New & Old Music

The Who's not on first with "Endless Wire"

2006-11-08T09:46:00.000-08:00

THE CD: "Endless Wire"
THE PERFORMER: The Who
SUGGESTED TRACKS: "God Speaks of Marty Robbins," "You Stand by Me," "Endless Wire," "Tea and Theatre"
YOU'LL LIKE IT IF...: the only thing you trash these days is junk mail from AARP.
WEBSITE: Click here.

"Endless Wire," the Who's first studio album since 1982's "It's Hard" marks a few odd milestones. Not musically.

Guitarist and maestro Pete Townshend crafts 21 fine tracks, including an 11-song "mini-opera" titled "Wire and Glass." Good but not fresh. "EW" treads the same narrative, big-sound path that Townshend forged in 1969 with the rock opera "Tommy" and nursed to maturity with the universally adored "Who's Next" in 1971 and "Quadrophenia" two years later.

"EW" slowly opens its aged eyes with a dreamy, dancing synth ripped from "Baba O'Riley" (a k a "Teenage Wasteland") and slightly tweaked. The song, "Fragments," traipses into existential choruses of "Are we breathing out/Are we breathing in...We are all tiny pieces."

And so the surviving Who -- Townshend and singer Roger Daltry -- journey through a host of stadium pounders a little heavy on the Meat Loaf and a handful of introspective acoustic numbers a la "The Who By Numbers."

They mine several jewels along the way. "In the Ether" nicely taps the smoky jazz of Tom Waits. "You Stand By Me" is a sweet but all-too-short ballad of people sticking it out -- clichéd but well done. "Tea and Theatre" plays up the mellow lives of rock stars deep in the twilight of their career. This last closes out "Wire and Glass," the rise-and-fall story of a band. We wonder -- could it be autobiographical?

Probably not. After 40 years, the Who still tour and have enough legend stored in their rock bank accounts to do whatever they please, forever. No matter how bad. Three cheers for "Endless Wire" sparing us intense loads of crap, by the way. One song sticks out. "We Got a Hit" cooks up the same stale corn "Rent" harvested 10 years ago. Other songs fall short, but not this painfully.

Enough about the music. "EW" makes a significant divot in the Who timeline. This is only the THIRD album since drummer and resident madman Keith Moon died in 1978 and the first since the hard-charging and influential bassist John Entwistle passed on in 2002. Since "It's Hard," the band broke up twice and the members trawled various personal and professional waters.

"EW" plays like a time-lapse film. Every day since 1982 flashes past. Townshend, 61, and Daltry, 62, shoulder remnants of their youth and energy. But years hang on their gravelly voices. They sanded the edges off their new songs. The young man's revolution bows out to dismay and reflection right before our ears.

Many older artists dusted off the sound board this year. The Kinks' Ray Davies recorded his first solo album ever; Jerry Lee Lewis shot back after ten years of obscurity and Bob Dylan galloped into town after a half-decade. On Nov. 14, Cat Stevens - now known as Yusef Islam -- spins out his first fresh release since 1978.

With "Endless Wire," the Who fallshort of baring the best of this year's veteran fruit, but they score with one of the the more interesting.

Available at all local record stores.

-- by Morgan Kelly

The Mars Volta--"Amputechture"

2006-11-08T09:30:00.000-08:00

The CD: "Amputechture"
Performer: The Mars Volta
You'll like it if: You like circa 1973 King Crimson, Van Der Graaf Generator; "Relayer"-era YES; more ponderous Pink Floyd.

Five years ago, when the promising indie hardcore punk band, At The Drive In, disbanded and split into two factions, casual observers never would have guessed that one of those factions would pursue a totally new musical direction and wind up resurrecting a type of heavy progressive rock the likes of which have not been heard since the early-1970s version of King Crimson and the legendary art-rock band, Van Der Graaf Generator.

The Mars Volta struck like a meteor from the past--a throwback to the glorious, pretentious days when angry young men listened to rock music with the seriousness that scholars reserve for classical compositions.

In fact, ATDI members Cedric Bixler-Zavala and Omar Rodriguez-Lopez had already been working on a little-known side project, De Facto, which betrayed their experimental leanings. When the other members of ATDI formed Sparta, Bixler-Zavala and Rodriguez-Lopez formed The Mars Volta, and shocked everyone with a full-blown aural assault with extended songs featuring involved guitar solos and "heavy" concepts. "Amputechture" is their third full-length album, and it's one of their most impressive yet.

This also their first album that doesn't feature a central concept, though an opposition to the excesses of organized religion is evident throughout. Red Hot Chili Peppers guitarist John Frusciante guests on most cuts, and turns in some of his most inspired work in years. It was no small coincidence that the Chili Peppers used The Mars Volta as their opening act on their most recent tour.

The songs, written by Rodriguez-Lopez, are remarkable headphone fodder. The lyrics express the kind of "deep" sentiments that go perfectly with heavy progressive rock: "My heart is darkclots, Leap year is late How did you get here, Ask all but the bail From a Christ that went hissing Constricting his cells We summon by candle by book and by bell" It may not read well, but it sounds great wailed in an anguished tone right before a three-minute guitar solo.

It's hard to single out a standout track on this CD. You'll either like all of it, or hate all of it. The guitar work is simply stunning. This is virtuosity on par with John McLaughlin or a young Robert Fripp. You shouldn't approach this CD thinking that you'll find a cute, poppy tune to go around humming. Only one of the eight tracks clocks in at under six-and-a-half minutes, while three of them exceed the ten-minute mark. I still haven't decided if "Tetragrammaton" is a harsh comment on Judaism, or simply a tribute to German progressive rock bands. " "Asilos Magdalena" is a beautiful Spanish-sung number that begins simply with Bixler-Zavala's vocals accompanied only by flamenco guitar, then more vocals, distorted sound effects, and wild electric guitar all come into play, transforming the song into something slightly disturbing, without destroying the pretty melody.

I realize that comparing The Mars Volta