable project of some blues standards that you probably have whistled once or twice in your lifetime. The standout cut of “Spoonful” features the outstanding vocal work of Joan Osborne, who lends her soulful voice to complement the bluesy guitar work of Campbell. This is very different from the projects he has contributed to in the past, but a very pleasant surprise and worth a spin if you enjoy the blues. ~R. David Smola (10/27/05)

Cantona: A Sort of Smile
Label: Saucy

When your EP is recorded, mixed, and mastered by a member of the Posies (Jon Auer), it’s inevitable that, even if no-one else does, the power pop community is going to sit up and take notice. Cantona, a Seattle-based four piece, offer pleasantly melodic songs but nothing even remotely resembling a consistent style. But, then, their motto – “smile and expect great things” – makes no specific promises, so it’s hard to be too disappointed by that lack of consistency. The first three tracks, “Run Boy Run,” “So Sad (So Fine),” and “Girl Show!,” are definitely the highlights of the EP; things start to get a little languid after that, resulting in a collection that ends not with a bang but with a whisper. (The last song provides an unfortunately accurate opinion: “It’s Too Bad.”) There’s definitely potential here; Leslie’s lead vocals are perky, and the boys in the band provide admirable backing, so there’s still sufficient reason to keep an ear out for their full-length debut, scheduled for sometime in 2006. ~Will Harris (09/29/05)

Caribou: Andorra
Label: Merge 2007

For a long time, the Canadian band Caribou was made up of one person (Dan Snaith) and a bunch of electronics and DJ equipment, but there is a new live band to go along with Snaith for Caribou’s latest effort, Andorra, paving the way for a tour in support of the release. As for the release itself, Andorra (on the super cool Merge label) is being touted as Caribou’s best effort yet, and it’s hard to argue with that. With a distinct Northwest flavor that brings to mind the indie pop charm of artists like Rogue Wave, or the lo-fi beauty of Zero 7, Andorra is a roller coaster ride of sonic textures -- all the while being held together with simple yet interesting melodies. The opening track, “Melody Day,” sounds like an indie rock version of the Beach Boys, as does the catchiest track of all, “Desiree.” But Caribou really shows his (or their) electronic chops on “Irene.” ~Mike Farley (09/14/07)

Eric Carmen: Boats Against the Current / Change of Heart
Label: American Beat 2007

Once he was a Raspberry…and then, suddenly, he really, really wasn’t. It’s no wonder people who remember Eric Carmen for songs like “All by Myself” or “Hungry Eyes” find it impossible to believe that, in the early ‘70s, the man was nothing short of a power pop god. This American Beat two-fer reissue of his albums from the late ‘70s – Boats Against the Current (1977) and Change of Heart (1978) – shows Carmen delving into his more sensitive side, particularly on the former. Unfortunately, Boats Against the Current has a tendency to fall so far into a slow, melancholy vibe that you just want to give the guy a playful punch on the shoulder and say, “Cheer up, skipper, things’ll get better.” Fortunately, the excellent title track leads off the album, before you’ve gotten too depressed to appreciate it, while the uplifting “I Think I Found Myself” succeeds in raising spirits before the record reaches its conclusion; somewhere in between lies “Marathon Man,” which is cheesy as hell but still fist-pumpingly rousing. Change of Heart, meanwhile, has a shiny easy-listening production and plays – I swear, I mean this as a compliment – like a really good Barry Manilow album. It’s full of the kind of grade-A radio pop that used to be all over the dial in the late ‘70s, and, on the whole, it provides a far more consistently enjoyable listening experience than Boats Against the Current. Plus, it has the advantage of containing “Hey Deanie,” which you may remember from when Shaun Cassidy made it a Top Ten hit. ~Will Harris (10/12/07)

Rodney Carrington: King of the Mountains
Label: Capitol Nashville 2007

Comedian Rodney Carrington had a hit TV show, “Rodney,” on ABC for two years. While the show may not be on the air anymore, it sure did spawn a whole new fan base for him. Carrington’s first CD in four years is full of accumulated material from his standup act over that time, and as usual there is a healthy dose of funny songs as well as regular comedy bits. On this collection, Carrington reflects on how he went from humble Tulsa family man to Hollywood star and back again — in particular his bit about shopping in Beverly Hills is hilarious. Carrington pokes fun at the everyday things in life, making his material something that just about everyone can relate to. No subject is taboo either, as he touches on homemade porn movies and hot yoga instructors. Musically, Carrington hits a home run with “Show Them to Me,” the single that provides a reason for women in his audience to show their breasts. Other great songs are “Rhymes With Truck” and “Baby Back,” the latter of which is a goof on Carrington dreading that his wife will eventually look like his mother-in-law. Finally, there is a tribute to comedian Barry Martin, Carrington’s best friend who passed away a few years ago, and whose character was portrayed on the TV show. If you are a fan of good comedy, go grab this one — and be prepared to laugh really hard. ~Mike Farley (04/20/07)

Neil Carswell: Good Man’s Journey
Label: East Winds 2006

If we’re to be realistic, it’s highly probable that the world at large has not been clamoring for the lead singer of ‘90s Southern rockers Copperhead to release his solo debut – the band’s success was largely regional – but listening to Neil Carswell’s Good Man’s Journey, one finds the ghost of Lynyrd Skynyd looming large -- and for Southern rock fans, that ain’t a bad thing at all. Carswell’s voice, however, comes closer to that of Chris Cornell than the Van Zandt boys, making things often sound just as modern as they do retro. It’s clear from the liner notes that this is a very personal album for Carswell, with songs inspired by the death of friends, lost loves, and other emotionally tumultuous events, which would explain the bluesy feel to many of the tracks. By the way, speaking of friends – in this case, those still with us – Carswell brings in his pal Barry Goudreau from Boston to play lead guitar on the opener, “The Cain Preacher.” While it isn’t necessarily a groundbreaking musical trip, fans of the Southern rock sound will definitely dig this Good Man’s Journey. ~Will Harris (05/25/07)

Charlemagne: Detour Allure
Label: SideCho

Charlemagne is the <nom de plume> that Carl Johns adopts when he’s not running NoahJohn, the Golden Palominos of alt-country. Originally slated to be a solo project, Charlemagne has since grown to a sextet, and their sophomore effort, Detour Allure, is filled with pretty but slight first-sip-of-coffee-on-a-Sunday acoustic folk/pop. Some songs do stand out, like “Your Scars,” which recalls Lilac Time’s Looking For a Day in the Night, and “In the Fuselage” is a catchy tune as well. It’s songs like “Pink and Silver” that spoil the fun with silly lyrics like “Chocolate covered cherries / Scary, scary berries, that’s where we’re at.” ”Nematode,” meanwhile, is a slightly less fey Belle & Sebastian. Detour Allure isn’t bad, per se; it’s just sort of there. ~David Medsker (10/11/05)

Kenny Chesney: The Road and the Radio
Label: BNA Entertainment

Somewhere between the adolescent tales of Bon Jovi and the Americana themes of John Mellencamp lies the most un-Nashville guy in country music. Kenny Chesney seemed hell-bent on relieving Jimmy Buffett of his Parrothead throne with last year’s stripped-down storybook Be As You Are, but his latest basket of tunes gets more back to the titanic radio bravado of When the Sun Goes Down. Over-the-top rockers like “Living in Fast Forward” (“I’m a hillbilly rock star out of control”) and the schlock-heavy sonnet “Beer in Mexico”, the only one Chesney wrote himself, give The Road and the Radio enough mass appeal to garner a couple more CMAs and at least another year of sold-out arena shows. “Who You’d Be Today”, a gut-wrenching tribute to a friend who fell before his time, might land the firmest spot on country radio, but the insanely addictive sing-a-long “Summertime” is a hoot. Not just anyone can pull off a line like “cheap shades and a tattoo and a Yoo-Hoo”. Okay, maybe they can. ~Red Rocker (12/01/05)

Chicago: XXX
Label: Rhino Records

No, the XXX doesn’t stand for a hardcore pornographic film, but if you count all the official releases by Chicago, this would be the 30th (live and greatest hits packages included). This is the first set of new material released by the band since 1991’s Twenty 1, and the wait was worth it. The production by Rascal Flatts’ Jay Demarcus is peppy and full of sound, accenting the trademark Chicago horns when necessary and pumping up the keyboards borrowed from the early ‘80s David Foster-produced catalogue. The harmonies, which the band never struggled with, continue to be strong some 40 years into their history. Ballads like “King of Might Have Been” and “Love Will Come Back” are contrasted with up-tempo tracks like “Caroline” and “All Ready Gone.” There is still really good pop music being made; unfortunately, it takes a band who has been around for 40 years and is ignored by radio to actually put it out. ~R. David Smola (04/06/06)

Chris & Thomas: Land of Sea
Label: Collective 2007

On their debut release Land of Sea, Chris & Thomas succinctly deliver subtle and gentle compositions that sit up nicely in the often too-dusty foreground of Americana. Their harmonies weave around each other without sounding forced and their instrumentation is sparse but filling. Luckily, they borrow musical influences from the other side of the pond, which lends their sound a breath of British folk credibility. At the end of the day, though, that sound is their own, and it’s not marred by attempts at being overtly commercially viable. Fans of Lambchop and Fairport Convention should certainly take note of this release. The track “Take These Thoughts” is the standout on Land of Sea, and was given a rotational nod by the super cool KCRW DJ Nic Harcourt. It’s no stretch to imagine that the folks on BBC 4 ate this record up too. To summarize the entire vibe from this record: If you’re looking to bang an environmentally conscience English major at your local community college, then by all means keep this record in tow. ~Josh Preston (08/31/07)

The Cinematics: A Strange Education
Label: TVT 2007

You almost have to feel a little bad for the Cinematics as you listen to their full-length debut, A Strange Education. As you give it a spin, you quickly realize that what you’ve got on your hands is easily as solid an approximation of the early ‘80s post-punk/new wave sound as anything that’s emerged from Interpol, Editors, Longwave, or any of the other high-profile members of the New New Wave camp. Unfortunately, it looks like it might turn into a case of a fine band missing out on their 15-minute window – we’re already hearing less and less of that kind of stuff these days – and you can’t help but wonder if maybe the blame shouldn’t fall to the band’s label, TVT. After all, the Cinematics released an excellent EP last year, but we were left waiting way too long for a full-length…and though we may be wrong, it certainly seemed like TVT was simply sitting on it while trying to build a buzz about the band. With bass-thrumming songs like “Maybe Someday,” “Race to the City,” and “Keep Forgetting,” there’s plenty of material here that deserves a wider audience. If the cover of Beck’s “Sunday Sun” – the only non-original – sounds in concept like a desperate attempt for airplay, worry not; it plays just like one of the band’s own songs. Don’t miss out on what could be a contender for Debut of the Year. ~Will Harris (05/25/07)

Circus Diablo: Circus Diablo
Label: Koch Records 2007

In the category “nobody ever got rich on potential alone,” I give you L.A.’s latest hard rock outfit, Circus Diablo, a Velvet Revolver-like supergroup consisting of key members from, among others, Fuel and the Cult. Frontman Billy Morrison (formerly of the unknown Hollywood cover band Camp Freddy) boasts, “Rock exists below the belt and we intend to deliver rock the way it was meant to be: hard, fast, and dirty.” Diablo succeeds on the opener and first single, “Loaded,” which explodes to life with a full-on dose of Stone Temple Pilots fervor. Guitars galore and Marshall amps cranked to the rafters, these guys sweat through 11 original compositions that drip with sex. “Restless” is a hard-charging melodic thrasher that reeks of bassist Brett Scallions’ Fuel, while “Shine” slows it down momentarily, sounding more like an old Ozzy Osbourne power ballad. Speaking of Ozzy, these guys are well aboard 2007’s Ozzfest, where they belong, with no lofty predictions of longevity or future goals. “Recording shit was an afterthought, if anything,” says Morrison. “We are being pulled to another location every day that will not be found on Google Maps!” Ain’t that the way it should be, damn it?
~Red Rocker (07/27/07

Eric Clapton: Back Home
Label: Reprise

16-time Grammy winner Eric Clapton must have gotten his fill of rock and roll this past summer when he re-upped with Jack Bruce and Ginger Baker for the legendary Cream reunion. None (and I mean none!) of that throw-back Slowhand bravado spills over to Back Home, Clapton’s first solo album of (mostly) original material in nearly five years. Not even an all-star cast, including John Mayer and Steve Winwood, can salvage the soft rock drab (“One Day”), Broadway show tunes (“I’m Going Left”) or trials in reggae (“Revolution”). Fatherhood is front and center these days, as he affirms, “The baby’s only feeding, one of them is teething, and I’m so tired,” on the groovy “So Tired”, the lone track that so much as sniffs Behind the Sun-era quality. “Tears in Heaven” is sounding pretty good these days. ~Red Rocker (10/13//05)

Clare Quilty: Face the Strange
Label: DCide

Clare Quilty would have been the perfect house band for the Bronze in “Buffy the Vampire Slayer.” Fronted by blonde bombshell Jenn Rhubright, the band’s blend of spooky minor key pop and bubbling percussion is both entrancing and a little sinister. However, that seems to be the only trick this pony knows, as they ride that spooky/bubbly/98 BPM thing throughout the album, even on a cover of David Bowie’s “Rebel Rebel.” Until the band learns how to change gears once in a while, it is unclear whether Clare Quilty will become the next My Scarlet Life, or the next Sneaker Pimps. ~David Medsker (05/20/05)

The Clarks: Between Now and Then
Label: King Mouse Music

It’s amazing these days for any band to be around for twenty years, but Pittsburgh heroes the Clarks are doing just that, and it’s even more amazing that they’ve done it without the nationwide exposure that they deserve. The Clarks are about as straight ahead as any band, writing hooky pop/rock that can fit on just about any radio format, but at this point in time seems to only be AAA material outside of their hometown. The band has managed to tour on its own, and continues to churn out inspired power pop. Between Now and Then features recent hits like “Shimmy Low” and “Better Off Without You,” the latter of which was placed on the “Anna Nicole Show,” as well as fan favorites like “Cigarette” and “Penny On the Floor.” There are also a few new songs, and every track is equally infectious. ~Mike Farley (09/01/05)

Kelly Clarkson: My December
Label: RCA 2007

Kelly Clarkson fired her manager and cancelled a tour just before the release of her new album, My December. There were also rumblings that Clive Davis had warned Clarkson that there weren’t enough “hits” on the new record, because she had instead chosen to write or co-write most of the material. Well, it appears Mr. Davis is no dummy. Not that an industry icon like Davis is always right, but his track record isn’t too shabby. So we’re left with an inferior product that features Clarkson shouting for most of the 13 tracks – and it’s not cool screaming, but rather overcompensation for songs that are just not very good. The opening track, “Never Again,” is catchy enough, but the shouting is just too much after awhile. It only goes downhill from there. On songs like “Hole” and “Judas,” Clarkson sounds like she’s attempting to add more alt-rock edge, but the result is something akin to Evanescence Lite. Even slow songs like “Sober” and “Be Still” are horribly lacking a substantial melody. The haunting “Irvine” is decent mainly because Clarkson brings down the volume on her own vocal take, but for the most part My December is one of the bigger clunkers of the year. ~Mike Farley (07/20/07)

Classic Case: Dress To Depress
Label: Fiddler Records

Along comes another kickass rock band with a strong sense of songwriting. Classic Case is part cookie-cutter alternative rock band (think Puddle of Mudd) but with dark undertones (think Incubus) and with soaring guitar-crunching choruses (think Something Corporate or SR-71). There, the obligatory comparisons are out of the way. Now, just enjoy the music, and with songs like the driving “Hospitalized,” the introspective “Sub Rosa,” and the beautifully powerful “Down and Out,” there is plenty to enjoy. ~Mike Farley (10/27/05)

Clearlake: Amber
Label: Domino

From the buzzing guitar that opens “No Kind of Life,” the leadoff track to Amber, Clearlake’s third album, you would expect the goings to be rough and tumble. Yet almost instantly, the album reveals itself to be a slightly dirtier take on the grand, ‘60s-drenched alt-rock that England is known for. Similarities to Doves, the Stone Roses and British Sea Power abound, especially on “Good Clean Fun” and “Far Away.” But while the album is enjoyable enough, it only occasionally rises to the level of its peers, like on the touching ballad “You Can’t Have Me” and the stunning closer “Widescreen.” The rest of it is quite good, but it generally lacks that sense of the epic, or the earnest, or even the danceable, that makes the bands they clearly admire so great. In the end, Amber is a worthy addition to any music library that contains Lost Souls or Open Season, though you won’t likely be removing those records in order to make room for it. Still, they’re getting better; they may have a Last Broadcast in them yet. ~David Medsker (01/26/06)

The Click Five: Greetings from Imrie House
Label: Lava

This album contains, quite simply, eleven of the greatest compositions in human history, and if you don’t agree, I...will...fight you. Okay, perhaps that’s slightly hyperbolic, but mark my words: this will be remembered as one of the catchiest albums released in 2005. Sugary sweet though it may be – and we’re talking the potential to deliver a mouthful of cavities with every track – it nonetheless has some of the strongest hooks in recent memory. Two of these are delivered courtesy of the Fountains of Wayne’s Adam Schlesinger, including the ubiquitous first single, “Just the Girl,” and “I’ll Take My Chances,” which was originally written for Swirl 360. (They might’ve done it better, but it’s a tough call.) The Click Five also blow a cover of the Thompsons Twins’ “Lies” completely out of the park. Elliot Easton of the Cars guests on a few songs, including “Angel to You (Devil to Me),” which has keyboards to die for, but for maximum pleasure in the least amount of time, “Catch Your Wave” is the way to go. Throw your caution and indie cred to the wind; guilty pleasures don’t come any better than this. ~Will Harris (09/22/05)

Client: Heartland
Label: Metropolis 2007

It was with great pleasure that this writer discovered that former Dubstar singer Sarah Blackwood, whom he had thought was out of the biz entirely, is still gracing the world with her beautifully detached alto. Then he heard her new band, Client, and quickly realized that they, sir, are no Dubstar. Client’s third album, Heartland, certainly has timing and talent on its side, with electro-pop being all the rage and top-shelf producers Stephen Hague and Youth manning the boards. Timing and production talent, however, can only take you so far without a decent tune to sing. Indeed, the songs on Heartland crib so much from New Order and the Pet Shop Boys that Red Flag might have grounds to sue them for plagiarism. As for the obligatory cover song, they offer…”Zerox Machine,” by Adam & the Ants. Um, hmm. If you must get your electro on, skip Heartland, and go track down Dubstar’s Disgraceful instead.~David Medsker (04/26/07)

The Clientele: God Save the Clientele
Label: Merge 2007

That ‘booiiiiiiiiiiiiing’ sound you just heard was the coffee shop crowd getting, um, excited about God Save the Clientele, the dreamy new album by London quartet the Clientele. Put it this way: if Mark “E” Everett had been obsessed with Galaxie 500 or Love instead of the Beatles, his pre-Eels solo records would have sounded a lot like this, with gentle pedal steel weaving in between tasteful string arrangements. Indeed, singer Alasdair MacLean is a perfect blend of E and Robert Harrison, late of Cotton Mather, though MacLean is admittedly slighter than either. Slight, unfortunately, slips its way into some of the tunes as well, rendering some of these otherwise lovely songs a tad more forgettable than they should be. The band certainly knows how to change gears, if “Bookshop Casanova” is any indication; the problem is they don’t do it often enough to keep the listener continuously engaged. When God Save the Clientele works, you can practically hear the Pernice Brothers seething with jealousy, but one wonder if the band is even aware of the potential they possess. ~David Medsker (05/04/07)

The Clientele: God Save the Clientele
Label: Merge 2007

That ‘booiiiiiiiiiiiiing’ sound you just heard was the coffee shop crowd getting, um, excited about God Save the Clientele, the dreamy new album by London quartet the Clientele. Put it this way: if Mark “E” Everett had been obsessed with Galaxie 500 or Love instead of the Beatles, his pre-Eels solo records would have sounded a lot like this, with gentle pedal steel weaving in between tasteful string arrangements. Indeed, singer Alasdair MacLean is a perfect blend of E and Robert Harrison, late of Cotton Mather, though MacLean is admittedly slighter than either. Slight, unfortunately, slips its way into some of the tunes as well, rendering some of these otherwise lovely songs a tad more forgettable than they should be. The band certainly knows how to change gears, if “Bookshop Casanova” is any indication; the problem is they don’t do it often enough to keep the listener continuously engaged. When God Save the Clientele works, you can practically hear the Pernice Brothers seething with jealousy, but one wonders if the band is even aware of the potential they possess.
~David Medsker (05/04/07)

The Cloud Room: The Cloud Room
Label: Gigantic

The Cloud Room opens with a fantastic first track, “Hey Now Now,” and unfortunately is unable to reach that level again. While none of the remaining tracks are astounding, they are solid, which makes the disc a good first effort. The group successfully puts Postal Service vocals against Interpol beats, placing themselves in the moodier alcove of the recent New New Wave movement. “Blackout!” is probably the second best song on the disc, and it features some energetic vocals from the group’s lead singer (known simply as “J”). Just about every other track contains something interesting, whether it’s a catchy chorus or a great riff. For any fans of the aforementioned bands (or their original influences, like Joy Division and New Order), The Cloud Room is worth a few listens. ~John Paulsen (01/19/06)

Tammy Cochran: Where I Am
Label: Shanachie 2007

Artists coming out of Nashville keep getting younger and younger, in particular the female variety of singer/songwriters like Taylor Swift and Miranda Lambert. Tammy Cochran is not one of those types, as she’s been around the block a few times – having had mild success with her 2001 single, “Angels in Waiting,” and touring with George Strait. Now Cochran is back with Where I Am, an autobiography of sorts that showcases her powerful, slightly raspy vocals, as well as a knack for storytelling that’s as good as anything coming out of Nashville right now. Cochran really shines on heart-wrenching tracks like “So Long” and “Nobody’s Home.” And while there are quite a few breakup songs on here, “As Soon As I’m Over You” has an upbeat feel and tempo, while “Long Way Down” features some slick guitar work. Any fan of country music should find something to like about Tammy Cochran – she’s got the voice, the looks and the songs. In Nashvillle, what more is there? ~Mike Farley (08/03/07)

CocoRosie: The Adventures of Ghosthorse and Stillborn
Label: Touch and Go Records 2007

Hey kids, do you like your music all esoteric-like and weird enough that you’ll instantly belong to a niche group of listeners and fans if you only believe? Then CocoRosie is the pretentious and annoying little group for you. If the title of the album isn’t enough to make you want to run the other way, then maybe the sounds inside will. This is truly one of those albums that has everything and the kitchen sink thrown in. Hip-hop beats laced with vocals that sound like a little old lady intertwined with pre-rock arrangements and instrumentation. It would be okay if it wasn’t doomed to fail. This is exactly the kind of album someone you can’t stand would listen to just to be different. You’d bump into them in public and they’d recommend it to you, but you’d know better because it doesn’t say “Boston” on the cover. It’s okay, though, as the experience of actually having to drag yourself through the album is one of those patience testers that doesn’t end quietly. You will be begging to hit the skip button. The songs…so many…not too long, but…excrutiatingly pompous. This band would market their farts as perfume if it was possible.~Jason Thompson (04/26/07)

Joe Cocker: Heart and Soul
Label: New Door/Universal

Joe Cocker has one of those instantly recognizable voices, and though you would never think of him as a crooner, he’s practically reached the status of vocal legends like Sinatra. Cocker’s gravelly rock voice is as strong as ever, and on his latest album, Heart & Soul, he has taken songs that are his favorites and spins his own take on them. Though U2’s “One” and R.E.M.’s “Everybody Hurts” are not songs I would choose to hear Cocker sing, he manages to gut them out. But his voice sounds best on Aretha Franklin’s “Chain of Fools.” And other notable songs are Paul McCartney’s “Maybe I’m Amazed,” Robert Palmer’s “Every Kind of People,” and a shuffling blues take on Michael McDonald’s “I Keep Forgetting.” ~Mike Farley (04/15/05)

Cold: A Different Kind of Pain
Label: Lava/Atlantic

A lot of personal problems, infighting and a change of label could not break up the band Cold, at least not for more than a year or two. Apparently energized, A Different Kind of Pain shows that Cold stand apart from its screaming peers. Singer Scooter Ward simply allows his voice to sing and not scream, and it doesn’t hurt that these guys write some really good music. There is a nice balance between the walls of guitars, soaring vocal harmonies and thundering rhythm section. Yes, there are a few clunkers, but songs like “Anatomy of a Tidal Wave,” “Happens All the Time,” and the anthemic title track give hope to a dying breed of alternative rock bands. ~Mike Farley (09/08/05)

Bootsy Collins: Christmas is 4 Ever
Label: Shout Factory

Funk legend Bootsy Collins takes a big swing at making his first Christmas album, and while there are a few memorable moments, that big swing results mostly in a foul tip into the catcher’s glove. Collins injects a few of his own holiday tunes, including a song co-written with Snoop Dogg, “Happy Holidaze.” The problem is that the song tries to come off Christmas-y but is more of a straight rap song – not a bad one, but not fit for the holidays. He also has help from another legend, fiddle player and southern rocker Charlie Daniels, on a pretty cool version of “Sleigh Ride.” Collins also funkifies classic Christmas tunes like “Winter Wonderland” and “Silent Night,” but you can’t help but feel like there’s just something missing from the overall package, like he’s trying a bit too hard. The one really bright spot is “Santa’s Coming,” an R&B take on “Santa Claus Is Coming to Town” with really nice work by guest lead vocalist Candis Cheatham. ~Mike Farley (11/30/06)

Jessi Colter: Out of the Ashes
Label: Shout! Factory

In the Country Music section of the S.A.T. – it’s a portion that’s heavily weighted on one side of the Mason-Dixon line, but I’ll let you figure out which side – a recurring question is: June Carter Cash was to Johnny Cash as Jessi Colter is to _______. The answer, of course, is Waylon Jennings...though we also would’ve accepted Duane Eddy. (Colter and Eddy were married in the ‘60s, but they divorced in ’68, and she and Waylon married in ’70.) Since Jennings’ passing in 2002, she’d been pretty quiet, but Capitol released a best-of collection the following year; now, we have Colter’s first proper country album since 1981’s Ridin’ Shotgun...and to suggest it’s been worth the wait is to damn it with faint praise. The title is certainly apropos, coming as it does from the track “The Phoenix Rises.” The story behind the album is that Colter sent Don Was a few tracks and asked his opinion, and his reply was that if she came up with at least ten songs, he’d produce her record. So she did...and he did. The result is a mixture of traditional country, gospel, folk, and blues, including covers of “His Eye Is on the Sparrow” and Dylan’s “Rainy Day Women #12 & 35,” a duet with son Shooter on the closing track, “Please Carry Me Home,” and a poignant “duet” with her late husband – courtesy of a heretofore-unreleased recording – and Tony Joe White on “Out of the Rain.” (Hearing Waylon’s familiar rumble again will give you chills.) Jessi Colter was just as much of as outlaw as her late husband and his compadres; if you’re a fan of the so-called “alt-country,” here’s one of the originators of the genre, and she’s still got the stuff. ~Will Harris (03/23/06)

The Constantines: Tournament of Hearts
Label: Sub Pop

The Toronto indie rockers’ third album, Tournament of Hearts, is like a cross-country trip that stops a few too many times to smell the roses – at some point, you just want to get there. The album is filled with slow rockers with long guitar notes filling every available nook and cranny. Prog or mood-rock devotees may find something other than the two standout tracks. “Hotline Operator” has a good tempo and features some great vocals, along with a blistering breakdown past the halfway point. “Soon Enough” is easily the most accessible track on the album; with its comparably catchy chorus and melodic underpinnings, it sounds a bit like something Buffalo Tom or Big Head Todd might release. Proceed with caution, however, as the rest of the album might make you a bit snoozy. Close your eyes for a second, and the next thing you know, you wake up in Albuquerque. ~John Paulsen (03/30/06)

Tommy Conwell & the Young Rumblers: Rumble/Guitar Trouble 2-On-1
Label: American Beat 2007

A fixture of the Jersey Shore scene of the early to mid ‘80s, Tommy and his crew were often referred to as a poor man’s Hooters. More accurately, they were a poor man’s George Thorogood, spitting out bluesy bar rock that at times is infectious but mostly forgettable. Tommy is a capable guitar player whose playing shines on songs like “I’m Not Your Man” and “Let Me Love You Too.” The Jules Shear-penned “If We Never Meet Again” is the hit that never was, and showed that with the right material the band had the potential to throw down with their contemporaries. This twofer is 22 songs in length, which is about 15 too many.
~Kurt Torster (06/15/07)

Dane Cook: Retaliation
Label: Comedy Central

He said it best himself: Dane Cook is a silly bitch. This three-disc set (two CD’s, one DVD) covers the full spectrum of Cook’s comic oeuvre, from the insane (the bit about being in a heist and owning an evil monkey is gold) to the lowbrow (lots and lots of poopy jokes), along with lyrics to the car alarm sound that you will never forget, try as you might. His stories tend to get long-winded here and there -- the Walgreens bit could have been cut in half, though starting the story at the ending, with the line, “I’ll fucking kill you!” was a smart move -- but his sheer unbridled enthusiasm is difficult to resist. The DVD is worth it solely for the “Shorties Watching Shorties” section, which plays like the Off Mikes clips on ESPN.com, putting Cook’s standup material to hilarious, spot-on animation. ~David Medsker (07/28/05)

Amy Cooper: Mirrors
Label: Retone/Leftwing 2007

Given that Amy Cooper’s bio trumpets how she was “equally inspired by the films of Rainer Werner Fassbiner and the artwork of Egon Schiele as she was with the music of Arto Lindsay and Blonde Redhead,” it seems like nothing short of a minor miracle that her new EP, Mirrors (let alone her debut album, 2005’s Water/Fire), is so immediately accessible. Nonetheless, Mirrors continues to find Cooper’s musical sensibilities residing in the heretofore-undiscovered realm that lies squarely between Sheryl Crow and Courtney Love. There’s definitely a whole lotta Love in Cooper’s vocals on “Back Together” and “Undertow,” while the chorus of “Tonight We Fly” is tailor-made for the Adult Alternative radio format; there are also occasional hints of Chrissie Hynde in some of these songs. The production touch of Frank Linz (Starflyer 69, The Lassie Foundation) keeps things suitably indie, but the hooks of the songs are sufficient to grab most any fan of quality rock and roll, be it sung by a woman or not.
~Will Harris (09/14/07)

Bill Cosby: Inside the Mind of Bill Cosby
Label: Geffen

Inside the Mind of Bill Cosby was originally released in 1972, in a time when Cosby was as popular as he’d ever been. He had conquered television and film, but still set aside time to perform stand-up, which is how he first made a name for himself. Inside the Mind contains ten vignettes inspired by his childhood, fatherhood and his love of sports. The disc opens with his theory of how Dr. James Naismith invented basketball, with the help of a gruff janitor named “Willie.” In another story, he talks about how he and his wife weren’t sure what to do at their hotel on their wedding night, going on to say, “Finally, we got in the car and went to the drive-in. Then we knew what to do.” Later, he describes his feelings when people want to serve him animal brains (yes, animal brains) – “I can’t bite on nothing that someone’s been thinking with!” Cosby always worked clean, and his stand-up act opened the door for countless black comedians that came later. Since it was recorded in the ‘70s, Inside the Mind is a little dated, but most of the vignettes are timeless and the recording captures Cosby at the height of his popularity. ~John Pauslen (01/26/06)

Robert Cray: Twenty
Label: Sanctuary

Anyone who sings like Marvin Gaye and plays guitar like Eric Clapton has to earn cool points automatically. Therefore, Robert Cray is cool. His latest, Twenty, is a collection of soulful blues/rock that at times is tinged with jazz (“My Last Regret”) and even reggae (“Poor Johnny”). But this artist, who throughout a stellar career has been associated with the likes of Clapton, Bob Dylan, Tina Turner, Muddy Waters and B.B. King, really shines as a blues dude, especially on “I’m Walkin’.” ~Mike Farley (06/03/05)

Cream: Live at the Royal Albert Hall
Label: Reprise

The entire rock world was abuzz when Slowhand, Jack Bruce and Ginger Baker announced they would reunite for a couple of shows in England (and later New York) thirty-some years after they broke up. Known as a mercurial trio, the music that Cream put together during their three years as a band was absolutely awe inspiring, before big egos blew the band up. Sadly, like hoping to get laid and ending up with a hand job, this collection doesn’t nearly live up to what could have been. Now, a hand job isn’t necessarily bad, it’s just that you were hoping for more. The energy level doesn’t match the reputation, and there are significantly better versions of several songs (like “Badge” and “White Room”) on Clapton’s live disc from 1991, 24 Nights. Likewise, the Ginger Baker-sung (or spoken) track “Pressed Rat & Warthog” is two minutes and fifty-one seconds of torture. Grab their greatest hits instead of this, unless you are an absolute diehard. ~R. David Smola (02/16/05)

Marshall Crenshaw: The Definitive Pop Collection
Label: Rhino 2006

It literally pains us to not assign five stars to this two-disc collection of songs from guitar pop genius Marshall Crenshaw, an artist whose body of work is more than capable of producing a set worthy of our top rating. But deduct a half star we must, on the grounds that the project supervisor’s efforts to make a comprehensive collection prevented them from making a truly definitive one. “Not for Me,” from Crenshaw’s bulletproof debut, is nice and all, but it’s no “Soldier of Love” or “She Can’t Dance.” Likewise, how does Field Day track “One Day with You” make the cut over “All I Know Right Now” or the Steve Lillywhite echo-fest “Hold It”? The inclusion of his cover of Buddy Holly’s “Crying, Waiting, Hoping,” from the soundtrack to “La Bamba,” is a nice addition, but we’d gladly sacrifice the four tracks from #447 and What’s in the Bag? for extra doses of Mary Jean & 9 Others and Downtown. As fantastic as The Definitive Pop Collection is – and it is – we still recommend that you start with his bulletproof 2000 single-disc best-of, This Is Easy. Then, if you’re anything like us, you’ll go out and buy the rest of Crenshaw’s catalog minutes after “Starless Summer Sky” finishes spinning. ~David Medsker (11/09/06)

Culture Club: Greatest Hits
Label: Virgin/EMI

It’s easy to make fun of Culture Club now -- Alexis Arquette’s character in “The Wedding Singer” effectively killed them the same way Kurt Cobain killed hair metal -- but there was a reason these guys were so successful in the early ‘80s; the singles from their first two albums were damn good. “Do You Really Want To Hurt Me,” “Time (Clock of the Heart”) and “Church of the Poison Mind,” in particular, have held up remarkably well. It’s the latter material, like the dreadful “War Song” (which even Boy George despises) and the neo-soul comeback attempt “Move Away,” that marked the end of the line. Still, as compilations go, this is the most complete Culture Club singles collection on the market, for what that’s worth. ~David Medsker (06/30/05)

Billy Currington: Doin’ Something Right
Label: Mercury Nashville

Billy Currington moved to Nashville a few years back with the intention of becoming a songwriter, but after singer Mark Wills put one of his songs on hold, it was Currington the artist who captured the attention of producer Carson Chamberlain which led to a deal with Mercury Nashville. Now with his second effort, Doin’ Something Right, Currington is climbing the Billboard charts and making waves in a genre that only lets a select few newcomers in each year. Not only can Currington sing, but unlike most country superstars, he writes a lot of his own material. The quirky “I Wanna Be a Hillbilly” and title track are really good songs, but the best track is “She’s Got a Way with Me,” a riveting collaboration with pop icon Michael McDonald. ~Mike Farley (12/01/05)

The Damned: Damned Damned Damned
30th Anniversary Expanded Edition
Label: Castle Music 2007

Eagles of Death Metal frontman Jesse Hughes is surely jacked about this three-disc reissue of what he considers to be the best punk album that no one talks about. Produced by one Nick Lowe, Damned Damned Damned eschews the myth that punk rockers can’t also be musicians; unlike the Sex Pistols, the Damned can play, and you can still be raw without necessarily being dumb. Along with exhaustive liner notes featuring interviews with Rat Scabies, Captain Sensible and Brian James, Disc Two features a score of demos, John Peel sessions (including a cover of the Beatles’ “Help” that has to be heard to be believed) and live versions of those same songs from 1977. Disc Three is the true fan mother lode: a recording of their very first concert in July 1976. No owner of Never Mind the Bollocks or The Clash should go another minute without this album in their collection. ~David Medsker (06/01/07)

Daphne Loves Derby: Good Night, Witness Light
Label: Outlook Music 2007

Seattle based indie pop/punk band Daphne Loves Derby is no stranger to the road, having logged many miles over the past few years and sharing the stage with some of its genre buddies like Copeland, Paulson, and Sherwood. But while the press notes claim that Daphne Loves Derby listened to stuff like Frank Sinatra, The Eagles, Janis Ian and The Cardigans among others in helping to shape their own songwriting for this sophomore effort on Outlook Music, Good Night, Witness Light sounds like a continuation of the band’s debut. You can’t fault these kids for wanting to expand their songwriting influences, but the effect was akin to eating a bran muffin and drinking a gallon of coffee—that is, the influences went out as fast as they went in. Still, Daphne Loves Derby remains one of the best pop/punk bands of today. They are not offensive, they know how to craft catchy songs, and they deliver those songs with relative ease. But while tunes like the driving “That’s Our Hero Shot” and the pretty acoustic ballad “Cue the Sun!” are really good, most of this album just sounds like one really long song. ~Mike Farley (03/22/07)

Daphne Loves Derby: On the Strength of All Convinced
Label: Outlook Music
Three and a half stars
Daphne Loves Derby is one band that has figured out how to use the Internet to create a buzz. The Kent, Washington trio, while still in school (the band started three years ago when drummer Stu Clay was still in junior high), became such a downloaded favorite on MySpace and Pure Volume that they found themselves touring on the weekends and drawing 300-500 peeps at clubs, before heading back every Monday morning to attend classes. All of that for an unsigned band with no radio play. With melodic sensibility, lo-fi charm, and a road warrior mindset that have brought comparisons to major-by-way-of-indie heroes Jimmy Eat World and Death Cab for Cutie, Daphne Loves Derby signed with Denver Bronco Trevor Pryce’s Outlook Music. Their debut, On the Strength of All Convinced, is full of super-catchy, breezy emo guitar pop, especially on tracks like “Hammers and Hearts” and “Birthday Gallery.” ~Mike Farley (03/09/06)

Miles Davis: Cool & Collected
Label: Columbia/Legacy 2006

No one would argue Miles Davis’ importance in the world of jazz music. Although some may claim that his album Kind of Blue isn’t one of the greatest albums ever recorded (I’m not one of them), there’s no denying the impact the man had in single-handedly both shaping and evolving the genre over the years. Cool & Collected is a 13-track compilation of some of Davis’ best known work, with such classics as “So What,” “’Round Midnight,” and “E.S.P.” included. The collections claims to be “the most essential music” from Davis, but compiling such an artist down to a single disc is nearly impossible. Yes, Miles is the kind of guy best heard through his original albums. There’s also nothing too great about the “remix” of “It’s About That Time” featuring Carlos Santana that closes the album. If you need an introduction to Miles Davis, Cool & Collected will suffice, but it hardly scratches the surface of this classic artist. ~Jason Thompson (11/09/06)

Doctor Who: Original Television Soundtrack
Label: Silva Screen Music 2007

Having the person who gave both Season One and Season Two of the new “Doctor Who” series five stars do a review of the show’s soundtrack…well, giving it a good review’s like shooting fish in a barrel, isn’t it? Yes and no. Certainly, there’s much here to enjoy if you’re a fan of the show, since one can associate certain segments of music with particular scenes or episodes. On the whole, however, Murray Gold’s score, while unquestionably dark, dramatic, and – when appropriate – sweeping and heroic, isn’t really something you’d slap in the player for casual listening. There are occasional exceptions, however; in particular, the track “Westminster Bridge” is a brilliant, jet-propelled instrumental, with surf guitar straight from the Dick Dale catalog, which could be released as a single. Gold’s themes for the Daleks and the Cyberman are enjoyably menacing, and the way “Doomsday” builds to its epic conclusion makes for an extremely solid listening experience. And, of course, you can never go wrong with the show’s theme song, which opens and closes the disc in short and long form, respectively. Lastly, it will prove a pleasant surprise for fans of the Divine Comedy, however, that Neil Hannon’s two solo contributions to the show’s soundtrack (and, in fact, the only two tracks on the disc which include proper vocals) have been included. ~Will Harris (03/01/07)

Elizabeth & the Catapult: Elizabeth & the Catapult
Label: iTunes-only 2006
Taking the easy way out would be to call Elizabeth & the Catapult a cross between Sarah McLachlan and Tom Waits. But that would be like saying a pizza with extra cheese tastes “pretty good.” There are just so many more ways to say it. Without citing 100 different reference points, let’s just say that this eclectic mix of pop, jazz, and alternative is as catchy as it is sophisticated. Elizabeth Ziman has a soft, soothing, sexy voice that is balanced by some creative instrumental arrangements involving strings and electronic beats. And the songs are cool enough for the critics and yet accessible for true music lovers (I thought the critics were the true music lovers – Ed.). “Waiting for the Kill” is a blues-infused, smoky barroom of a song, but Elizabeth is at her singer/songwriter best on ballads like “Right Next to You” and “My Goodbye.” ~Mike Farley (01/04/07)

Eric Darius: Just Getting Started
Label: Narada Jazz 2006

When you’re dealing in the smooth jazz genre, it can tend to seem like one long song. The difference, however, is in the ability of the lead instrument, and in the case of 23-year old saxophone prodigy Eric Darius, that ability drives his second album. The record is aptly titled Just Getting Started, because there is no reason to believe Darius won’t be making music like this for decades. The dude can play the shit out of his instrument, and this album is tailor made for smooth jazz radio. It’s also the perfect soundtrack for Sunday morning breakfast, especially when you guys are trying to impress a new girlfriend who just slept over for the first time (another note to dudes like you: a spare toothbrush will earn bonus points). Just Getting Started is mostly laid back, but when Darius and his band kick it up a notch, as they do on “Groove On,” the musicianship is at a completely different level. ~Mike Farley (04/27/06)

Ray Davies: The Storyteller
Label: Koch

Ah, but if he only tells part of the story, is he truly a storyteller? Taken from Ray Davies’ 1997 spoken-word tour, which combined Kinks songs with excerpts from his book “X-Ray,” Davies weaves an amusing and heartfelt tale of how he and little brother Dave formed a band, how one of their financial backers came up with the name the Kinks (which Davies hated at first), and how, if you listen closely, you can hear Dave scream “Fuck off!” right before he rips into the solo on “You Really Got Me.” The problem with Storyteller is that the album ends with the recording of “You Really Got Me,” which is only the beginning of the story; heck, it doesn’t come within a decade of the fascinating sequence where Davies details the band’s troubles during the ‘70s, where they were practically barred from touring in the US. The Storyteller (a reissue of the 1998 album) is great, great stuff, but since it covers so little of the overall story, you can’t help but be a little angry with Davies for telling such a small part of such an amazing tale. ~David Medsker (02/09/06)

Deepfield: Archetypes and Repetition
Label: Fontana 2007

The state of modern rock is depressing. If it isn’t pseudo punk/emo bullshit being shoved down the throats of unsuspecting emotionally unstable teenagers, then it’s ultra-generic derivative “post-grunge” bullshit. Since they all sound exactly the same, they should get together and form an anti-supergroup. I suggest the name 12HinderNickelPuddle of FingerCreed SourCherry SeetherShine SalivaStank Lifehouse, Featuring Daughtry. They could all do that, and Deepfield could be their opening act, because their debut record Archetypes and Repetition, shows that even on the low-ass curved grading scale applied to the power-less pop bands of their ilk, they don’t even register. When they aren’t attempting to be edgy (strictly in a Top 40 fashion) with droning numbers like “Innocence” and “Into the Flood,” they’re watering down their already diluted sound even more with pussy (“please have sex with us, we’re really emotional”) power ballads like “Dreams” and “Fall Apart”. There are wine coolers that pack more of a punch than this. And their cover of En Vogue’s “Don’t Let Go” is stupid. Not stupid in a funny/ironic kind of way, but stupid in a that-kid-needs-to-wear-a-helmet kind of way. ~James Eldred (07/27/07

Brett Dennen: So Much More
Label: Dualtone 2006

Folk-rock singer/songwriter Brett Dennen garnered some attention when “There Is So Much More” appeared on an episode of “Grey’s Anatomy,” and the rest of his second album, So Much More, is quite consistent. “Darlin’ Do Not Fear” is reminiscent of Paul Simon’s exploration into African music, while “Ain’t No Reason” has the easygoing feel of Jack Johnson even though Dennen takes a larger worldview (some of his lyrics have a political bent). Dennen’s vocals are both a bit raspy and a bit feminine, but they complement his simple accompaniment perfectly. “I Asked When” is beautiful in its frustration; Dennen runs through a laundry list of the world’s atrocities, wondering, “when is a revolution?” Singer/songwriters have a tendency to veer to the side of depression, but Dennen keeps things fairly light, and “She’s Mine” is a good example. It’s clear that, for Dennen, melody and content are equally important, which makes So Much More a great listen for the folk-rock set. ~John Paulsen (08/03/07)

De Novo Dahl: Cats & Kittens
Label: Theory 8

The “Dahl” in the band’s name is indeed a reference to author Roald Dahl (“Charlie and the Chocolate Factory”), while “de novo” is Latin for “anew,” but those are about the only things easily explained about this band. Cats & Kittens, De Novo Dahl’s debut album, is actually a 2-disc set; the second disc is described as “remixes” of the first disc, but we’ll get back to that in a moment. The first disc – “Cats” – is full of lots of catchy, quirky pop material, veering wildly from genre to genre. “The Funk” is what Daft Punk would sound like if they weren’t trying so hard to not be human, “Cowboy and the Frenchman” is somewhere between the Wonder Stuff and the Pogues, “Be Your Man” is precisely two minutes of new wave power pop perfection, the bass line on “Piggy’s Adventure” is straight out of Elvis Costello’s “(I Don’t Want To Go To) Chelsea,” and...well, you can see, the only thing consistent is that it’s all pretty enjoyable. That second disc, however, gives each song a new title and turns much of the material on its ear; it’s all interesting, but none of the recreations top the songs in their original form. This is a rare occasion where you’ll find yourself preferring Cats to Kittens. ~Will Harris (02/02/06)

John Denver: The Essential John Denver
Label: RCA/Legacy Records 2007

Hard to believe it’s been an entire decade since John Denver’s self-piloted plane disappeared off the coast of California. With it disappeared an American folk icon who rose unexpectedly from the rubble of '70s disco and punk to author an unparalleled catalog of old-fashioned, optimistic anthems about, primarily, love and the human spirit. The Essential John Denver trumps any previous greatest hits package, and there are many.How could anything short of five stars be granted this all-encompassing collection of hits (“Take Me Home, Country Roads,” “Rocky Mountain High” and “Thank God I’m a Country Boy”), duets (“Fly Away” with Olivia-Newton John and the stellar “Wild Montana Skies” with Emmylou Harris), and deeper album tracks (“Matthew” and “Is It Love?” from 1995’s The Wildlife Concert)? Somewhere far, far beyond the 14 gold and platinum albums (in essentially a dozen years) sat a peaceful, good-hearted man with big, bushy sideburns and a love of country and life that soared like the eagle and the hawk of which he sang. ~Red Rocker (04/06/07)

Destroyer: Destroyer’s Rubies
Label: Merge

Dan Bejar, who is also a member of the New Pornographers, started Destroyer in 1995. Eleven years later, Destroyer’s Rubies is the group’s fifth full-length effort. The album is full of literate, indie rock tracks, but it doesn’t come close to measuring up to the work of the Pornographers, though I doubt that was the intention. “European Oils” is a swaying number, which combines piano, strings and guitar with decent results. Bejar’s vocals sound like the Decemberists’ Colin Meloy (or vice versa) and it’s his crooning that carries “Painter in Your Pocket,” which is the closest thing to a pop song on the album. The best riff on the Rubies belongs, not coincidently, to the disc’s best song, “3000 Flowers.” The track leans heavily on the crunchy guitar that is backed by quick beat. However, the song doesn’t represent the album very well as the remaining tracks are merely meandering, moody and mediocre. ~John Paulsen (03/02/06)

Devics: Push the Heart
Label: Filter

Three songs into Push the Heart, the third album from Los Angeles’s Devics, you may theorize that the reason the fourth track is called “Song for a Sleeping Girl” is because the female in question has been lulled into slumber by the trio of tracks that preceded it. If that sounds like an insult, well, actually, it’s more of a left-handed compliment; the music is delicately charming, but to get a feel for it, one needs only imagine a blending of the slower, more melancholy tracks from the back catalogs of the Cardigans, the Sundays, and Sixpence None the Richer. (No surprise, really, that the band’s label in Europe is Bella Union, which is owned by Simon Raymonde of the Cocteau Twins.) As you would guess from those points of comparison, the lead singer on most of the Devics’ tracks is female – her name is Sara Lov – but her partner, Dustin O’Hallaran, pops up occasionally, such as on “If You Cannot See.” Push the Heart is lovely, but it may cause drowsiness, so, for God’s sake, do not drive or operate heavy machinery while listening. ~Will Harris (02/09/06)

D:Fuse & Hiratzka: Skyline Lounge
Label: Skyline Lounge 2007

With a name like Skyline Lounge, you probably already know where this one’s heading. Yep, electronic groovers D:Fuse and Hiratzka take you on a mellow, mellow journey through semi-ambient textures that float by languidly. A touch of electric guitar lines here, a smidge of vocals there. “Breathe In” is one of those tunes that tries to sound orgasmic and/or New Agey, but it sounds just as corny as when Enigma first did it way back when. “Overkill” is generic dance floor material featuring vocals by Kristy Thirsk. MC Flint shows up to speak the title of “Love It, Live It,” and…oh what’s this? It seems this promo CD has crapped out my system and doesn’t want to be played any further. That’s OK. This sort of album is made to be put on and forgotten while you have a fashionable wine and cheese tasting party. You wouldn’t even notice if the thing just suddenly stopped. ~Jason Thompson (09/07/07)

Digby: What’s Not Plastic?
Label: Universal/Toucan Cove 2007

Louisville rock band Digby released their last album, Falling Up, in 2004, and have been enduring some weighty personal issues in the interim. Thankfully, they took those personal setbacks and channeled them into their music, and as a result, Digby is back with a five-song EP, What’s Not Plastic? What’s great about Digby is that they have a style that’s about as unique as any band out there. It’s not just the raspy, ultra-compelling vocals of Paul Moeller (imagine a cross between Steve Forbert and Squeeze’s Glenn Tilbrook), but the four dudes in this band create music that oozes alt-rock cool while maintaining a strong pop sensibility. Still, What’s Not Plastic? is a diversion for Digby, be it the dark influences of life getting in the way or whatnot – but it’s still a collection of five really good songs that are going to leave you wanting more. The best tracks are the angry opener, “New America,” and the piano-driven mid-tempo beauty, “How Long.” ~Mike Farley (11/30/07)

The Dissociatives: The Dissociatives
Label: Astralwerks

The fact that Silverchair singer/guitarist Daniel Johns has made an electronic-based pop record is not nearly as much of a stretch as it may appear. In fact, the signs were there for all to see as early as Silverchair’s third album, Neon Ballroom (1999). Despite the Vedder-esque caterwauling of his youth, Johns, at heart, is a pop boy, and nothing in his catalog showcases that better than The Dissociatives. Teaming up with Australian remixer Paul Mac, the album wears its influences like silk shirts, from Kid A-era Radiohead (leadoff track “We’re Much Preferred Customers”), to the Beach Boys by way of Guster (instrumental “Lifting the Veil from the Braille”) and even 10cc (“Somewhere Down the Barrel”). After starting off his career in a rather undistinguished fashion, The Dissociatives is Johns’ sweet redemption. ~David Medsker (05/06/05)

DJ Axel: Breakin’ the Law
Label: Holden Records 2007

It’s one thing to make a bootleg record – and there is none more bootleg than Breakin’ the Law, DJ Axel’s mash-up extravaganza – but in this age of affordable recording equipment, there is no excuse for making a bootleg record that sounds like a bootleg record. Still, the mash-ups he assembles here are well chosen. T.I. sounds right at home rapping over Van Halen’s “Drop Dead Legs,” and it was only a matter of time before someone paired Jay-Z up with Guns ‘n Roses (insert your own “One in a Million” joke here). Axel even gets adventurous, putting Ludacris together with Peggy Lee and 50 Cent with Lena Horne. The problem is that it sounds, well, terrible. “Snooperstition,” the duet of sorts between Snoop Dogg and Stevie Wonder, sounds like it was mastered from a mangled cassette, while several other tracks sound like they were made with Acid and turned straight into mp3’s. Five stars for the concept, minus one star for poor execution, and minus half a star for the inclusion of Khia’s “My Neck, My Back,” which is one of the filthiest songs ever recorded. The newly religious Prince is surely not amused that Axel put those words to his music. ~David Medsker (10/26/07)

Domeshots: Domeshots
Label: Rock Ridge

The self-titled debut from Northern California hard rock band Domeshots is full of screams and has enough walls of guitars to build a village. Sometimes when a band like this comes along, the focus is on the heaviness and not on the songs, but the Domeshots seem to get that part right. I can feel myself in the pit at one of their live shows, yet I still want to pay attention to what makes them tick, and that puts them a step ahead of their genre mates. The raw, dark power of “Reign” and the pure speed of “Portland” are most memorable. ~Mike Farley (04/29/05)

The Doors: The Soft Parade
Label: Elektra / Rhino 1969 / 2007

There’s a reason why The Soft Parade is widely considered to be the weakest of the albums released by the Doors while Jim Morrison still remained within their ranks, and that’s because it’s a decidedly schizophrenic listening experience. The record begins with two Robby Krieger songs – “Tell All the People” and “Touch Me” – which find the band experimenting with horns, and while they’re among the upbeat and cheery tracks in the Doors’ catalog, that’s not exactly what their fans come to their records looking for, y’know? Later, you’ve got “Runnin’ Blue,” a fiddle-powered number that wouldn’t sound out of place on a Charlie Daniels Band album, which is followed by the string-drenched “Wishful Sinful,” and...say, both these songs are Krieger compositions as well! Coincidence? Not so much. If you’re looking for the traditional “Doors sound” in abundance, you’ll find that on the Morrison-composed tracks, the best of which are “Wild Child” and “Shaman’s Blues.” The album’s title cut is, at over nine minutes in length, an overlong sonic voyage which finds moments of brilliance surrounded by Morrison’s often rambling lyrics...but, then, that sums up rather a lot of the band’s catalog, doesn’t it? (This 40th anniversary reissue contains a few previously-unreleased tracks and an alternate take of “Touch Me.”) ~Will Harris (05/04/07)

Dr. Hook: Greatest Hooks
Label: Capitol 2007

While reading “Feel,” Chris Heath’s fly-on-the-wall look at the life of Robbie Williams over the course of 2003, one might be surprised to find that one of the artists which Williams can regularly be found listening and singing along to is Dr. Hook. Somehow, you just don’t imagine that anyone listens to Dr. Hook, do you? You remember the name, you know they did the song about being on the cover of “Rolling Stone,” and you know they had a couple of other hits, too, but, honestly, when was the last time someone actually took a step forward and said, “Why, yes, I am a big Dr. Hook fan”? Let’s hope those guys sent Williams a nice thank-you note. And as long as we’re talking about the band, Greatest Hooks – which is far from the first best-of collection for the band and almost certainly not the last – does, at least, have the best track listing of any single-disc compilation of the band’s work to date. It covers the biggest hits of the band’s days as Dr. Hook and the Medicine Show (“Sylvia’s Mother,” “The Cover of ‘Rolling Stone,’” and a few other lesser successes), but the majority of its focus is on the later, more mainstream years…not that there’s anything wrong with that. We suggest that you find your inner Robbie Williams, stop feeling guilty about the pleasure you get from “Sharing the Night Together,” “When You’re in Love with a Beautiful Woman,” “Better Love Next Time,” and “Sexy Eyes,” and embrace these Greatest Hooks for all they’re worth – and if the album makes your pants wanna get up and dance, even better. ~Will Harris (10/12/07)

Dr. Hook: Makin ‘ Love and Music / Pleasure & Pain
Label: American Beat 2007

You probably remember Dr. Hook as much for their Medicine Show days (“The Cover of Rolling Stone”) as for this later material, but this was definitely the beginning of a transition for the group. One wonders what the band meetings must’ve been like between the releases of 1977’s Makin’ Love and Music and 1978’s Pleasure & Pain, given how different the two records sound. Presumably, a representative from Capitol Records – their label at the time – must’ve taken the floor at some point and said, “Guys, the fun-loving boogie schtick isn’t shifting the units anymore; how do you boys feel about taking a stab at a lite-FM sound?” If that’s how it went down, you can’t say it didn’t work. “Walk Right In,” the lone single from Makin’ Love and Music, couldn’t even scrape its way into the Top 40, stalling at #46, and much of the album felt like Dr. Hook was just treading water. With the follow-up, however, the band certainly sounded invigorated, providing catchy radio fare with “Sharing the Night Together” and “When You’re in Love with a Beautiful Woman” that the listeners ate right up. Of course, the title of the album showed that Dr. Hook was fully aware of the two disparate sensations to be felt by the band’s longtime fans upon hearing the new direction, but at least they threw the old-timers a bone by closing with a funky number called “You Make My Pants Want to Get Up and Dance.” ~Will Harris (06/29/07)

Linda Draper: Keepsake
Label: Planting Seeds 2007

With so many kids like Kelly Clarkson and Avril Lavigne shouting at us, it’s a welcome haven to our ears when singer/songwriters like Linda Draper come along. And it’s a lot more difficult to sing softly and in perfect tune than it is to rock out, the former being something Draper does with what appears to be a graceful ease. On Keepsake, Draper’s fifth album, she co-produced and had a lot of say in a product that lets her beautiful voice dance side by side with simple yet eclectic melodies. You can say Draper is like a female Nick Drake, or you can say she’s an even softer Suzanne Vega, but those comparisons would be unfair because they still don’t tell the whole story. Linda Draper still is her own artist, as evidenced by the classic crooner feel of “Shine” or “Traces Of.” At times, tracks like “Cell Phone” may lull you to sleep, but it’s a sweet sleep and not one laced with bad dreams. In all, this is a solid effort from an artist who deserves the props that are sure to follow this record. ~Mike Farley (06/08/07)

Drive-By Truckers: A Blessing and a Curse
Label: New West Records

Alabama’s double-wide rube rockers continue to evolve and separate themselves from a 1998 debut called Gangstabilly which touted such literary gems as “Wife Beater,” “18 Wheels of Love,” and “Buttholeville.” Some would argue the Drive-By Truckers only had one direction to go at that point, but their latest, A Blessing and a Curse, further legitimizes even their best work from the past few years. Cranking it up with a modern rock sensibility that recalls Foo Fighters and Dinosaur Jr., “Feb 14” and “Wednesday” are the kind of stuff that gets a relatively unknown band noticed. “Tey say every man’s house should be his palace, but his castle stank of cat shit and alone,” is the kind of lyric that maybe only DBT’s could execute without coming off as schlocky or totally immature. Their true calling, however, remains the slow burning roadside jams like “Goodbye” and “A World of Hurt.” And with three of the Truckers sharing lead vocal duties, all 11 tracks are able to maintain their shelf life and keep this record from growing moldy or bland. ~Red Rocker (04/20/06)

Dropkick Murphys: The Meanest of Times
Label: Born & Bred 2007

Yo, all you Boston Irish, pick your faces up out of your schooners of Harpoon lager and listen up: the Dropkicks got a new CD out. The punkers rage on about this mean old world, dishing up deliciously moshable folk ditties about dead people (including Bruins players) and extolling family values in their backhanded way as in "The State Of Massachusetts," a breakneck ballad in which the kids get a new set of guardians because mommy\'s not behaving well. In 2004, this band became wildly popular in Beantown, as they were as closely associated with the first Red Sox World Series win in 86 years as Curt Schilling\'s bloody sock. How did they accomplish such a trick? By recording "Tessie," an obscure Red Sox fan anthem of the early 1900s sung by the Royal Rooters, a seminal group of chowdaheads who followed the Sox by train down to New York and perhaps invented the "Yankees Suck" chant. After the Dropkicks recorded a punk version of that melody at the beginning of the season "to break the curse"...lo and behold, the blessed Sox won it all. They could have widened the Dropkicks audience greatly by amping up the Irish sentimentality and downplaying the punk guitar, but lest anyone fear they went soft, this CD sets the record straight. The Dropkick Murphys remember which fans butter their bread – the punks and boors and missing-teeth tattooed goons of Southie. And we like it that way.
~Mojo Flucke, Ph.D. (10/26/07)

Eagles of Death Metal: Death by Sexy
Label: Downtown

Here’s the thing about Eagles of Death Metal: with these song titles, and that awesome band name of theirs, they seem to put more effort into the concept of their music than the execution of it. That’s not to say that Death by Sexy, the latest from Queens of the Stone Age leader Joshua Homme’s side project (he plays drums here), is without its charms. Between lead singer Jesse Hughes’ playful falsetto and outrageous mustache, his performances on booty-shaking bar songs like “Cherry Cola” and “I Gotta Feeling (Just Nineteen)” ooze fun out the wazoo. The problem is that the joke gets old rather quickly, despite the songs’ short running time. Still, imperfections aside, that is easily the best band name since Deathray Davies. ~David Medsker (04/12/06)

Earth, Wind & Fire: Illumination
Label: Sanctuary

When the press notes mention things like “one of the most influential pop artists of the 20th Century,” it’s impossible to look back at the career of Earth, Wind & Fire and disagree. Earth, Wind & Fire has persevered through the transitions of the R&B genre, mainly because they know the formula to write hit music and stay true to their originality. Illumination is the band’s twenty-third release (yes, you read that correctly), and it’s a star-studded celebration that marries the roots of what made EWF great with some of today’s prominent R&B stars and producers. The opening track and first single, “Lovely People,” is a collaboration with Black Eyed Peas front man Will I Am and is an infectious tone-setter for what is to come. The tender ballads “Show Me The Way” and the Brian McKnight-penned “To You” harkens back to classic EWF. Other prominent guests are Kelly Rowland of Destiny’s Child, Big Boi from Outkast, and Kenny G., who guests on a hip cover of Outkast’s “The Way You Move.” ~Mike Farley (09/29/05)

Easily Amused: Simple Stuff
Label: MAPL / Factor

Despite having earned an award for Best College Duo in the USA from CampusAwards.com, Easily Amused – Keith Macpherson and Renee Lamoureux – maintain a relatively low profile in the United States. In Canada, however, they’ve been doing decidedly better; their sophomore album, Simple Stuff, has already been nominated for Outstanding Pop Album at the Western Canada Music Awards. With alternating male and female vocals, Easily Amused have a very radio-friendly sound, not entirely unlike some of the stuff Avril Lavigne has been putting out as of late, though perhaps a bit folkier, with lyrical echoes of No Doubt on “Only A Girl,” where Lamoureux sings, “I am only a girl who suffers like you / I have just the amount of patience that you do.” The pair harmonizes well together, but, oddly, they don’t really offer up much in the way of proper duets; generally, one leads a song and the other provides back-up. Still, it’s all pleasant and relatively catchy, if not necessarily groundbreaking. ~Will Harris (11/03/05)

Editors: The Back Room
Label: Fade

The influences are clear: the scratch guitar and rapid-fire drumming of early U2, the melodic phrasings of Echo & the Bunnymen, and, lest we forget, Tom Smith’s uncanny vocal resemblance to Ian Curtis, which, sadly, will bring unwarranted comparisons to Interpol. But this is no Futureheads-style ‘80s tribute band. The Back Room, Editors’ debut, is positively epic in scope, and while Smith isn’t the chattiest guy in England – the supercharged “Bullets” rivals Teenage Fanclub’s “What You Do to Me” for Fewest Lyrics in a Pop Song – the band propels his brooding meditations into the stratosphere. Rare is the album that can take sentiments like “All sparks will burn out in the end,” “You’ll speak when you’re spoken to,” and “Blood runs through your veins, that’s where our similarity ends” and elevate them to anthem status. Such is the power of Editors. These guys have the ability to be huge. ~David Medsker (03/30/06)

Eisley: Combinations
Label: Reprise 2007

When a group of siblings (plus one cousin) between the ages of 17 and 25 assembles a record that recalls Throwing Muses on a particularly happy—if mellow – day, you can’t help but think there might yet be hope for the future of music. The voices of sisters Sherri and Stacy Dupree swirl around each other with an effortlessness that few bands will ever know, and it’s the same whether they’re singing a lullaby like “If You’re Wondering” or a moody rocker like “Invasion.” The singing isn’t the only effortless aspect of the album, either; “Taking Control” has an instant familiarity to it, and the band is smart enough to get straight to the point and move on, with nary a song over four minutes in length. The art of songwriting has never been as overlooked as it is now – it’s not about the song, but about the hit – which makes an album like Combinations such a pleasant surprise. The kids, it appears, are all right after all. ~David Medsker (08/24/07)

Electric Light Orchestra: A New World Record
Label: Epic/Legacy 2006

Here’s something that happens a lot of the time when a label reissues a band’s back catalog in waves: you get the latest one in, then you suddenly realize that, oh, crap, you never wrote up the last one that was reissued. Such is the case with Electric Light Orchestra’s A New World Record. Don’t, however, get the idea that our review being so belated is in any way an indication of the album’s quality; if you had to pick one album from Jeff Lynne and company to serve as the single best representative from their discography, A New World Record is the only way to go. In addition to the classic singles “Telephone Line” and “Livin’ Thing” (not to mention the remake of the Move’s “Do Ya” that’s all but eclipsed the original version), “Tightrope” is one of the most dramatic opening salvos in 1970s rock, “Rockaria!” revisits the same version of the ‘50s that was found in their cover of “Roll Over Beethoven,” and “So Fine” has one the weirdest middle bits you’ve ever heard in a disco-inspired pop song. There’s also the Beach-Boys-inspired “Above the Clouds” and the epic grand finale of “Shangri La,” which is followed by six bonus tracks, but of that half-dozen, the only one that’s a must-hear is the previously-unreleased “Surrender,” which is two-and-a-half minutes of bouncy pop perfection. Lynne was on such a creative high during the sessions for A New World Record that he could afford not to release it; if that doesn’t tell you how good the album is, nothing will. ~Will Harris (04/13/07)

Kurt Elling: Nightmoves
Label: Concord 2007

Jazzy crooner types are becoming more commonplace these days, but that doesn’t mean that the genre can’t keep producing good ones. Kurt Elling is a talented singer who dabbles a bit in songwriting, but mostly sings other people’s songs. The title track is a Michael Franks/Michael Small number and it sets the tone for a really smooth, somewhat romantic collection of tunes that can make anyone appreciate this type of jazz. There is a stunning version of Randy Bachman’s “Undun,” originally recorded by Bachman’s band the Guess Who, and an even more stunning musical version of a Theodore Roethke poem, “The Waking,” on which it’s just Elling’s vocal and Rob Amster’s bass. One of the few misses on this album is “Leaving Again/Wee Small Hours,” which just sounds sort of whiny. Elling is compared to Sinatra in his bio, and the influence is in plain view on “A New Body and Soul.” Then he closes things out with Duke Ellington’s “I Like the Sunrise.” This is Elling’s sixth studio release, and if you haven’t heard of him until now, he’s one you should check out, especially if a jazz and standard mix constitutes your iPod play list of choice. ~Mike Farley (05/04/07)

EndeverafteR: Kiss or Kill
Label: Razor & Tie 2007

Los Angeles hard-rock quartet EndeverafteR appears to be suffering a severe crisis of conscience. They clearly want to rock your socks off, as evidenced by the devastating one-two punch of “I Wanna Be Your Man” and “Baby Baby Baby” that opens Kiss or Kill, their debut. The former is a kissing cousin to Motley Crue’s “Live Wire,” right down to singer/guitarist Michael Grant’s Vince Neil-like “c-c-c-c-c-c-c-caaaaaaaaan” in the chorus; the latter is simple balls-to-the-wall hard rock with the kind of guitar shredding that Kurt Cobain tried to kill 16 years ago. The problem lies in the moments that feel like sellout grabs for radio airplay. “Gotta Get Out” is one of those songs (and just try not singing disco classic “If I Can’t Have You” when the pre-chorus hits), and as cash grabs go, it’s a damned good one. It’s just that it, and particularly “Next Best Thing,” do not have any place on an album with a song like “Poison” and its Malmsteen-ish guitar play (and just try not singing disco classic “I Will Survive” during the guitar solo). Unwritten Law had this same dilemma on their album Elva. They were soon dropped by their label. Forget everyone else, fellas: just do what you love, and the money will follow.
~David Medsker 11/24/07

Eugene Edwards: My Favorite Revolution
Label: Tallboy

The comparisons young singer/songwriter/rocker Eugene Edwards and his debut record are drawing read like a who’s who of rock. Elvis Costello, Squeeze, Tom Petty, Foo Fighters, the Beatles....should I go on? I don’t think that’s necessary because that already places Edwards in lofty company, but suffice it to say My Favorite Revolution is just a really good rock album. Yes, Edwards sounds exactly like Costello – in the lead vocal, crunchy Fender guitars and sugary harmonies – but the songs are what really matters here, and Edwards writes addictive pop that is going to raise eyebrows everywhere. Some of My Favorite Revolution sounds repetitive, but that will hopefully change as Edwards continues to grow as an artist and releases more albums. “It Doesn’t Get Better Than This” and “All About You” are super catchy, but the real gem on here is “I’ll Be True (Someday),” which brings to mind Paul McCartney or Buddy Holly. Lofty company, indeed. ~Mike Farley (11/10/05)

Lauren Ellis: Feels Like Family
Label: Silverline

With heartfelt, at times raspy, vocals drifting from Shelby Lynne to Melissa Etheridge and a steel guitar that Stevie Ray Vaughn wouldn’t have kicked out of bed, California native Lauren Ellis strikes hot on Feels Like Family. Just her second outing in six years (though she’s been cutting her teeth in bigger circles for much longer), Ellis juggles her goods from waxing poetic (“Afraid to Love”) to smoky poolroom (“End of Our Line”) and downright rocking (“Setting Son”). Nashville is home these days, but with 11 sprawling no-boundaries tracks here, it doesn’t begin to contain her. Here’s one shot glass raised hoping Feels Like Family is nearer the beginning of Ellis’ long road traveled than the end. ~Red Rocker (09/08/05)

Emma: Free Me
Label: 19 Records/Universal

Most people will remember this artist as Baby Spice, but the comparison to the Spice Girls ends there. While Free Me, Emma’s solo debut, is nothing like the pop of Britney Spears or the pop/rock of Avril Lavigne, it’s a bit of a throwback to the days of ABBA and Olivia Newton John. These are really good songs, and my manhood has no problem admitting that. They’re poppy and melodic, with a bit of a lounge feel at times. Of course, the fact that Emma is really hot and has a sexy voice does not detract from her appeal in the least. ~Mike Farley (04/22/05)

Enigma: Love Sensuality Devotion: The Remix Collection
Label: Virgin 2006

File under: albums that were released about ten years past their sell-by date. That isn’t just snarky music critic talk, either: the greatest-hits album to which this is meant to serve as a companion (also titled Love Sensuality Devotion) was released in October...of 2001. Why on earth is this coming out now? The band’s contributions to dance music (that would be the melding of chanting monks and Soul II Soul beats) had been obliterated by the late ‘90s, and half of the remixes contained here further illustrate that point, particularly the ten-minute opening remix of “Turn Around.” If there is one must-have remix in this collection, it is for, surprise, “Sadeness (Part I),” which gives the track an industrial makeover and even throws in a Frankie Goes to Hollywood sample for kicks. The album brings to mind the line in the Pet Shop Boys song “Yesterday, When I Was Mad”: “Someone said, ‘It’s fabulous you’re still around today / You’ve both made such a little go a very long way.” That sentiment fits Michael Cretu a lot better than it fits Neil Tennant and Chris Lowe. ~David Medsker (01/18/07)

Mike Errico: All In
Label: Tallboy 7 2007

Singer/songwriter Mike Errico has been on a major label before, but for his last three albums has embraced his independence, letting creative juices spill out everywhere. Errico’s latest, All In, is not typical singer/songwriter fare. Rather, it is alterna-tinged rock that sounds fresh, and rife with creative melodies and arrangements that bring his songwriting to life. Errico has no doubt been jilted by a woman, something that’s obvious from the song titles alone (“How It Ends,” “Girlfriend Weather,” “Packing My Bags”). But somewhere in a sound that marries (bear with me here) Jeff Buckley, Level 42, Jimmy Eat World, and even the Beatles, there is a dude who has a gift for writing songs. This is not your slow-burn, like-it-and-leave-it pop/rock, but rather an album of compelling songs that grow on you like the ivy at Wrigley Field. The crunching, guitar-driven “How It Ends” is the album’s best track, but others worth the price of admission are the dreamy “Sweet Anesthesia” and the harmony-drenched rocker, “Whatever You Say.” ~Mike Farley (07/06/07)

Melissa Etheridge: Greatest Hits - The Road Less Traveled
Label: Universal

Melissa Etheridge is one of the most underrated singers in rock music today, and she proves it time and again. Even after surviving a bout with cancer, she continues to inspire and rock at the same time. Etheridge’s latest, Greatest Hits - The Road Less Traveled, is a collection of powerful tunes, some that made her famous (“I’m the Only One,” “Come To My Window”), some that were fringe hits (“Like The Way I Do”) and a few great songs that for some reason never climbed the pop charts like they deserved to (“Angels Will Fall”). There are also some previously unreleased tracks such as the chilling ballad “This is Not Goodbye,” and the uplifting “I Run For Life,” both of which are obviously about Melissa’s battle with cancer. As if this album didn’t already have a lot of great music, there are two covers: Janis Joplin’s “Piece of My Heart,” which she definitely does justice to, and the first single, a surprisingly awesome version of Tom Petty’s “Refugee.” ~Mike Farley (09/29/05)

Sara Evans: Real Fine Place
Label: RCA Records

Nashville-by-way-of-Missouri knockout Sara Evans gets back to work following maternity leave and her 2003 breakthrough Restless with a gallant new effort, Real Fine Place. High octane, feel-good scamps like “New Home Town” and “Momma’s Night Out” showcase her chart prowess, while the tear-in-my-beer weeper “Cheatin’” validates her Nashville address with the wound licking, “You’ve done your sowing now you can do the reaping.” Sheryl Crow hands over a sugary sweet number (“Roll Me Back in Time”) that Evans conquers with more pop than country pipes, but nothing comes close to the first single “A Real Fine Place to Start”, which Evans herself recently deemed “one of the best songs I’ve ever heard.” A current supporting role on Brad Paisley’s nationwide tour should be short lived for this budding country rose, as Real Fine Place is poised to graduate her to the next rank. ~Red Rocker (12/09/05)

Ever We Fall: We Are But Human
Label: Hopeless

Ever We Fall has figured out how to combine flavors of emo, indie rock and pop/punk in a way that’s cool enough for fans of any of these genres to like them. As comparisons to flavor-of-the-month bands like Fall Out Boy and Hawthorne Heights have been following this Oregon-based three-piece around, they can’t help but feel that they are in good company. The band’s debut on indie label Hopeless Records, We Are But Human, has hooky songs sure to earn them lots of downloads and spins in college dorms. Some of the best tracks are the Blink 182-ish “Schoolyard Crush,” the blazing “No Sleep For Dreaming,” and the chilly “No Words To Describe,” the latter of which is the perfect backdrop for a rainy day in the Pacific Northwest. ~Mike Farley (03/02/06)

Faber Drive: Seven Second Surgery
Label: Republic / Universal 2007

As the debut album from British Columbia’s Faber Drive kicks off, the first thought most listeners will have is, “How in God’s name am I going to tell these guys apart from every other pop-rock band out there?” “24 Story Love Affair” is a catchy song, but it offers nothing to help distinguish Faber Drive from their peers; worse, the album’s second track, “Tongue Tied,” does little to change the status quo. But, then, there’s that third song. “Second Chance” begins with a riff that sounds like it was lifted straight out of Def Leppard’s playbook, and the song quickly offers up the harmonies to match; this general sound then proceeds to pop up again two songs later, with “Sleepless Nights (Never Let Her Go).” Unfortunately, in between, we’re handed “Sex and Love,” which is one of the most unabashed Killers sound-alike songs ever. And, thus, the problem with Seven Second Surgery truly begins to reveal itself: Faber Drive doesn’t seem to have any idea what they want to sound like…or maybe the issue is that Universal doesn’t know what they want Faber Drive to sound like. Given that the album’s most enjoyable moments occur when they’re channeling harmony-laden ‘80s pop-metal (“When I’m With You” are “Time Bomb” are particularly awesome), maybe the band should just stick to embracing that side of its music; they sound a lot more enthusiastic doing that than when they’re busy trying to sound just like everybody else. ~Will Harris (08/24/07)

Fair to Midland: Fables from a Midfly:
What I Tell You Three Times Is True
Label: Universal Republic 2007

It’s a safe bet that any band willing to give their album a title as pretentious as Fables from a Midfly: What I Tell You Three Times Is True clearly doesn’t give a damn what anyone thinks about them, and it gets even safer when said album is filled with songs bearing titles like “Dance of the Manatee” and “A Wolf Descends Upon the Spanish Sahara.” Nonetheless, let it still be said, for the record, that Fair to Midland have indeed successfully fulfilled the promise of last year’s Drawn and Quartered EP. Of course, if you’re familiar with the progressive metal genre, you already know that it requires its listeners to be able to accept a certain amount of pretentiousness…and, of course, by “a certain amount,” we mean “a fucking truckload.” (We’re specifically thinking of Spock’s Beard here.) Fair to Midland, however, can take a song called “Tall Tales Taste Like Sour Grapes” and, before you realize what’s happened, you’re swept up in the melodic, harmony-laden rock majesty of it all. Our advice: ignore the song titles completely and just embrace the music. If you used to be a long-haired, denim-wearing metal head in the ‘80s but your tastes ran toward the likes of Dream Theater, King’s X, or Savatage, Fables from a Midfly will bring your past rushing back to you in a big, big way. ~Will Harris (10/12/07)

Bernard Fanning: Tea & Sympathy
Label: Lost Highway 2006

Powderfinger lead vocalist Bernard Fanning steps out on his own with a solo debut on Lost Highway that shows a keen sense of songwriting along the lines of Neil Young, label mate Ryan Adams, or even fellow Aussie Neil Finn. Tea & Sympathy is one of those albums that grows on you like a fungus and has the stamina to hang around your CD player for longer than most new releases. Fanning has the kind of voice you think you’ve heard before but may not have, and his melodies are a nice complement to a twangy yet definitively alt-pop sound. Some of the tracks border on average, but most of them are stellar, in particular the super-addictive “Wish You Well,” the attitude-y “Which Way Home” and the heartfelt acoustic bliss of “Wash Me Clean.” You could come up with all kinds of goofy clichés about his name (you’ll be spared here) but if you’re looking for a singer/songwriter who is a bit left of center yet very listenable, give Tea & Sympathy a spin. ~Mike Farley (10/19/06)

Far From Finished: Living in the Fallout
Label: Think Fast! Records 2007

Maybe I’m getting to old for this shit. One critic claimed Far From Finished “have proven to be today’s torch bearers of Boston punk rock.” Yet spinning the band’s debut, Living in the Fallout, confirms that Boston punk rock has officially died with the hiatus of the Mighty Mighty Bosstones. Give ‘em credit, I guess, for surviving a death-defying van crash two years back and touring their brains out on the Vans Warped Tour ever since, but the style points just ain’t here. In fact, with the same four chords turned over in similar three-minute fashion, even 13 originals sound stale. (When in doubt, scream “fuck” a few more times for the kids in the pit.) But it doesn’t rescue a discriminating ear from schlock-rich boredom. “Roses & Razor Blades” has a juicy enough hook to make it download-worthy, and “Broken” sounds like the Smithereens on steroids (I guess that’s good), but 15% is still an “F” on any scale. ~Red Rocker (08/31/07)

The Feeling: Four Stops and Home
Label: Interscope 2006

If you can’t wait to hear Twelve Stops and Home, the awesome, awesome album by London quintet the Feeling, but don’t want to pay for an overpriced import (it was criminally bumped from a September ‘06 release to March ’07), this four-song EP should keep the shakes away. Distilling all of the best qualities of such ‘70s rock stalwarts as Supertramp and 10cc and packing it with some modern-day punch, the Feeling can write and sing circles around lauded pop rockers like the Click Five without breaking a sweat. They can rock when they feel like it too, as evidenced in the Soundgarden-esque finale of “Helicopter.” And don’t forget to check out the amusing video for somber lead track “Sewn,” where the band gets, um, tied up. A strong contender to steal the New Pornographers’ title of best pop band in the world.
~David Medsker (01/11/07)

The Fiery Furnaces: Rehearsing My Choir
Label: Rough Trade

The Fiery Furnaces are headed in the wrong direction. After a terrific, hook-filled debut, Gallowsbird’s Bark, they put out a less accessible sophomore effort, Blueberry Boat. Now comes Rehearsing My Choir, an arduous concept album where the Friedberger siblings provide music and vocals while their grandmother – that’s right, their grandmother – tells stories about her life growing up and living in Chicago. Some of the music is pretty, like the opening of “The Garfield El” or the piano in “We Wrote Letters Everyday,” but it’s generally ruined by their grandmother’s annoying musings. Die-hards might appreciate the quirkiness of the Brooklyn band – if nothing else, they are true to themselves – but anyone expecting solid hooks or melodious background music should stay far, far away. ~John Pauslen (11/24/05)

The Figgs: Follow Jean Through the Sea
Label: Gern Bladstern 2006

The Figgs have been cranking out albums for a long time now, reappearing every now and then to let loose with their own brand of tasty pop. On their newest release things haven’t changed a whole lot. The chords still rock and the rhythms continue to swing steadily as on nifty songs like “Regional Hits” and the title track. Unfortunately, like other Figgs albums, the songs all start sounding a bit the same after a few tracks. Slower tunes like “City Loft Home” and “I Won’t Go to Miami” don’t offer much of a change-up, either. Yet when The Figgs are doing their thing well, like on “Let Me Hold You,” it’s hard not to get caught up in their little groove. And hell, they must be doing something right after all these years if they’re still finding the time to release an album when necessary. Definitely worth a listen even if it’s not anywhere near a classic. ~Jason Thompson (12/14/06)

The Films: The Films EP
Label: Filter US Recordings

The Films are currently in the studio putting together their debut full-length record, but group’s three-song, self-titled EP serves as a delicious taste of what’s to come. They have obvious new wave, Brit pop and classic rock influences, but the music doesn’t consistently sound like anyone specific. There’s a little Marc Bolan in “That Kind of Day,” a little Supergrass in “Black Shoes,” and a little Elvis Costello in “Come On.” Based on these three tracks (along with the demos on their MySpace profile, these guys are good, capable songwriters, and are definitely a band to watch. ~John Paulsen (02/23/06)

Fisher: The Lovely Years
Label: Iris

Fisher’s latest is aptly titled because this album is full of nice, “lovely” tunes. The duo of Kathy Fisher and Ron Wasserman writes undeniably catchy music that is hard not to like. This is Fisher’s second indie release since parting with Interscope, and their first on Iris Records, the label co-founded by Ben Taylor (yep, James’s son). Fisher has had its share of film and TV success, landing a song on the soundtrack for 1996 Gwyneth Paltrow movie “Great Expectations.” And The Lovely Years starts out with “Beautiful Life,” a song that can be heard on the newest Toyota commercials. Fans of Sarah MacLachlan will love this record, especially tracks like “All I Ask” and “Turn Around.” There is also the uplifting pop of “Biggest Fan” and “Be Here.” ~Mike Farley (12/01/05)

Scott Fisher & 1 A.M. Approach: Step into the Future
Label: self-released 2007

The press notes for Scott Fisher compare him to “Jack Johnson fronting Ben Folds Five.” Not too far off, but if you’ve heard Bob Schneider, Fisher is more of a dead ringer for him – or going back a couple of decades, Canadian singer/songwriter Corey Hart.

Comparisons aside, Fisher and his piano rock are engaging enough to showcase some really bright talent. This is his second national release without a label, and that’s no surprise, as the fickle music industry seems to keep missing out on artists like this. But no matter, Fisher caught the ears of producers Jesus “Chuy” Flores (Ricky Martin, Intocable) and Dave Way (Fiona Apple, Sheryl Crow). At times the songs run into each other, but for the most part this collection is pretty damn good. The syncopated title track, the dreamy “See the Day,” as well as the reggae flavored “Shades of Blue” or “State of Mind” display the strength of Fisher’s material.~Will Harris (04/26/07)

Five O’clock Heroes: Bend to the Breaks
Label: Glaze Records 2007

More ‘80s-referencing post-punk-power-pop pabulum from a team of two Brits and two Americans who arrived a few years to late to the new wave/dance punk revival. Not that that’s entirely a bad thing, mind you. The Five O’clock Heroes certainly aren’t going to be cashing in on any overhyped bandwagon now that the Strokes and their ilk have proven to be the one-hit wonders the bands they took their musical cues from were in the first place. And hell, I loved Joe Jackson’s Look Sharp album, too (and learned to play bass by parroting that album’s jerk-pop grooves). Ditto My Aim Is True. And these guys are a tight unit, with catchy enough tunes and musicality galore to get your head jerking and your body twitching. And any fans of Interpol, Franz Ferdinand, Bravery, et.al., will certainly find enough here to enjoy. Will the Five O’clock Heroes make it to midnight (to stretch the metaphor)? It’s pop music…who cares? ~Una Persson (08/17/07)

Five Star Iris: Five Star Iris
Label: Hooptyville 2006

There are so many independent artists out there today that are releasing music on their own. Few of them are good enough to be recognized by the masses as something new and exciting because, frankly, the numbers game has allowed the market to become flooded. But bands like Atlanta’s Five Star Iris remind us all that there is a key element missing in most of the rock landscape: good songs. At the risk of sounding like a broken, er, CD, good songs are what separate the mediocre bands from the great ones. Five Star Iris, with its self-titled debut, is not great yet but has the potential to be. With a guitar-driven, melodic, slightly alternative collection of songs that bring to mind fellow Atlanta products Butch Walker or Collective Soul, as well as a more modern sounding Tonic, this is a band to keep your eyes on because they could break out in a big way. “Follow You Down” and “Starry Eyed” kick things off nicely, but the best tracks on this album are buried a little deeper. Witness the semi-ballad “Luckiest Man” or the positively spine-tingling “Weathered.” ~Mike Farley (11/09/06)

Flickerstick: Live From Atlanta
Label: Degy 2007

Flickerstick will forever be known as “that band” that won VH-1’s “Bands on the Run” back in 2000, so it should be no surprise that they are a stellar live act. In fact, Live from Atlanta is the band’s second live album to go along with two studio efforts. Flickerstick is such a great live band, and has such a loyal following, they decided to put mostly new tunes on this album. Three tracks, “Chloroform,” “Coke,” and “Sorry” are all from the band’s debut, Welcoming Home the Astronauts. “Whatever Gets You Off” is a curious opening track, as it feels kind of sluggish, but after launching into “Chloroform” it’s easy for the crowd to get into it. There are also some “ballads” of a sort, such as the pretty “Smile,” and these guys rock out nicely on “Do You See The World…,” while “Blue” is a brooding, rainy-day song that these guys should record ASAP and get into a movie soundtrack, and there is even one studio track thrown on for good measure – the blazing “Helicopter,” which is as good as some of the band’s best early material.
~Mike Farley (06/22/07)

Floratone: Floratone
Label: Blue Note 2007

Unless you’re a jazz musician, jazz buff, gear head or music snob, chances are you’re not going to find anything to like on experimental jazz quartet Floratone’s self-titled debut. Dubbed by their label as “futuristic roots music,” it’s clear that the future has no sense of direction or urgency to find a hook. This is all-instrumental noodling, and while no songs are over seven minutes long, there is no structure or no base of anything for the average listener to grasp onto. That’s not to say you can’t respect musicians like this, it’s jusuch standout tracks as the title tune, “Blacktop River,” and “Lyrical Freedom Riders,” the introduction of which is narrated by Rep. John Lewis, one of the original thirteen Freedom Riders in May 1961. For those looking for some tasty acoustic music with some good messages (as well as a good cause; proceeds from the CD’s sale go to both The Presbyterian Hunger Program and the We Shall Overcome Fund), you can’t go wrong with this 12-song collection, pristinely produced in Nashville with a stunning array of other talents like Troy Eagle, Todd Sholar, Shawn Conley, Dale Hardiman, and Geno Weatherbee.
~Jason Thompson (09/28/07)

The Flight Orchestra: The Military of Fatima
Label: Breathing Room Records 2007

The whole “these guys sound like [random band] meets [another random band]” cliché of describing new music acts is old, tired and worn out. That being said, the Flight Orchestra sound like Radiohead meets Aphex Twin…with some Grandaddy thrown in. On The Military of Fatima, the Flight Orchestra (which is really just a man by the name of David Wilson) challenges the conventions of the experimental and glitch genres, although saying that either genre has conventions is a little bit of a stretch. Still, by singing over near-random assaults of feedback, freaky bleeps and a wacky assortment of miscellaneous sounds, Wilson takes the notoriously noncommercial subgenre and almost-but-not-quite makes it commercial. His singing voice isn’t all that great, but his near-whisper vocals and limited range fit well on great tracks like “Daylight” and the hideously titled “Win One for the Endless Empire and the Neverending Day.” Unfortunately, many of the tunes that do not feature vocals are annoying pop-and-crackle messes that are either downright boring or migraine-inducing. There’s potential on The Military of Fatima, but Wilson’s going to have to either improve his singing voice, hire a professional singer, or refine those instrumental tracks just a bit more. Still, there’s something to be said for an album that almost undoubtedly took at least some of its samples from old Nintendo cartridges. ~James Eldred (04/04/08)

Fluid Ounces: The Whole Shebang
Label: Vacant Cage

Piano pop wunderkind Seth Timbs and his criminally underappreciated band Fluid Ounces get a second lease on life, thanks to a brand spanking new distribution deal. Their newest, The Whole Shebang, runs the gamut from the Madness-tinged “Paperweight Machine” to the Elliott Smith-like “Destined to be Forgotten,” with more trademark, whip smart classic pop along the way (“Tokyo Expressway,” in particular, is one of Timbs’ finest). The biggest surprise, though, has to be the guitar drenched “Fool Around,” a hilariously rockin’ booty call that is without a doubt his “Sledgehammer.” Let the lazy comparisons to fellow ivory tickler Ben Folds end here. Timbs and the Ounces are a different, much more versatile kind of animal. ~David Medsker (05/06/05)

Foo Fighters: Skin and Bones
Label: RCA 2006

If you’ve ever seen the Foo Fighters in concert, you know they’re one of the loudest, rowdiest live bands around. Dave Grohl and his mates definitely know how to rawk, but on this live acoustic set, Skin and Bones, we see the softer side of Foo. Recorded in Hollywood’s Pantages Theater in August of 2006, Skin and Bones highlights some of the band’s prettiest work, including sing-along hits like “Everlong” and “Times Like These,” and deeper cuts like “Next Year” and “Cold Day in the Sun.” Of course, calling this an acoustic set isn’t entirely accurate, since this ‘stripped-down’ show features pianos, organs, accordions, violins, mandolins and even a touch of electric guitar. In fact, with its rich sound and ambitious intentions, Skin and Bones may remind some of Nirvana’s classic Unplugged album, coincidentally or not. That’s not to say this album is as good as that Unplugged disc – few live albums are – but there’s plenty here for Foo fans to sink their teeth into, including a version of “Big Me” that stands as one of the set’s runaway highlights thanks to Petra Haden’s beautiful backing vocals. ~Jamey Codding (01/04/07)

Foo Fighters: The Colour and the Shape (10th Anniversary Edition)
Label: Legacy/RCA Records 2007

When the reissue of The Colour and the Shape arrived a few weeks ago, the first thing I thought was, “Holy crap, has it really been ten years?” Then I tried to imagine the last decade of music without the Foo Fighters in it. It’s impossible, and this landmark endeavor, less than two years after the debut and the first Foos album to be recorded as a full band, stands as one of the great unlikely sophomore releases ever. Anyone who shared space with Kurt Cobain for several years would’ve stored up some songs and been able to follow through with that one first album. It was called Foo Fighters, but everyone knew it was a Dave Grohl solo outing. The real bitch was building momentum from there and delivering a better second album, thus launching an entirely new career that, to this day, is among the brightest in hard rock. “My Hero,” “Everlong,” and of course, “Monkey Wrench” will forever dominate “best alt-rock songs” lists for the ‘90s. As a package, the reissue is plenty worthy, too, featuring the elusive Gerry Rafferty cover “Baker Street,” as well as three single B-sides and a couple more obscure covers, Killing Joke’s “Requiem” and Gary Numan’s “Down in the Park.” It’s really no wonder Taylor Hawkins bolted Alanis Morissette for greener pastures after hearing this record. ~Red Rocker (08/31/07)

Foreverinmotion: The Beautiful Unknown
Label: One Eleven 2007

You might think you’re hearing several different influences when you listen to Foreverinmotion, the one-word moniker for singer and songwriter Brendon Matthew Thomas. Naturally there are comparisons to other moniker-types like Dashboard Confessional or Bright Eyes, but there is also the alternative beauty of his music that brings to mind the likes of Jeff Buckley or Damien Rice; it’s also got that emo feel, akin to Jimmy Eat World or Daphne Loves Derby. With The Beautiful Unknown, Thomas sounds like he could be equally comfortable on the Vans Warped Tour or supporting any of the above. And while it’s all very listenable (particularly “Hot Air Balloon”), there's something missing that is hard to pinpoint. The music is full of feeling, and Thomas has an adequate voice, but there’s nothing here that will grab your attention and keep it for long periods of time. Still, the dude is only 23, so it’s reasonable to expect bigger things from him down the road.
~Mike Farley (05/11/07)

Peter Frampton: Fingerprints
Label: A&M/Universal 2006

Rock legend Peter Frampton is best known for his songwriting, with ‘70s hits such as “Show Me the Way” and “Do You Feel Like We Do?” forever etched on the rock landscape of a generation. But what people tend to forget is that Frampton is one hell of a kickass guitar player. His latest album, Fingerprints, reminds us all of just that, showing a diversity of styles and precision delivery through and through. Fingerprints is mostly an album of Frampton’s own compositions, but there is a well-placed cover of Soundgarden’s “Black Hole Sun,” on which Soundgarden drummer Matt Cameron and Pearl Jam guitarist Mike McCready make guest appearances, as do the Rolling Stones’ Charlie Watts and Bill Wyman on other tracks. Standouts are the opening track, “Boot It Up,” the blissful minor-key blues track “Float,” and the arena rocker “Cornerstone,” the latter of which effectively combines Frampton’s precision lead guitar with that familiar voice box riffing during the verses. Yes, Peter Frampton can still play, and it shows. ~Mike Farley (10/26/06)

Brian Franklin: Desert Farmer
Label: Noeta Music

Who is Brian Franklin, you say? He’s a singer/songwriter from South Florida who has also enjoyed some success as a backup singer and lead guitarist for the likes of Matthew Sabetella and Diane Ward. He even had a major label release, Stir-Fried World, in 1996 that flopped in a landscape of boy bands and chick singer/songwriters. Franklin’s political sentiments balance nicely with his rootsy approach to songwriting and raspy vocal. The problem is that while these songs are obviously well crafted, they aren’t all that catchy musically, and may just lull you to sleep. The Matthew Ryan-esque “When I Fall Open” is an exception to that rule, but that’s about it. ~Mike Farley (10/13/05)

Freezepop: Future Future Future Perfect
Label: Cordless Recordings 2007

A few years ago, I reviewed Freezepop’s first CD. I wasn’t that impressed by it, but remixes of some of the band’s songs as heard on such video games as “Frequency” and “Amplitude” made me think maybe I just hadn’t heard things right. But then again, remixes can often make a so-so song a much better one. On Future Future Future Perfect, Freezepop continue doing their thing, and I remain nonplussed. Liz Enthusiasm’s robot-like vocal delivery is still annoying, making the semi-exciting opening riff of “Less Talk More Rokk” completely moot. The band attempts silly irony in “Pop Music is Not a Crime,” and the message about dancing to a song about dancing just isn’t that amusing. It’s been done before. “Do You Like Boys?” is a nifty pop tune, however, and shows this band can actually be more than just a goofy act. “Thought Balloon” is also a nice little number. It’s just a shame the rest of the disc is mired in fluff like “Brainpower” and the truly terrible “Do You Like My Wang?” Ah well. ~Jason Thompson (09/21/07)

Robbie Fulks: Revenge!
Label: Yep Roc Records 2007

Leave it to alt-country maverick Robbie Fulks to turn the idea of a live CD on its ear. He’s been doing the same thing with his music for 15 years, defying easy categorization, searing his brand of Americana with a deft wit and often-sarcastic humor, but never without passion and enthusiasm. Revenge! is a two-disc set offering two very different sides of Fulks: The first disc, recorded in Champaign, IL and subtitled “Standing,” features a full band rollicking through an upbeat, roots-rocking 11-tune set including such Fulks classics as "The Buck Stops Here," "Let's Kill Saturday Night" and "The Cigarette State." The second disc, recorded in Chicago and subtitled “Sitting,” is a solo-acoustic set, a little more low-key but just as passionate, with covers of the bluegrass standard "Bluebirds are Singing for Me" and the Carter Family favorite "Away Out on the Old Saint Sabbath," with guest Kelly Hogan. Fulks, always known to drop offbeat, cheesy or obscure cover tunes into his live shows, rocks out a wholehearted, non-ironic take on Cher's "Believe”...and it works! Of particular note, half of the songs on Revenge! are brand-new affairs, never recorded in the studio. Standouts on the newer cuts include “I Like Being Left Alone,” “We’re on the Road,” “Fixin’ to Fall” and “Busy Not Cryin’.” The only flaw on the entire 23-track outing is the lack of stage banter and crowd interaction, which is a prime ingredient in Fulks’ live mix. Still, this is a great introduction to Fulks’ unique brand of country, and a must-have for any real fan. ~Una Persson (06/08/07)

Funky Nashville: : Hitch a Ride
Label: 215 2006

Contrary to Funky Nashville’s name, this three-piece band hails from Denmark, not Tennessee. Their music is labeled as “highway groove,” and if you listen to Hitch a Ride, the band’s latest, it’s easy to see how they came up with that term. There is a throwback vibe that somehow combines elements of ‘60s and ‘70s rock with modern day Americana, and it’s the kind of album you can put on and groove to while you’re, um, rolling down the highway. The title track is reminiscent of Texas rock band Fastball (what in the hell ever happened to them?) and “Gone Away” has an alternative twang thing going on, as if David Byrne was fronting an alt-country outfit. For those of you keeping score, lead vocalist Sverre Stein Nielsen is a dead ringer at times for Byrne. And while the bulk of this album is ultra-melodic and fun, some of the tracks (“California Mansion Girl” and “The Witch of New Orleans”) are so catchy that they’ll have your tapping foot wearing a hole through the floor. ~Mike Farley (11/16/06)

Oscar G.: Nervous Nightlife: Space Miami
Label: Nervous Records 2007

Live albums by DJs are always dicey propositions. It’s understandable that the guys behind the tables put them out occasionally, because it then spotlights them in a truly live setting and the listener can then gauge how talented the DJ actually is. On the other hand, it always seems weird to hear a crowd cheering a DJ like they were cheering a live band. Nevertheless, Oscar G. gives it the old college try on this mix, and the crowd seems to be digging his style. It takes a few tracks to really get things going (Popof’s “Alcoolic” and Sebestian Leger’s “Mars” are still pretty good, though), but when Guy J’s “Agent Blue” arrives, things get kicked in the ass in the right way. Even so, Oscar G. seems to favor more moderately paced tracks, and the whole set is a bit tedious, especially when it gets to the middle. Yet the man does have talent behind the decks, and tracks like DJ Bruno’s “Strange (Dub Mix)” are well worth hearing. ~Jason Thompson (10/19/07)

Giant Drag: Hearts and Unicorns
Label: Kickball Records

Wasn’t it just ten years ago when alternative rock was dominating the FM dial and angry, pale-faced girls were staking a major claim in that territory? Then the Breeders disbanded, Liz Phair took the jagged little pill and went pop, and, well, Courtney Love lost her mind (the debate still rages as to whether she ever had much to lose). Enter Giant Drag, a two-piece alt punk throwback band fresh off the O.C. club circuit perhaps a decade too late, as they check in with Hearts and Unicorns. The angry pale-faced girl (Annie Hardy) is still here. Together with drummer Micah Calabrese (kind of a White Stripes gender swap, if you will) she manages to create full-band fuzz rock sound, ala My Bloody Valentine, on a couple respectable tracks like “This Isn’t It” and “YFLMD” (your guess is as good as mine on what that stands for, since the lyrics are generally undecipherable). The larger part of this debut, however, is crap, plain and simple. “High Friends in Places”, title aside, is about as inspired as a central Ohio weather forecast in November. And what’s with the giant hunting knife on the album covers? ~Red Rocker (12/09/05)

Teddy Geiger: Step Ladder
Label: Cred/Sony

The same way that world-class gymnasts and figure skaters seem to get younger and younger every year, the same appears to be happening with singer/songwriters. With a little help from an appearance on VH-1’s “In Search of the New Partridge Family,” 16-year-old Teddy Geiger was discovered and signed by Cred/Sony. The young and ridiculously talented Geiger is also being featured as a rising young star on the new CBS television series, “Love Monkey.” All of these opportunities for mega success aside, Geiger’s EP, Step Ladder, is a collection of six songs that are heartfelt, soulful and masterfully arranged. And while Geiger’s voice is mostly compared to the airy yet raspy John Mayer, that doesn’t tell the whole story of the texture and power behind those 16-year-old pipes. The jangly “Try Too Hard” and “Confidence,” as well as the piano ballad “Look Where We Are Now” are the best tracks, though there really isn’t a bad song on here. Watch out for this kid, because he certainly has world-class potential. ~Mike Farley (01/04/06)

David Gilmour: On an Island
Label: Columbia 2006

David Gilmour solo albums arrive about as often as Pink Floyd albums do these days (his last solo effort was 1984’s About Face), but when he finally decides to make one, you can’t help but feel a little sorry for the guy. If it sounds like Pink Floyd, he’s accused of not breaking any new ground. If it doesn’t sound like Pink Floyd, then he’s accused to going all “corporate” on us. This time around, he commits the not-breaking-new-ground “sin,” making a solo equivalent to A Momentary Lapse of Reason (which is arguably a Gilmour solo album to begin with), full of atmospheric mood pieces. “Castellorizon” is this album’s “Signs of Life,” while “This Heaven” is its “Dogs of War.” He displays his lighter side on the acoustic ballad “Smile,” and even shows off his saxophone chops on “Red Sky at Night.” Plus, take a look at the musicians who lines up to help him out: Phil Manzanera, Chris Thomas, Andy Newmark, Guy Pratt, Jools Holland, David Crosby, Graham Nash...yowza. On an Island is good, but with that kind of talent behind it, it should have been better. ~David Medsker (03/30/06)

Goldfrapp: We Are Glitter
Label: Mute 2006

Remix albums are always a dicey proposition, even for artists whose songs can pack a club before a remixer has even had a chance to lay his grubby little mitts on their songs. Now imagine that the band being remixed is Goldfrapp, whose songs have as much of an eye on the dance floor as they do the stage. Suddenly, the criterion for what makes a good remix album becomes debatable. Is the Flaming Lips’ remix of “Satin Chic” a failure because it doesn’t contain a hint of percussion? Not exactly, but it does leave the listener longing for someone to lay the hammer down, like T. Raumschmiere does on “Lovely 2 C U.” Remix scholars will definitely enjoy the tributes to “I Feel Love” (Carl Craig’s mix of “Fly Me Away”) and the slow down-speed up bit from Louie Vega’s “French Kiss” in “Number 1,” though someone should pass a DJ law that mandates that remixes will run no more than eight minutes in length. DFA, and your 13-minute mix of “Slide In,” I’m looking in your direction. ~David Medsker (10/19/06)

The Go-Betweens: Oceans Apart
Label: Yep Roc

The band whose songwriting duo was just lovingly name-checked in “24,” Grant McLennan, Robert Forster & co. have assembled yet another dazzling album of literate pop songs. Reuniting with producer Mark Wallis, who helmed their watershed 1988 album 16 Lovers Lane, Oceans Apart is easily their strongest post-breakup album yet (the band split in 1989, reuniting in 2000). Where their 2000 album The Friends of Rachel Worth was a stripped-down affair, the Go-B’s go for a much fuller sound this time around, incorporating more keyboards and even a horn section on the nostalgic “Darlinghurst Nights.” Cheers in particular to bassist Adele Pickvance, whose harmony vocals elevate the songs to heights not seen since 16 Lovers Lane. One wonders how we ever got on for 12 years without these guys. ~David Medsker (05/27/05)

The Go-Betweens: That Striped Sunlight Sound
Label: Yep Roc

Forget the audio and video performance of their show at the Tivoli in Brisbane recorded last August. The real selling point to That Striped Sunlight Sound is the “Acoustic Stories” part of the DVD, which features Grant McLennan and Robert Forster (major, major props to the producers of “24” for naming last season’s evil defense contractor after them) strumming their acoustics in someone’s living room while talking about the genesis of the band and their early songs. They pull some big time dusties out for this set, including “Cattle and Cane,” “Bachelor Kisses,” and “Head Full of Steam.” The Tivoli set – which features a completely different set list than the Acoustic Stories bit – is fine, technically competent but not terribly exciting. It’s not that the Go-Betweens are a bad live act – they’re not, by a long shot. Consider them the opposite of that old saying about children: they’re simply better heard, and not seen. ~David Medsker (02/16/06)

Godhead: The Shadow Line
Label: Cement Shoes Records 2006

Godhead returns with its fifth release, The Shadow Line, and they’re bound to find some new fans. Almost entirely industrial in the past, they exhibit a more reachable sound here with guitar-driven tracks embellished by synths and samples. The first single, “Trapped in Your Lies,” has enough killer hooks for an album’s worth of material on its own, but it only gets better from there. Vocalist/guitarist Jason C. Miller carries the album virtually by himself, with gorgeous work on tracks such as “Inside Your World” and “Once Before.” This new material is certainly accessible to a wider audience, but you have to wonder if their name will keep them from truly breaking out. The package includes an additional DVD of music videos, interviews, and behind-the-scenes material. ~Bill Clark (05/11/07)

Golden Republic: Golden Republic
Label: Astralwerks

The latest entry in the ‘Middle America Is Cool, Too’ sweepstakes (see Flaming Lips and the Faint), Kansas City’s Golden Republic can do a decent Franz Ferdinand impression if they feel like it (the middle break of “You Almost Had It,” for example), but it appears the band they most admire is Spoon. Songs like “Robots” and “You’ll Get Old” are like perfect hybrids of early, rougher Spoon and the angular pop Spoon of the present. Along the way are songs that recall Lenny Kravitz (“She’s So Cold,” which is not a Stones cover) and Interpol (“NYC,” no doubt thanks to mutual producer Peter Katis). It’s not the most unique album in the world, but it’s a hell of a first step. ~David Medsker (05/20/05)

Gomez: How We Operate
Label: ATO 2006

Sometimes, a change of scenery is a good thing. While with Virgin Records, British rock band Gomez was a critics’ darling early on, but by the time they released Split the Difference in 2004, their relationship with Virgin couldn’t survive slumping sales. How We Operate, the band’s first album on Dave Matthews’ imprint, ATO Records, is a collection of stellar songs that is easily Gomez’ best effort to date. It kind of makes you wonder what would happen if more bands were given the creative freedom that an indie label provides. Gomez is David Gray without the attitude, Live minus the raging guitars, and quite simply are just a band that has learned how to write and deliver some really good, timeless songs. “See the World” and “Girlshapedlovedrug” are catchy without being over the top, and the melancholy “Notice” and dark but hypnotic title track border on brilliant. ~Mike Farley (04/27/06)

Gooding: Angel/Devil
Label: S3

This young band from Wichita, Kansas has so many influences, and therefore so many different aspects to their music, it’s nearly impossible to categorize. Gooding is more or less alternative rock, but with elements of funk, blues and world music, and musicianship that rivals any three- piece band out there today, and their sophomore effort, Angel/Devil, is nothing less than a super cool rock album. The album’s title draws its inspiration from life’s everyday contrasts, and the best tracks are “Free,” “Everything or Nothing Again,” and “Judas.” Think Robert Palmer meets Rusted Root meets the Goo Goo Dolls meets Radiohead, and that’s only the short list. ~Mike Farley (06/24/05)

Lesley Gore: Ever Since
Label: Engine Company

You remember her, right? She’s the one whose party it is...and she’ll cry if she wants to. Given that many of her peers are performing hits medleys in Atlantic City and Branson, Gore deserves major points for producing an album consisting almost entirely of new material...even if she loses one or two of those points for unnecessarily re-recording “You Don’t Own Me” as a torch song. One has to imagine that she heard Nancy Sinatra’s 2004 “comeback” album and said, “Well, hell, I can do that!” Unlike Nancy, however, Gore’s assistance comes not from alt-rock superstars but, rather, from singer/songwriter Blake Morgan, who produced and arranged the album in addition to writing a few tracks. The songs are predominantly melancholy from the get-go, with the lead-off number, “Ever Since,” setting the mood; even the most upbeat track, “Not the First,” features the cynical line, “You’re not the first to think you’ll be the last.” Lesley Gore was “all grown up” quite some time ago, so consider this her return to music as a mature songstress. ~Will Harris (11/10/05)

The Go! Team: Thunder, Lightning, Strike
Label: Columbia

Cross the Propellerheads and the Avalanches with the Ronettes and the cast of “Bring It On,” and you’d wind up with something pretty close to the Go! Team, a group of adventurous Brits whose tastes run wide and deep. There’s ‘60s girl pop vocals, double dutch playground rhymes, and soulful horn sections, all anchored by two thunderous drummers that the deaf could hear. Heck, “Get It Together” and “Everyone’s a V.I.P. to Someone” (which owes a large debt to Air’s “Ce Matin La”) sport banjo melodies. It’s fun, it’s catchy, and it gleefully flips a big middle finger to anyone who thinks that those golden-age hip hop records that sampled everything under the sun cannot be made today. They can, and are. Every aspiring hip hop producer should take a long listen to Thunder, Lightning, Strike. It is the sound of the future. ~David Medsker (10/27/05)

Grand National: Kicking the National Habit
Label: Recall

That Anglophile friend of yours, the one that’s already over the Arctic Monkeys because they are soooo played out, man, is going to go gaga over Kicking the National Habit
, the debut from UK duo Grand National. Like all good bands, it sounds like bands you know at yet doesn’t sound at all like them. The vocals are Difford & Tilbrook after a three-day bender, and the music varies from Police-style reggae – fitting, since Lawrence “La” Rudd played in a Police cover band as a teenager – to New Order-ish keyboard sequencing, all filtered with a sophisticated coolness that elevates the songs from mere copycat status. The US release of the album even comes with a few remixes and four extra tracks, one of which, “Rabbit Facts,” takes the first two piano chords of Steely Dan’s “FM” into an altogether different place. It’s Brit rock for grownups. Isn’t that a wonderful thing. ~David Medsker (03/09/06)

Green Day: Bullet in a Bible
Label: Reprise

Recorded in front of what looks and sounds like the entire city of Milton Keynes, “Bullet in a Bible” is the sound of a band at the height of its powers. Fleshing the trio out to a seven piece band, Green Day delivers a ferocious set, bookended with songs from American Idiot and filled with hit after hit after hit in the middle. “Jesus of Suburbia,” arguably Green Day’s finest moment, just explodes live, and the blending of “King for a Day” with the Isley Brothers’ “Shout” (along with a bit that will make Monty Python fans happy) shows that while the band may take their music more seriously these days, they certainly have not forgotten how to have fun. Sam Mayer’s direction of the DVD, however, is maddening; he’s constantly cutting from color to black & white, and is rarely focused on the action that’s taking place in the song. The backstage interaction and interview footage is a treat, but for God’s sake, man, hold the camera still, already. ~David Medsker (11/24/05)

The Greenhornes: East Grand Blues
Label: V2

It’s good. But it sucks. Which is to say that, while the contents of the EP are strong and enjoyable listening, it’s also precisely the same sound that’s been peddled by much of the roster of Rainbow Quartz Records for half a dozen years: a little bit of Kinks and a whole lot of garage rock inspired by the contents of the various Nuggets discs. The problem isn’t with the Greenhornes, per se, who have been around since 1996 and working their butts off. No, it’s more about their label, V2, very possibly having signed them just because they have a connection to the White Stripes. (They’re touring with the Stripes and have been produced by Jack’s buddy, Brendan Benson.) If they become successful just because of the Stripes connection, then most of the artists in regular airplay on Little Steven’s Underground Garage are gonna rise up en masse and go kick the Greenhornes’ asses. If that happens, one can only hope that V2 will be able to live with themselves...or at least pay the hospital bills. ~Will Harris (09/08/05)

The Greenhornes: Sewed Souls
Label: V2

On their fourth release, the Greenhornes continue to explore their influences – mainly ‘60s blues-rock and British Invasion – and transform them into their own version of garage rock. Sewed Souls contains twenty tracks, and the group’s repetitive style can get a little tedious at times. That’s not to say that this Jack White-approved Cincinnati quintet doesn’t have some very good moments. They seem to do better with the slow-blues (particularly “I’ve Been Down,” “Too Much Sorrow” and “Don’t Come Running to Me”) than they do with the up-tempo stuff, though “Satisfy My Mind” and “The End of the Night” are faster numbers that work pretty well. Holly Golightly (last heard on the White Stripes “It’s True That We Love One Another”) appears on the haunting “There Is an End,” which was also used in the Jim Jarmusch film, “Broken Flowers.” Although they would have been better off leaving off a few of the lesser tracks or splitting the disc into two releases, frugal music lovers will appreciate the bang for the buck offered by Sewed Souls. ~John Paulsen (01/12/06)

Groove Coverage: 21st Century Digital Girl
Label: Toucan Cove/Universal 2007

Holy crap, this stuff is the stink. Groove Coverage have been big in Germany and have had some hits with some remix work, but this album…yikes. The title track alone is enough to make you run for the hills. “Holy Virgin” is as dopey as you might expect, and “On the Radio” sounds like a failed attempt at updating ABBA, but no one would ever accuse lead singer Mell of having a great voice, let alone one comparable to either Agnetha’s or Frida’s. This stuff definitely belongs on the dance floor, where it can be fully appreciated by people only wanting a good beat. Groove Coverage has the beats. The rest is just excess. It’s bad enough when you look at the group’s photo and instantly want to hit DJ Novus for his bad hair and “Hit me, I like it” facial expression. Blah. ~Jason Thompson (09/07/07)

Groove Coverage: Greatest Hits
Label: Suprime/Renegade Records

Euro-dance music stars Groove Coverage are attempting to conquer America with this collection of their work, which collectively (singles, etc) has sold approximately 800,000 units world wide. This collection is well done, considering they stick to established formulas, and lead singer Mell’s voice is decent but limited. “Poison,” the deliciously disco version of the 1986 Alice Cooper song, is among the album’s highlights. Ballads like “Remember” and “Lullaby for Love” stand out as the best tracks on Greatest Hits. If you need to put some tap in your toe or desire a bit of harmless, background dance music, go ahead and give it a spin. ~R. David Smola (08/18/05)

Dustin O’Halloran: Piano Solos Vol. 2
Label: Filter 2006

Dustin O’Halloran is one half of the alt/pop duo the Devics, but this fine collection of piano solos shows how versatile a multi-instrumentalist he can be. Piano Solos Vol. 2 was recorded on a grand piano in Italy by O’Halloran and no one else, and brilliantly conveys a feeling of solitude while effectively combining his classical training with his alternative rock roots. In short, this is dark and brooding piano music that is fit for a rainy day, for quiet evenings at home, or as movie soundtrack material. It’s also the perfect way for someone who is too cool for classical music to take the plunge and introduce themselves to it. And while O’Halloran might be a master behind the piano, he chooses mood over chops on this collection – you know the chops are there, but the beauty of this album lies in its simplicity. ~Mike Farley (10/12/06)

Hard-Fi: Cash Machine EP
Label: Necessary

This Middlesex quartet is getting absurd heaps of praise thrust upon them across the pond, and it’s easy to see why. The spirit of the Clash looms large on this EP, both in singer Richard Archer’s vocals and the band’s dub-fueled spook rock (think “Guns of Brixton” crossed with “The Magnificent Seven”). The title track is a gem, the kind of groovy sing-along that Oasis would write provided they could dance or had a sense of humor. “Tied Up Too Tight” is darker and meaner, yet still sports a Velcro coated chorus of na-na-na’s. But the track that will have tongues wagging is the cover of “Seven Nation Army” at the end, which is the White Stripes by way of the Specials’ “Ghost Town.” This is fab stuff. Can’t wait for the full-length. ~David Medsker (07/21/05)

Jesse Harris: Feel
Label: Velour 2007

Most people think of Jesse Harris as he relates to Norah Jones. That is, Harris wrote or co-wrote some of the songs on Norah’s debut, including the breakout hit, “Don’t Know Why.” But the dude has carved out a nice solo career, one that he already had in place before Jones came along. Feel is his latest effort, and it’s a set that’s organic, neatly arranged, and quite compelling all at the same time. Really, the soft tenor and ease with which Harris delivers his songs make it not so much of a stretch to put him alongside names like Paul Simon and Bob Dylan. Yes, it’s still too early to crown Jesse Harris with that sort of brilliance, but there should be no question that he has that kind of potential. One small issue here that is that many of the songs on Feel tend to sound similar, but there are also some real beauties – among them the twangy “You and Me” and melancholy “The Wind.” Any aspiring songwriter should study Harris, not because of his actual song structures but for the way he makes every song feel like you’ve been hearing it your whole life. ~Mike Farley (07/06/07)

Emerson Hart: Cigarettes and Gasoline
Label: Manhattan/EMI 2007

If you were a fan of the alt-rock band Tonic in the '90s and early part of this decade, and have wondered what happened to them, you’ll be pleased to know that Tonic frontman and chief songwriter Emerson Hart is still making music. Cigarettes and Gasoline is Hart’s first solo record, but what it really sounds like is a continuation of his former band. For all of the alternative rock edge that gave Tonic its signature sound back in the day, Hart was always prolific at writing pop hooks — and the solo stuff is more of a reflection of that than anything. But don’t let that scare you, because even in his new hometown of Nashville, Hart still has a bit of a rock star thing going on. Working with three different producers, he has delivered a solid album of heartfelt tracks that vary in tone and tempo. “Run To” and the first single, “If You’re Gonna Leave,” are as catchy as anything the man has ever written, and “I Know” has remnants of that modern rock sound flavor Tonic was known for. But the best songs are the Train-esque “Flyin’” and the positively riveting ballad, “Friend to a Stranger.
~Mike Farley (07/13/07)

Kate Havnevik: Melankton
Label: Continetica, 2006; Universal Republic 2007

The sticker on the front of Melankton says that seven of (London-based/Norwegian-born) Kate Havnevik’s songs have appeared on “Grey’s Anatomy.” As anyone who has seen the show might expect, Havnevik’s music is emotive and melodious, but it doesn’t get in the way, making it a perfect soundtrack for the trials and tribulations of Meredith Grey and Co. “Unlike Me” opens and anchors Melankton, and it’s impossible to ignore the song’s haunting notes. Fans of Sia (“Breathe Me,” or her guest spot on Zero 7’s “In the Waiting Line”) will enjoy Havnevik’s smooth, throaty vocals even if her music is more string-oriented than Sia’s trip-hop. “Not Fair” sounds like early Garbage (that’s a compliment) and Havnevik channels Bjork on “Serpentine,” so it’s clear that she isn’t afraid to pay homage to her late ‘90s influences. The disc tails off a bit in the second half, but the bonus track, “So:Lo,” is worth seeking out. All in all, Melankton is a good listen for fans of downbeat electronica. Meredith Grey would be proud. ~John Paulsen (10/19/07)

Heath Haynes: Big As Day
Label: Grown Up

Heath Haynes is the recording artist Ryan Adams would be if he wasn’t such a moody bastard. Adams and Haynes come from similar backgrounds, with both having done time in alt-country bands – Haynes fronted the Richmond-area band Haymaker – but to describe Haynes’ sound is to imagine what Teenage Fanclub would sound like if they’d been raised in the Raleigh/Durham area. (Actually, Haynes is from Danville, Virginia, but that still puts him close enough to the Triangle to have come by his twang honestly.) The stomping “Daddy Was a Shriner” is reminiscent of Southern Culture on the Skids, while the hook of “Carry You Home” isn’t terribly far from the Drive-By Truckers’ “Carl Perkins’ Cadillac,” but it’s jangly rockers like “Anne’s Got A Plan,” “Can’t Stop It,” and “Complicated Girl” (not the Bangles song) which catch the ear and stick to the ribs with pop goodness. There’s ‘60s-styled organ and kick-ass guitar on “Heart Don’t Break,” as well as a gentle ballad to be found in “Bounds Green.” Power pop fans will appreciate the appearance of Millard Powers – late of the Semantics, where he worked alongside Will Owsley – on backing vocals, and music geeks in general will have a laugh at the album’s mixing, which is credited to one “Jack Joseph Tom-Lord Clearmountain.” Heath Haynes knows his way around a guitar and a catchy hook; grab his album now, before he truly is as big as day. ~Will Harris (04/12/06)

The Heavenly States: Black Comet
Label: Baria

Sometimes, a violin is just a violin, but, other times, it’s a fiddle...and to that, let us add, “Yee-haw!” The Heavenly States are perhaps best known for being the only US band to date to tour Libya (and possibly for Chris Martin saying that the three best bands in the world are, in order, the Heavenly States, Electric Six, and Coldplay), but they also put out some swell pop music as well. “Look and Listen,” which opens their sophomore effort, Black Comet, is one of those 3-minute fiddle-driven songs that the Wonder Stuff used to do so well...though, to momentarily digress, a commodity in which something the Stuffies’ recent “reunion” album was sadly lacking. Unfortunately, lead singer Ted Nesseth has an unfortunate tendency to descend into screaming, which makes for particularly difficult listening on “Racetrack.” Still, songs like “Elastic Days,” the X-like “Vacant,” and “Song in F,” with its melancholy piano, make this a more than acceptable second album. ~Will Harris (06/17/05)

Heavy Trash: Heavy Trash
Label: Yep Roc

Heavy Trash, the side project of Jon Spencer (of Blues Explosion fame) and Matt Verta-Ray (of Speedball Baby), is a combination of the blues/punk flavors that each have become known for, as well as a healthy dose of shit-kicking punk-a-billy. Some of this self-titled album is borrowed straight from the era of Elvissuch as the track “Lover Street,” which is Spencer-ized with the lyrics “Your mama’s a ho.” Among the burning rockers on here (others include “The Loveless” and “The Hump”) is the beer-soaked ballad “Fix These Blues” and the hilarious parody, “Gatorade.” Put this one in at your next party, but don’t be surprised when your guests get drunk and rowdy. ~Mike Farley (07/14/05)

Hickey Necklace: Got Used To Lonely
Label: Shanty Town

Subscribers to the Smuckers theory of buying music – i.e. with a name like this, they’ve got to be good – will feel as though they’ve gotten their money’s worth when they invest in the new CD by Hickey Necklace. Though they’ve been around since the early ‘90s, the band’s fanbase had remained almost exclusively on the East Coast until MySpace.com brought them to a new, larger audience. Got Used to Lonely is the second Hickey Necklace album to embrace a more mature – and more melancholy – acoustic sound (the first being Until She Read Spoon River), with songs about lost friends (“Our Last Year”) and, more often than not, lost love (“In Different Buildings,” “When Billy Joel Sings,” “Was Once A Happy Boy”). The line-up is more streamlined than in years past, with frontman Donnie Sadler providing lyrics and vocals while multi-instrumentalist Chris Commander takes care of most of the music (minus a few guests), but Sadler’s voice is more confident than ever, and the melodies range from haunting to hummable. Fans of the jangly Americana sound would do well to pick up a copy and make these boys feel a little less lonely, even if they are used to it. ~Will Harris (09/22/05)

Bill Hicks: Salvation: Oxford, November 11, 1992
Label: Ryko

If you own 2003’s Live at the Oxford Playhouse 11.11.1992, this 2-disc set, which features that Oxford gig in its entirety, may seem redundant. The rest of the Hicks faithful, even the ones who own Relentless and Arizona Bay (the Oxford gig is from the same period), will find lots to enjoy on Salvation. It’s fascinating to listen to the audience – a British audience, no less, and Hicks makes sure to use his Brit slang – ebb and flow with his caustic routine, which can veer from vulgarity to mind-bending philosophy in a New York minute, and is often both at once. Perhaps the strangest part of the album is the fact that it contains several jokes about war in Iraq and George Bush, so for a 13 year-old recording, the material is oddly timely. For the uninitiated, this set, priced as a single CD, is a good place to start, since you get a good sampling of material that stretches over a couple of his original albums. And trust us: after you hear this, you’ll soon be buying those original albums, too. ~David Medsker (12/15/05)

The Hideaways: The Whiskey Tango Sessions
Label: Dren Records/Big Bender Records 2006

In a nutshell, The Whiskey Tango Sessions is a fair-to-middlin’ alt country record. The San Diego-based Hideaways boast some impressive résumés – separately working with such artists as Lucinda Williams, Rosie Flores and the Beat Farmers, among others. Collectively, they won a San Diego Music Award for Best Alt Country Band in 2005 and picked up a SDMA nomination for Best Americana Record for this release. And while they certainly have the requisite country rock musical chops – with effortless harmonies, tight musicianship and elegant pedal steel work highlighting much of this CD – the songwriting is featureless at its best, and uninspired at its worst. With the accolades and fans they’ve picked up along the way, it’s an almost sure bet the Hideaways have a blistering live show. Unfortunately, they haven’t captured enough of that energy on CD to stand out from the alt country crowd. ~Una Persson (05/18/07)

The Highway Beautiful: The Things That Lights Can Hide
Label: self-released

They’re called the Highway Beautiful, but, in truth, “they” are actually a “he,” and the “he” in question is one Jason Jurewicz, who wrote all the words and music in addition to performing, producing, and recording everything to be found on The Things That Lights Can Hide. It’s not entirely surprising to find that Jurewicz graduated Summa Cum Laude from SUNY Fredonia with a degree in Business Administration and a concentration in marketing; just as with his music, he’s a one-man P.R. machine, out to spread the word of the tunes he’s created. Hey, if it can work for the Arctic Monkeys, there’s no reason it can’t work for the Highway Beautiful. The lyrics on The Things... bounce between emotions; for every “On Your Own” (“And if you don’t mind me, I think I’ll say / ‘Don’t try and do this on your own’”) or “Reassurance” (“And like the old clichés / I can tell you that everything will be OK”), there are songs like “Midnight Comes” and “Another Day,” which are about the daily struggle of just making it until tomorrow comes, then having to start all over again. Fortunately, the music is equal parts jangly guitar and soaring choruses, the latter best demonstrated on “Superman.” Minus the ambient instrumental, “Landscape,” the material is decidedly mainstream in sound, but that’s no crime; better someone like Jurewicz should infiltrate the world of popular music while bypassing all that major-label bureaucracy. Here’s hoping his quest proves successful. ~Will Harris (03/30/06)

Hillstomp: After Two but Before Five
Label: Fuzzmonster Records 2007

Singer/guitarist Henry Kammerer and drummer John Johnson come on like a couple of punks raised on a strict diet of country blues, all stomp and swagger, a slide guitar and a trap kit the only things they need to get their (and your!) mojo workin’, channeling Appalachia (and North Mississippi) through Portland, OR, After Two but Before Five is a live set, probably the best setting to catch Hillstomp’s sweaty, beer-drenched and boogie-filled romps through Americana. Cover tunes (RL Burnside’s “Going Down South” and “Poor Black Mattie,” natch), originals (“Stewball” and “Mr. Charlie III” are standouts), grunts, groans, mean slide guitar, badass slop-drumming…it’s like the Black Keys, another guitar ‘n’ drums garage blues duo, without the proximity to electrified Chicagoland. ~Una Persson (08/10/07)

Peter Himmelman: Imperfect World
Label: Majestic

Peter Himmelman is one of those singer-songwriters who, despite having released several albums for the majors (including Island and Columbia), has never really scored much in the way of mainstream popularity, leaving him trapped in that most dreaded of niches: “cult hero.” If Imperfect World is a harder, more bluesy album that most have come to expect from Himmelman (B.B. King needs to record “Consumed” sooner than later), well, he’s got a reason to sing the blues; his younger sister died in a car crash not long ago, and this album was undoubtedly a cathartic one, given the lyrics of such songs as “Kneel Down” (“We don’t run in the house of God / We only crawl”) and the reggae-inspired “Take It Easy On Me.” Himmelman’s faith – Judaism – is one he’s never been afraid to wear on his sleeve and, with that to rely on, Imperfect World isn’t nearly as melancholy as one might expect; this is an album about, as Himmelman himself has said, his “changing perceptions” in the wake of his sister’s death. Lyrically, he’s at the top of his game and, creatively, he shows no signs of flagging anytime soon. ~Will Harris (05/27/05)

Robyn Hitchcock & the Venus 3:
Sex, Food, Death...and Tarantulas
Label: Yep Roc 2007

While this new, mostly-live EP from Robyn Hitchcock is clearly intended as a companion piece to his debut outing with the Venus 3 (2006’s Ole! Tarantula), there’s surprisingly little crossover with its track selection. In fact, only one song can be said to appear on both releases: “(A Man’s Got To Know His Limitations) Briggs,” Hitchcock’s apparently-straightforward tribute to Clint Eastwood’s “Dirty Harry” flicks. Otherwise, we get a nice selection of Soft Boys re-visitations (“Queen of Eyes,” “Give It to the Soft Boys”), a Minus 5 cover (“Cigarettes, Coffee & Booze”) sung by Scott McCaughey himself, and tracks from Hitchcock’s own Spooked (“Sometimes a Blonde”) and Jewels for Sophia (“Sally Was a Legend”). There’s also a live version of “The Afterlife,” which has featured in Hitchcock’s sets for awhile now but has never before appeared on CD, therefore making it one of the three reasons fans will want to seek out this EP. The other two reasons, inevitably, are the two new studio tracks, “Luckiness” and “Copper Kettle”; the former is a sparse but upbeat folk-styled number, while the latter once again finds Hitchcock in the melancholy but lovely I Often Dream of Trains mode. Of course, as with most EPs, Sex, Food, Death...and Tarantulas is predominantly a stop-gap measure to keep new product on the ranks (or on iTunes), but on that front, it scores an undeniable win. ~Will Harris (06/01/07)

Gary Hoey: Monster Surf
Label: Surfdog

This isn’t surf music in the true sense of the word. To the contrary, Gary Hoey is one of those guitar shredders ala Joe Satriani who got their start in early metal and have managed to make a nice career for themselves. On Monster Surf, Hoey takes classic pop songs and spins (or shreds) his own take on them. It’s almost humorous that he includes Beach Boys hits like “Fun, Fun, Fun” and “Surfin’ USA” as well as “California Dreamin’” among instrumentals that were hits in their own right, such as “Hawaii Five-O,” “Peter Gunn,” and “Walk Don’t Run.” But through any humor is the fact that this record is really well done. Maybe it’s because of the familiar melodies, or maybe it’s because Hoey is a brilliant guitar player, but the truth is that Monster Surf just rocks. ~Mike Farley (06/30/05)

Steve Hofstetter: Cure for the Cable Guy
Label: Razor & Tie

Sporting one of the best album covers of the year – second only to We Are Scientists’ With Love and Squalor – the head writer for collegehumor.com makes a stand against the anti-intellectualism of a certain Blue Collar comedian, and while his heart is in the right place, his album, Cure for the Cable Guy, comes up a bit short. There’s some great stuff here, no question – “In the last election, I chose Gore over Bush, but when I rent movies, it’s the other way around” – but he tends to go through his routine so quickly that he runs over his own punch lines. He also uses a lot of bits, like the Supreme Court’s definition of pornography and God saying, “Oh, my me,” that were done before, and better, by Bill Hicks. If Hofstetter got a better feel for rhythm and timing, there would be little stopping him. In the end, we love the message more than the messenger. ~David Medsker (04/06/06)

The Ike Reilly Assassination: Sparkle in the Finish
Label: Rock Ridge

Ike Reilly is an artist with an attitude, and Sparkle in the Finish is one part guitar assault, two parts ass kicking. There’s a little bit of everything on here, from bluesy rap/rock like “I Don’t Want What You Got” to the fuzzy and hip “Whatever Happened to the Girl in Me” to the garage-y “Garbage Day.” Then there’s my favorite, “The Boat Song,” which has guitar tones reminiscent of ‘80s icons Psychedelic Furs or OMD. The second half of the record is laced with more experimentation but with songs that aren’t as good as the rest of the album. ~Mike Farley (05/13/05)

The Ike Reilly Assassination: We Belong to the Staggering Evening
Label: Rock Ridge 2007

If Ike Reilly has had a problem soliciting the adjective “Dylanesque” from music critics, he certainly won’t anymore. Reilly brings his raspy voice and heartland rock to a collection of American anthems with We Belong to the Staggering Evening, his fourth studio effort. On the rousing opener, “8 More Days Till the 4^th of July,” Reilly invokes a tent revival, asking “well, Jesus made me/can Jesus save me?” before heading to the local dive bar on “When Irish Eyes Are Burning,” a rollicking, drunken fight song. Honky-tonk sing-a-longs “You’re So Plain” and “Charcoal Days and Sterling Nights” prove that Reilly truly has a gift for melody. On the whole, the album is appropriately titled; it feels like it was written and recorded with a few unapologetic bottles of whiskey in the room. It’s gritty, bluesy ‘60s garage rock with a political bent, and while Reilly’s rasp isn’t for everyone, fans of Bob Dylan (or even Tom Petty) will likely find Staggering Evening is worth their time. ~John Paulsen (08/31/07)

Illinois: So What the Hell Do I Know?
Label: Ace Fu 2007

Despite its moniker, Illinois formed in Pennsylvania, which apparently proved to be too difficult a name (or maybe it was just too on the nose). Like any good musical act, the group incorporates elements of its numerous influences without sounding like anyone in particular for too long. This seven-song EP runs the gamut through Modest Mouse’s pensive, slow-tempo rock on “Alone Again,” Beck’s white boy funk (with banjo!) on “Nosebleed,” early Wilco on “Screendoor,” to the Flaming Lips’ wall of sound on “Headphones.” The disc’s third track, “What Can I Do for You,” is a wispy piano ballad that conjures images of Mercury Rev’s palatable stuff. All in all, it’s a gorgeous collection of songs and arguably the best debut from a band named after an American locale since Boston’s self-titled splash in 1976. ~John Paulsen (08/31/07)

Imperial Teen: The Hair the TV the Baby and the Band
Label: Mike Farley 2007

Back with their first studio album in five years, Imperial Teen’s The Hair the TV the Baby and the Band is about as infectious as anything they have ever released, and more infectious than just about any new releases today. The two male/two female lineup may remind many of the B-52’s, and the fun this band seems to always be having will also help make that comparison. But Imperial Teen has more indie charm, as their melodies dance with the backdrop of bouncy rhythms and crunchy guitars. More than that, these are the type of melodies that will stick in your head just a bit more than you may want them to – they’re actually just a bit too catchy at times. The best tracks are the ear candy gems like “Do It Better” and “Fallen Idol,” as well as the unofficial title track, “Baby and the Band.” ~Mike Farley (09/21/07)

Information Society: Synthesizer
Label: Dancing Ferret Discs 2007

Okay, so maybe the editing of their “Bands Reunited” episode was blatantly, grossly manipulated (you can read singer Kurt Harland’s account of the sordid affair here), but if it ultimately led to a new Information Society record, that can’t be a bad thing, right? Well, let’s not get ahead of ourselves. The Minneapolis transplants, now armed with Harland soundalike Christopher Anton on lead vocals, were at their best when Scritti Politti drummer Fred Maher was at the boards, building monster drum track after monster drum track. The band’s latest, Synthesizer, is very much a kissing cousin of the band’s 1988 debut, at least in spirit. You have Miami sleaze beats in “I Like the Way You Werk It,” a big mash note to Kraftwerk in the title track, and movie samples in “I Love It When…” (though they’re docked for reusing the sample that opens DJ Rap’s “Bad Girl”). The problem is that Paul Robb did not come up with any songs to match high-water marks like “Think” or “What’s on Your Mind,” and Anton’s voice has none of the pop of Harland’s strained baritone, a point made all the more obvious when Harland sings on the album’s final track. Glad to have you back, guys, but next time, bring two hit singles, Harland, and a bigger recording budget with you. ~David Medsker (11/02/07)

Innaway: Innaway
Label: Some

Definitely not your typical SoCal rock band. Innaway’s influences are there for all to see: Some Zeppelin-esque boogie, atmospherics that recall both Pink Floyd (even the vocals on “Threat Hawk” are vintage David Gilmous) and Air. The good moments are really good, like the Stone Roses-ish “Stolen Days” and “The Strings of North Egg.” The middle of the album, however, meanders wildly, to the point of passing by unnoticed. There is a good band in here somewhere, but a little more structure in the songwriting would do them a world of good. ~David Medsker (07/07/05)

The Innocence Mission: We Walked In Song
Label: Badman 2007

So here’s the thing about the Innocence Mission: the band’s lead singer, the wispy and willowy Karen Paris, has a lovely and distinctive voice, but, man, there’s a really unfortunate tendency for their albums to all sound the same. Thankfully, it’s at least a good kind of “the same,” kind of like, say, every Ramones album ever…except far more mellow. We Walked in Song is the ninth album from the Innocence Mission, but it’s the first collection of new songs since 2003’s Befriended. (2004, though, did produce the band’s exemplary children’s album, Now the Day Is Over, wherein they offered wonderful covers of “Moon River,” “Edelweiss,” and “Stay Awake.”) Unsurprisingly, the band’s absence in no way affected their sound; songs like “Since I Still Tell You My Every Day,” “Song for Tom,” and “My Sisters Return from Ireland” find Karen in typically beautiful voice. Particularly notable are the background harmonies on the latter track, as well as “Into Brooklyn, Early in the Morning,” both which serve to make the band sound like a present-day The Mamas & The Papas. (It’s an appropriate comparison, actually, given that Karen’s husband, Don, is one of her bandmates.) Yes, it’s mellow, but if you’re still mourning the departure of 10,000 Maniacs but find that Natalie Merchant’s solo work really just annoys the hell out of you, revisiting the work of the Innocence Mission may serve to fill that void.
~Will Harris (06/15/07)

Intangible: Elevate
Label: Larkio Music

Son of Gary Wright (of “Dream Weaver” and Spooky Tooth fame), Intangible frontman Justin Wright grew up surrounded by some of the greatest classic rock pioneers of our time – and he wears his influences on his sleeve. Wright spent three years writing and producing Intangible’s debut, Elevate, which is full of soaring, post-grunge arrangements that could be classified as “easy rock listening” in the same vein as Collective Soul and Creed. The first single, “Those Around You,” and the album opener, “Lean,” demonstrate Wright’s skills in arrangement. In fact, all of the tracks are produced at a level that, compared to the current under-produced trend, almost make them sound dated, but that’s not necessarily a bad thing for the nostalgic listener. Fans of the aforementioned bands – along with Bush and Live – might find something that they like. ~John Paulsen (05/20/05)

Iron & Wine: Boy with a Coin
Label: Sub Pop 2007

Wistful hipsters, rejoice – the return of Sam Beam, A.K.A. Iron & Wine, is imminent, and this three-song EP is manna sent from Sub Pop to whet your whistle until the next I&W full-length, The Shepherd's Dog, reaches stores and clicky-downloady outlets in September. It's liable to do next to nothing to change the minds of those who have already soured on Beam's layered vocals and wispy arrangements, but for everyone else, these tracks should make for an intriguing preview. Of the three, the opener, “Carried Home,” is the most prototypically Iron & Wine, with its slow, lilting melody and dusty, bucolic vibe; from there, Beam gets to tinkering with his (admittedly rather stale) formula, and the results are endlessly pleasant. “Boy with a Coin” is a sprightly little folk number, built around a hypnotic, circular riff and galloping handclaps, but it's closer “Kingdom of the Animals,” with its barrelhouse piano and lazily spiraling pedal steel guitar, that really steals the show. Beam has shown signs of chafing under the Iron & Wine mantel recently – including In the Reins, his collaboration with Calexico – and if these tracks are any indication, that wanderlust has paid some noteworthy dividends. ~Jeff Giles (07/20/07)

Islands: Return to the Sea
Label: Equator

So reviews are meant to inform you, the reader, right? Help you decide whether or not you're going to spend your hard earned dollars on a record? Do yourself a favor and buy a Shins record instead. This record is painfully uninventive and shallow. Just because the high school football team banged your mom and you just happened to walk in on them while they were doing it, doesn't give you or any other wheat-grass swilling bands the right to make silly little introspective records. Stop it, already. ~Josh Preston (04/12/06)

Joseph Israel: Gone Are the Days
Label: New Door Records/Universal Music Enterprises 2007

Dancehall has dominated reggae for the past couple of decades. It’s a close cousin to hip-hop, and with its similar emphasis on rapping (toasting) over danceable rhythms and backing tracks, it’s followed the same meteoric rise in worldwide popularity. But for anyone who’s missed the gentler, more meaningful soulfulness of roots reggae – think Bob Marley, Steel Pulse, Black Uhuru – deliverance comes in the unlikely guise of Joseph Israel. Born Joseph Montgomery Fennel, this 28-year-old, white, Christian-born American (Tulsa, Oklahoma-born, Arkansas-based) was weaned on a musical diet of reggae growing up, and frequent trips to Jamaica and his subsequent conversion to Rastafarianism sealed the deal. Gone Are the Days, his debut album, was recorded in Kingston at the fabled Tuff Gong studios (Bob Marley’s studio), among others, and it’s the real deal, full of real songs, original rhythms, passionate songwriting and, most importantly, live musicians (including such veterans as guitarist Earl "Chinna" Smith, bassist Chris Meredith, and Marley's mix engineer Errol Brown). Standout tracks include "Jah Souljahs" (and its dub counterpart, "A Tougher Battle Dub"), "Perfect Love," "Mankind," "Ruff Times" (a duet with Luciano, another recent reggae sensation), the title track, and the extended mix of "Jerusalem." And while it’s not all good news (the lead vocals get a bit tired after a while), Joseph Israel’s done more than just update a reggae style from the past; he’s breathed new life into a musical form that, we can only hope, points the way to the future for reggae.
~Una Persson (07/20/07)

Jack’s Mannequin: Everything in Transit
Label: Maverick

Something Corporate frontman and ivory tickler Andrew McMahon steps out onto his own under the nom de guerre Jack’s Mannequin and delivers a stunning collection of piano-driven power pop. Comparisons to Ben Folds are inevitable, due to their instrument of choice, but Folds hasn’t written anything this perky in eons, from the theremin-riffing “Miss Delaney” (“She’s the vinyl queen from a surfer’s dream / She likes the Beach Boys more than Radiohead”) to “I’m Ready,” which may or may not hold a mini-tribute to REM’s “Belong” in its spoken word soliloquies. Tying everything together is a story about coming back home after years on the road, and dealing with the relationships with those you left behind. It’s catchy, it’s bouncy, and it may single-handedly save power pop. ~David Medsker (08/18/05)

Boney James: Christmas Present
Label: Concord 2007

Saxophonist and smooth jazz icon Boney James has followed up his chart-topping album, Shine, with Christmas Present, a solid collection of classic holiday tunes. When a player of James’ caliber decides to put a project like this together, it’s usually good and in some cases really good. Christmas Present falls somewhere in between – it’s all nicely arranged as smooth jazz goes, and has the help of Grammy nominees Anthony Hamilton and Angie Stone, but isn’t groundbreaking by any means. Still, if this genre is your cup of tea, you’re going to want to snap it off the shelf this holiday season. The best tracks, not surprisingly, are the R&B romp featuring Ms. Stone, “Merry Christmas Baby,” and the classic bluesy version of “Silent Night” featuring Hamilton. ~Mike Farley (11/16/07)

Rick James & Friends: Best of Volume 2: The Millennium Collection
Label: Motown

In addition to releasing some of the most memorable R & B from the late 70’s to the mid 80’s, Rick James also wrote and produced for a small stable of performers. This collection highlights his collaborations and productions with those artists. The Smokey Robinson duet of “Ebony Eyes” is the only song that appears on Rick James: Best of Millennium Collection I. Volume II features A 12” version of the Mary Jane Girls hit, “In My House” and another Temptations and Rick James joyride called “Standing On The Top.” This is an excellent companion of the first volume. Dance out and grab it. ~R. David Smola (08/25/05)

Jeremy: Find The Way To Be Happy
Label: Jam

You’ll find very few people in the music business willing to say a bad word about Jeremy Morris; in addition to running Jam Recordings, he’s also one of the most prolific musicians out there, dabbling in gospel, new age, and progressive rock, but he’s made his greatest name via his work in the power pop medium. Find the Way to be Happy is full of a seemingly never-ending stream of catchy, almost ceaselessly upbeat nuggets (the cover is plastered with smiley-faces for a reason), but that’s also somewhat of its curse as well. There are 22 songs here, spread out over 73 minutes. Even if you like power pop, that’s still a whooooooole lot of tracks for a genre of music where brevity is usually preferable; transforming it into two separate albums probably would’ve been a wiser course of action. But that’s really neither here nor there at this stage of the game, so enjoy it as it is: a solid collection of pop songs. “Turn This Around,” “Had to Get Away,” and the blatant Beatleisms on “Time for Action” are particularly strong, as are “Everyone Who Pretended,” the ‘70s bubblegum of “Good Love,” and the piano ballad “I Remember.” You might get a toothache from all the sugar, but you’ll be hard pressed to be in a bad mood. ~Will Harris (12/01/05)

Elton John: Captain Fantastic and the Brown Dirt Cowboy, Deluxe Edition
Label: Universal

History shows that 1975’s Captain Fantastic was the beginning of the end of sorts for Elton John; though he continued to rack up hit after hit on the singles charts, it would be another eight years before he put a decent album together (Too Low For Zero). Captain Fantastic isn’t teeming with well known songs – “Someone Saved My Life Tonight” is the only song to chart – but it’s the last album he made with his legendary backing band of Murray, Olsson and Johnstone, and the songwriting is some of John’s best. To top things off, his cover of “Lucy in the Sky with Diamonds” is included, as well as “Philadelphia Freedom” and a second disc featuring Captain Fantastic recorded live in its entirety, along with “Pinball Wizard” and “Saturday Night’s All Right For Fighting.” Vintage stuff, across the board. ~David Medsker (10/13/05)

Elton John: Rocket Man: Number Ones
Label: Mercury Records 2007

Elton John releasing an album of hit songs may be overkill at this stage, but it’s hard not to marvel at his success over the past 30-something years. If anything, albums like this serve to remind us of that success while giving us the treat of having all of John’s hits in the same place at the same time. Some of the classic number ones on this set are “Goodbye Yellow Brick Road,” “Daniel,” “Crocodile Rock,” and “Philadelphia Freedom.” Of course, there are some other number ones that were hits later in John’s career, such as “Sacrifice” and “Can You Feel The Love Tonight?” which are as sappy as anything this side of Celine Dion. But we’ll let that go, because that’s what the “skip” button is for. Other songs on here that weren’t number ones include the powerful title track, the timeless “Your Song,” and “Tiny Dancer,” which may be the best song in this man’s catalog. We know there’s no need to remind anyone of what a great singer and songwriter Elton John is, but there are reminders in the form of collections like this nonetheless. ~Mike Farley (04/20/07)

John Butler Trio: Sunrise Over Sea
Label: Lava

He might sport dreadlocks that would put a Marley to shame, but John Butler’s no rasta, mon; he comes from a land down under. Well, sort of. He’s originally from Torrance, California, but his family moved to Australia when he was 11, and he resides there to this day. Sunrise Over Sea is the Trio’s American major label debut, but the band – Butler on vocals and guitar, Shannon Birchall on bass and Michael Barker on drums – has been recording and releasing albums in Australia since 1998. With a voice that variously resembles Anthony Kiedis and Eddie Vedder, Butler’s music is best described as melodically bluesy, with a tendency to indulge in the occasional jam (making the song title “Bound to Ramble” chuckle-worthy), which means that, although he’s probably already tired of being referred to as the Australian Dave Matthews, he should probably suck it up and get used to it, because it won’t be stopping anytime soon. Sunrise Over Sea is the kind of album that college kids will go nuts over, and they could do a lot worse (the string-laden “What You Want” is tremendous, and the bluegrass-styled “Damned to Hell” is short but strong), but it’s an album that begs the question, “Will this still be as interesting when we run out of pot?” For much of it, that’d be a “no.” ~Will Harris (05/27/05)

Eric Johnson: Bloom
Label: Favored Nations

If you heard Eric Johnson’s Ah Via Musicom, which was released in 1990, then you’ve already heard the first portion of Bloom. The guitar tones and melodies are all pretty much clones of Johnson’s second release. It’s good stuff, and he can play the shit out of his guitar, but it’s not like we haven’t heard it before. Lucky for us, the “Prelude” is only part of three sections. The “Courante” section is more like smooth jazz, and songs like “Your Sweet Eyes” and “From My Heart” are really quite good. The “Allemande” has elements of both styles, but the tracks in the middle section are definitely strongest. Fans of Johnson will either love this or be angry at all the regurgitation. ~Mike Farley (06/17/05)

Howard Jones: Revolution of the Heart
Label: Koch Records

Howard Jones traded in the synth-pop sound of his most commercially successful material for an electronica/dance feel on his latest album entitled Revolution of the Heart. For the most part the disc is pleasant and well executed, but very pedestrian. The two tracks that stand out are “Respected,” which features the most aggressive guitar work on the keyboard and computer program dominated record, and “Stir It Up,” which involuntarily makes you want to rip up the dance floor. Other than that, Revolution is pleasant, but ordinary. ~R. David Smola (10/27/05)

Jonny Lives!: Get Steady EP
Label: 10th Street Entertainment

Jonny Lives! is essentially singer and songwriter Jonny Dubowsky with a backing band, and this New York City band rocks with the same East Village swagger that has helped to launch such bands as the Strokes, the Mooney Suzuki and Fountains of Wayne. Jonny Lives!’s Get Steady EP has a throwback vibe that is equal parts Brit rock ala early Stones and NYC old-school punk akin to the Ramones. There are guitars all over this five-song collection, and Dubowsky has a decent set of pipes too. Standouts are the riff-driven title track, the fuzz-box laced “Cliché,” and the super catchy “Love Conspiracy.” ~Mike Farley (02/23/06)

Junkie XL: Today
Label: Ultra 2006

Tom Holkenborg, a.k.a. Elvis’ remixer (he did that ubiquitous mix of “A Little Less Conversation”) wants to join the DJ/producer/performer/hyphenate set, and surprise, surprise, he holds more than his own. Today combines the moodiness of Chicane’s Behind the Sun with the nervous instrumentation of BT’s better work, but with less emphasis on house and more on rock, particularly New Order (“I Have Got a Xerox to Copy”). The chugging opening track “Youthful” is one of only a handful of songs that justifies its incredible length (ten and a half minutes), and “Honey” is like an electronic version of “Io (This Time Around)” from Helen Stellar, subsequently one of the few bright spots to the “Elizabethtown” soundtrack. It’s a club record that’s made to be listened to. Sound familiar? That’s right; it’s the kind of record that Seal used to make, before he got all mushy on us. ~David Medsker (04/27/06)

Junior: Are We Famous Yet?
Label: Toucan Cove 2007

It’s always refreshing when bands know not to take themselves too seriously. So when a rock trio from Twangland U.S.A. (Texas, Arkansas and Louisiana, to be exact) cranks up their amplifiers and writes tongue-in-cheek lyrics, they are not just taking themselves less seriously, they are downright poking fun at their own band. In this case the band is Junior, whose debut, Are We Famous Yet?, is funny and at times hilarious, and is also as catchy as anything in the Warped Tour genre. And these are clearly lyrics geared toward pop/punk’s teen followers – in particular, “Burger King” sings about blasting “Free Bird” and mullets blowing in the wind, and “NASCAR Man” is a track that playfully pays homage to the band’s southern roots. “She’s So Amazing” will piss you off because the catchy yet annoying chorus will stick in your head for days, and Junior throws in a pretty lame cover of Poison’s “Talk Dirty to Me.” In all, this is a fun summer album, but not one that will stand the test of time once schools open again. There’s just too much new music out there to compete with, and too many pimply-faced girls to be chased by pimply-faced boys. ~Mike Farley (07/20/07)

Just One More: A Musical Tribute to Larry Brown
Label: Bloodshot Records 2007

At best, most tribute albums are a mixed bag. At worst, they’re usually more fun for the participants and casual listeners than they are for real fans. Or, put another way, while tribute albums may hold any number of worthwhile gems, they’re the musical equivalent of MSG: they provide temporary fulfillment, but invariably send you back for something more fulfilling (usually the real thing, the source of whatever artist is being paid tribute to). Just One More: A Musical Tribute to Larry Brown mostly sidesteps the problem, mainly because it’s not a tribute to another musician or band, but to a writer – Larry Brown, author of two story collections, five novels (including 1990’s “Big Bad Love” and the posthumous “A Miracle of Catfish,” released earlier this year), two works of non-fiction, and the occasional piece for No Depression magazine (not surprising, given Brown’s lifelong love affair with music). Brown, often compared to other dark, literary writers (such as Faulkner, Cormac McCarthy, Charles Frasier, Harry Crews, etc.) died of a fatal heart attack in 2004. This is a loving tribute by artists who were both friends and fans, as well as some fellow writers. Highlights include cuts by Alejandro Escovedo, Bo Ramsey, Greg Brown, author Madison Smartt Bell and poet Wyn Cooper, North Mississippi All Stars, T-Model Ford, Tim Lee and Susan Bauer Lee, Vic Chesnutt and Robert Earl Keen. Some of the disc’s 18 songs – 12 of which are previously unreleased – were written for project, songs about Brown, or about characters in his books. The CD closes with a song performed by Larry Brown himself, accompanied by Clyde Edgerton, another Southern novelist of some renown. It’s a roots-rock, Americana-tinged affair all-around, and its success comes from its mix-tape ambience and lack of pretension.
~Una Persson (06/15/07)

Kalli: While the City Sleeps
Label: One Little Indian 2007

This might not be a selling point for a tremendous number of our readers in the United States, but for you music fans out there beyond the US borders, listen up: Kalli’s While the City Sleeps sounds like it was recorded by a-ha between 1990’s East of the Sun, West of the Moon and 1992’s Memorial Beach. Yes, the references are rather obscure to Americans, given that the points of comparison are albums that sold bupkis on these shores, but trust me, it’s accurate. Kalli, former lead singer of the Icelandic band Without Gravity, makes his solo debut with While the City Sleeps, and, seriously, his vocal similarity to Morten Harket is downright eerie. And if the a-ha reference is totally lost on you, try this: if you like the simpler, less epic songs by Coldplay and Keane, this album could be for you. Granted, with songs like “River of Darkness,” “It’s Over,” and “Fear,” the proceedings are decidedly melancholy…so much so that, by the end, you’ll either be a fan for life or on the verge of slitting your wrists…but Kalli’s lovely, shimmering voice shines out of the darkness. ~Will Harris (04/20/07)

Karmina: The Kiss
Label: KKR Records 2006

The sisters that make up Southern California based pop/rock duo Karmina are cute as hell, and they have the formula for writing ridiculously hooky pop music down to a science. So why aren’t they huge yet? That’s a really good question, and one you’re going to be asking as well once you hear their sophomore effort, The Kiss. If you’ve had enough of the Michelle Branch/Kelly Clarkson/Vanessa Carlton clones out there, Karmina is going to feel just a bit refreshing because while their music may have the same vibe as those artists, it doesn’t feel forced. The only real drawback is that with seven songs, you’re left wanting more. All of the tracks are good, but the explosive title track as well as “Mason” are so potent that if they ever find an outlet on terrestrial radio, look out.
~Mike Farley (01/04/07)

Kasabian: Empire
Label: RCA 2006

Brit rockers Kasabian were given a huge boost when their song, “Reason Is Treason,” was included on the hit Fox show “The O.C.” and landed on the fifth compilation of that show’s music. But make no mistake, Kasabian is a bit of a buzz band with or without that kind of help, because they write and perform engaging rock songs with an electronic flair a la the Chemical Brothers, and with a ballsy attitude that drags out influences such as Mick Jagger. The band’s sophomore effort, Empire, is a bit more bombastic than their self-titled debut, and Kasabian takes more chances, stretching their chops as songwriters and musicians. The title track, as well as “Shoot the Runner,” are so full of energy that they might force you to drive off the road or drink way too much, but the band is equally effective on the Depeche-flavored “By My Side,” the Beatlesque “British Legion,” or the gang-vocal driven “The Doberman.” This is a record to put in at a party if you want to show your friends how cool you are, or quite honestly, if you want to get laid. ~Mike Farley (10/26/06)

Kaura: Kaura EP
Label: Self-released

Kaura is a four-piece heavy rock band that is a little more worldly than most of those in its genre. What makes these guys stand out is that their travels to exotic places like Thailand and Bali convinced them to infuse hammered dulcimers, gamelan bells and tribal beats into their own melodic songs. Influenced by powerhouses like Tool and Queens of the Stone Age, Kaura already had a good foundation and is clearly a band to keep an eye on. ~Mike Farley (05/13/05)

Robert Earl Keen: What I Really Mean
Label: Koch

Robert Earl Keen comes from the breed of singer/songwriters that, if your average man on the street was played one of his CDs and asked to describe it, would find himself instantly labeled as country. With “For Love,” the opener on What I Really Mean (his ninth studio album), that perception remains intact. In truth, however, Keen is a Texas boy who emerged at approximately the same time as Nanci Griffith and has similar musical tendencies, leading him down the folk path more often than not. Keen definitely has a bizarre sense of humor; songs like “Mr. Wolf and Mamabear” and “The Great Hank” are truly surreal vignettes, the latter describing a dream about Hank Williams, where the legendary country singer is performing “onstage in Philadelphia, Pennsylvania / He was all dressed up in drag / From his rose red lips to his rhinestone hips, he belted out song after song as he drank from a brown paper bag.” Songs like “The Wild Ones” and the title track are more traditional in their approach, however. It’s not Keen’s best album, but it’s still a damned sight better than what you’ll hear on your local country station. ~Will Harris (08/11/05)

Toby Keith: Big Dog Daddy
Label: Show Dog Nashville Records 2007

Toby Keith is officially in a slump. Let’s not sugarcoat it by talking about past accomplishments, his great catalog, all the award show statues, blah blah blah. Let’s not make excuses about how busy he’s been between releasing a new album every year since 2001 (one could say that substance has been depleted) and even the unexpected success of his film “Broken Bridges” and its accompanying soundtrack last year. The simple fact is that, musically speaking, he is three or four states away from the good ol’ core Country anthems that put him on the map. Gone are the really good, cleverly-written radio smashes like “How Do You Like Me Now?” and “Beer for My Horses,” sappy but meaningful ballads like “My List,” or even the over-the-top but cool patriotic stuff (“Courtesy of the Red, White and Blue”). Schlocky and juvenile is the name of the game these days, as “High Maintenance Woman” is his calling card (“If your washer and dryer need repair, you know the handyman’s waitin’ and he’ll be right there”). “Love Me If You Can” is a nice enough slow dance, exposing a convicted and spiritual side of the rugged Ford truck man, while “Pump Jack” flat rocks with the help of Nashville unknown Bobby Pinson. Spend a couple bucks downloading those last two songs and save the rest for the next George Strait album. ~Red Rocker (07/06/07)

The Killing Moon: A Message through Your Teeth
Label: Fearless Records

The Killing Moon, hailing from Portland, Maine, is easily one of the better rock bands that I have heard in recent months. Their debut EP, A Message through Your Teeth, serves as a taste of what to expect from their full-length record, due later this year. I, for one, can’t wait to hear it. Melding modern hard rock with a pinch of emo (and some interesting saxophone and trombone effects), it becomes clear very quickly that this band knows its talents and how to effectively put them to use. The Killing Moon, unlike so many of its genre’s brethren, lets their songs develop and truly build, then unleash with solid breakdowns. Vocalist/guitarist Ryan Hannan has a dynamic, often ferocious voice that is the linchpin of each song. All five offerings here are solid, with the true standout being “A Book of Love Stories,” and showcase a band that is just bursting at the seams with energy and talent. ~Bill Clark (03/02/06)

Kill The Alarm: Fire Away
Label: Gsmakr Music 2007

New Jersey native Garen Gueyikian has been hovering around the music scene in the Northeast, previously under the moniker Granian. Now he’s back with a full-band project, Kill The Alarm that is like a plugged-in version of Garen’s former self. With the band’s debut, Fire Away, they’ve got a buzz going in the New York City clubs (a sold-out CD release show at Arlene’s Grocery) and also on the Internet, and it’s obvious why. The dude not only knows how to write songs, he’s got a huge rock voice that serves as the perfect medium for them. Kill The Alarm features some of Granian’s best material, like “Uncovered” and “Collide,” but as good as those songs are and were, there’s some even better material on here. Examples are the Live-ish title track and “Call on Me,” which is like the love child of some of the Goo Goo Dolls’ and Matchbox 20’s biggest hits. But those comparisons aren’t to say that Kill The Alarm sounds dated—they’re merely keeping good music alive. ~Mike Farley (03/22/07)

Carole King: Love Makes the World: Deluxe Edition
Label: Rockingale 2007

Carole King is such an icon that it’s nearly impossible to say anything negative about what she releases. And so there’s nothing bad you can say about the re-release of her 2001 album, Love Makes the World, on her own Rockingale Records. The album itself is full of King’s incredible knack for melody with a contemporary bent on the pop music typically ruling light rock airwaves. In particular, “I Wasn’t Gonna Fall in Love” is amazing and practically a clinic in songwriting. King, after all, has not just put out her own music all these years, but she’s written hits for the likes of James Taylor and Dusty Springfield. But this is a re-issue, and even though Love Makes the World is a great album, this release is about the bonuses—a second CD with standards like “Birthday Song” and “Love For Christmas,” as well as a duet of King’s classic “Where You Lead” with her daughter, Louise Goffin. There are also two previously unreleased tracks – a duet with Alejandro Lerner (“Lo Que Tu Eres Para Mi”) and another with Graham Nash (“Two Hearts”) that are both as magical as you might expect. The second CD is enhanced and features videos on the making of the album and more. Casual King fans will love this collection, and rabid fans may be obsessed with it.
~Mike Farley (08/17/07)

King Elementary: Kudzu
Label: Sweettea

With a label named Sweettea and an album entitled Kudzu, you don’t exactly need to check King Elementary’s press kit to confirm that they’re from the South – specifically, they’re from Mississippi – but without looking at the photos of the band, you would need to be told that they were all still in their teens when they recorded this, their debut record. No boy band is this, however; these guys clearly have record collections that extend well beyond the mainstream. Lead singer Morgan Jones channels Kurt Cobain with some regularity, but the music, while admittedly partially inspired by the Seattle sound of the ‘90s, also resembles, variously, Sonic Youth, the MC5, and the Hives. The melodic guitars and pounding drums on opener “For the Birds” will drag most into the disc without argument, “Spur of the Moment” is a dark, bass-led pop nugget, and “Thief of Hearts,” with its “ba-da-ba-da-BOMP” refrain is undeniably fun, but things aren’t always quite as memorable throughout the 11 songs; there’s not much to “Satisfactory,” for instance, and “Kisses from the Stone” is rather plodding. Still, there’s a great deal of musical variety here, and given the ages of King Elementary, it’s a fair bet that things will only get better. ~Will Harris (11/24/05)

Kings Of Leon: Aha Shake Heartbreak
Label: RCA

So much hoopla and speculation preceded the second Kings Of Leon record, overshadowed by the stunning success of Youth and Young Manhood two years ago, that a month or so after its release, Aha Shake Heartbreak has become the silent killer of the year. Is it everything the first album was? Not exactly. But as is so often the case, if the follow-up had been released first, it would be every bit the hit, if not more. A riveting “Taper Jean Girl,” boasting the now-signature stutter step guitar parts of adolescent Matthew Followill, won’t take a backseat to anything on Manhood. “The Bucket” is the first single, and it’s arguably as playful and addictive as “Molly’s Chamber” or “Red Morning Light.”

It’s the less domineering moments within Aha that give it character and merit to spare. “Pistol of Fire” and “Soft” are the kind of tracks that might get overlooked the first spin, but eventually become cult favorites. The highlight here is tucked away near the end, as “Velvet Snow” just wails, “Death row smoking getting to your face, showing off your something shaved and lacy.” The Kings are one of the few bands out there who come across just as dynamic and urgent on record as they do in live performances. Aha is a treasure in a very young career. ~Red Rocker (04/15/05)

Kingsbury Manx: The Fast Rise and Fall of the South
Label: Yep Roc

It’s hard to believe these guys are from Chapel Hill, NC. The reference points on the back of Kingsbury Manx’s latest album – their first since expanding beyond Overcoat Recordings – are Pink Floyd circa the Syd Barrett era, the Kinks during the Village Green Preservation Society era, and Simon and Garfunkel, with more suspects as Elliot Smith, the Shins, and the Radar Brothers also purportedly in the mix. The vocals are actually more like early Roger Waters rather than his old friend Syd; musically, it’s easy to buy into the Kinks’ Village Green comparison... well, except one also has to imagine that, at the time, Ray Davies was taking some serious tranquilizers. “1000 8” and “Ruins” are the most upbeat songs on the album; elsewhere, the vocals remain consistently hushed, the guitars lightly strummed or gently plucked. It’s ironic that the word “fast” should be included in the album’s title; lovely though it may be - and this is a disc that possesses many subtle pleasures – longtime Kingsbury Manx fans will not be surprised to find that it’s not going to do anything to liven up your next party. ~Will Harris (09/08/05)

Earl Klugh: Naked Guitar
Label: Koch 2005

Though the title Naked Guitar will lead many folks to porn websites when searching the Internet, there is nothing perverse or obscene about jazz guitarist Earl Klugh’s first release in six years. Naked Guitar is just Klugh and a classical guitar - crisp, clean, and as an old friend of mine used to say about Klugh, “right on the money.” Klugh is an amazing player, and there are very cool takes on standards such as “Ding Dong the Witch is Dead” and “Moon River.” This is one of those albums that is perfect for Sunday mornings, rainy days, and romantic dinners - definitely something to score points with your lady, whether scoring points is something you need to do or not. ~Mike Farley (08/25/05)

Kraftwerk: Minimum-Maximum
Label: Astralwerks/EMI

A two-disc set (priced as a single album) consisting of performances recorded during their 2004 world tour, Minimum-Maximum is not only the definitive hits compilation Kraftwerk fans have been waiting for, but a startlingly kick-ass live record. The arrangements are faithful to, but not carbon copies of, the reworked versions the band made for The Mix (1990), with lots of subtle but significant tech upgrades. The version of “Numbers” positively kills, and “Trans Europe Express” alone unveils the origins of Depeche Mode’s “Stripped” and “The Gap” from the Thompson Twins. Someone please tell us, again, exactly why Kraftwerk is not in the Rock and Roll Hall of Fame? ~David Medsker (06/17/05)

Diana Krall: Christmas Songs
Label: Verve

Jazz singer/pianist Diana Krall has broken through barriers, as her 1999 album When I Look In Your Eyes earned her a Grammy for Best Jazz Vocalist and a nomination for Album of the Year, which at the time was the first jazz record to earn that distinction in 25 years. Krall’s latest is a Christmas album, and it is aptly titled Christmas Songs because there is a simplistic beauty about the way she delivers these holiday favorites with equal parts grace and swing, such as “Let It Snow,” “Christmas Time is Here,” and “Sleigh Ride.” Of course, it doesn’t hurt that Krall’s sexy voice matches her modest hotness. You’ll definitely score points by putting Christmas Songs in your girl’s stocking this year. ~Mike Farley (12/22/05)

kd lang: Reintarnation
Label: Rhino

Wipe that smirk off your face right this second: kd lang rules, dude. This collection of her country work – just writing those words is amusing, since the country scene had no idea what to make of her – is a cowpunker’s dream come true. Leadoff track “Pay Dirt” is like June Carter Cash singing Johnny Cash’s “Cocaine Blues,” and “Angel with a Lariat” is Patsy Cline covering “Viva Las Vegas.” Still, you can see the seeds for her 1992 pop breakthrough Ingénue in songs like “Diet of Strange Places” and “Trail of Broken Hearts,” which sports a guitar riff that wouldn’t have sounded out of place on A Hard Day’s Night. A small request, though: we’d like to call a moratorium on ripping off the Elvis Presley/London Calling album cover. It’s been done. My, oh my, has it been done. ~David Medsker (04/20/06)

The Krinkles: The Mordorloff Collection
Label: Mordorlorff Music 2007

If it’s true that you can tell more about a band by the songs they choose to cover than by their original material, then the fact that power poppers the Krinkles have opted to include a rendition of Rick Springfield’s “Love Is Alright Tonight” speaks volumes. Rather than go for the obvious, more kitschy pick of “Jessie’s Girl,” they’ve gone for an equally classic hit from the once and future Dr. Noah Drake’s catalog, which says, “No, seriously, we really do like Rick Springfield.” Yeah, it’s a bit of a sloppy version, but it’s sloppy in the way you’d expect from the Replacements circa their Twin\Tone era…which means it’s actually a two-pronged clarification of what to expect from the Krinkles. The band’s sense of humor is evident from the second you look at the album art (a spot-on parody of those 20th Century Masters - The Millennium Collection covers), but the music is a blend of ‘60s garage rock, ‘70s power pop, and a bit of today’s brand of punk-pop. Soaring pop choruses like “Gimme Gimme” veer into bluesy ballads like “Blinded by Love,” but even when there’s a slow, languid number like “Closer to Here than There,” there’s always something like the bounce of “I Want You” or “Friday Night” to bring the mood back up. Shame they didn’t opt to close with the perfect finale of “So…Goodbye,” though. ~Will Harris (11/09/07)

Larry the Cable Guy: Morning Constitutions
Label: WB Nashville/Jack Records 2007

The opening lines set the stage, really: after uttering his inevitable catchphrase, “Git-r-done,” Larry the Cable Guy greets his audience by saying, “Minneapolis, thank you so much! I ain’t been this excited since I found a quarter in my poop!” And before he’s even finished his opening routine, we’ve also gotten a fart joke, a gag about his 97-year-old grandfather’s ball sac, and jokes about Mexicans, prostitutes, and the “retarded gal” he used to date. Basically, if you haven’t laughed in the first five minutes, you’re safe in bailing out early, because it doesn’t get any better. It’s low-brow comedy for the lowest common denominator…but, then, you don’t really even need to put the disc in the player to know that, given that the last track is entitled “Poop Lasagna.” It’s mildly ballsy for Larry go on a tirade against how stupid Wal-Mart employees are, given that he probably sells more copies of his albums through their stores than any other avenue, but that’s as close to edgy as this material gets; mostly, it’s just dumb to the nth degree. As ever, our advice remains the same: continue your Larry the Cable Guy embargo and go buy something by Ron White instead. ~Will Harris (04/20/07)

The Lashes: Get It
Label: Red Ink/Columbia

If Enuff Z’Nuff were the hair-metal band who weren’t afraid to admit that they liked power pop, then the Lashes must be the equivalent for the Strokes/Killers/Bravery/Interpol generation of bands. Actually, the hair-metal comparison comes full circle with the cover photo for Get It, which looks more like an outtake from the sessions for Motley Crue’s Too Fast for Love. Intentional tribute or piss-take? Tough call...but it’s a little disconcerting that the band has taken a pass on printing their lyrics, instead focusing on lots of photos of themselves. While these guys might have the same general look as every other band out there, they clearly know their way around a catchy hook; they also come with a producer – John Goodmanson – with considerable indie credibility. (He’s worked with Death Cab for Cutie, Sleater-Kinney, and Hot Hot Heat, among dozens of others.) The bouncy, piano-driven “Dear Hollywood” is the longest track, coming it at just over four minutes; the rest of the songs are catchy, harmony-filled nuggets, with “Sometimes the Sun” and “Please Please Please” being particular highlights. If you’ve gotta lay money on this year’s major-label pick to click, you could do a lot worse than the Lashes. ~Will Harris (03/02/06)

The Last Goodnight: Poison Kiss
Label: Virgin 2007

Awwww, aren’t they cute? There’s the sensitive lead singer with the Mohawk, the guy with the long-ish emo cut, the shaggy one in the back, and hey, they even have a black dude in the band. It’s as if a Benetton ad came to life and became a rock group. A really bland, safe, inoffensive rock group. Their bio speaks of ‘80s references and classic rock influences, but the album, Poison Kiss, is all about the doe-eyed pop, like a lost collaboration between Maroon 5 and Swirl 360 but not as good as either. Songs like “Back Where We Belong” suggest that the band has a rough idea of what makes for a catchy pop tune – “Stay Beautiful,” meanwhile, just steals Maroon 5’s “This Love” and revises it a little – but they haven’t yet figured out how to make a pop song with a life, or personality, of its own. Record labels used to sign bands that made a statement about them. What, then, does the Last Goodnight say about Virgin? “No girl’s babysitting money is too good for us,” it appears. Lastly, a thousand lashes to lead singer Kurtis John for sporting a Mohawk but singing in a falsetto, which violates at least a dozen unwritten rules of rock. Also, the album cover’s pitifully bad. ~David Medsker (08/24/07)

Cyndi Lauper: The Body Acoustic
Label: Epic

With the help of guests like Ani DiFranco, Sarah McLachlan, Shaggy and Jeff Beck, Cyndi Lauper deconstructs 10 of her best known songs and builds acoustic, unplugged and otherwise different versions of them, while adding two new songs. “All Through the Night” becomes a semi-country ditty, with Shaggy throwing in his distinctive vocal style for good measure. When McLachlan and Lauper trade verses on “Time After Time,” their voices carry the song, not the slick production that was featured on the original (from 1984’s She’s So Unusual). The slowed down version of “She Bop” is creepy, considering the original was a celebration of masturbation, and makes you feel guilty for knowing the subject matter. This is not happy-go-lucky Cyndi, but an interesting Cyndi nonetheless. She is exploring her material as an artist, not as a pop star, and it works. ~R. David Smola (12/22/05)

Led Zeppelin: Mothership
Label: Swan Song/Atlantic 2007

Writing about Led Zeppelin in this day and age is as pointless an endeavor as there is, so we’ll sum up their legacy thusly: they rule. Mothership, the two-disc/one-DVD collection of Zeppelin’s best-known work, will do the job for the casual Zeppelin fan – if there is such a thing – though even they will wonder why “Dancing Days” and “Fool in the Rain” didn’t make the cut. “Fool in the Rain,” really? The band had only six songs crack the Top 40 and they’re going to leave one of them out? Hmmm. Fortunately the DVD, a collection of excerpts from 2003’s “Led Zeppelin,” contains a few tracks missing from the CDs, notably “What Is and What Should Never Be,” “Misty Mountain Hop” and “Going to California.” Hard to think that there is anyone left on the planet that doesn’t own most of these songs already, but should there be one or two wandering aimlessly, this is where they should start.
~David Medsker (11/30/07)

Libby Lavella: Sometim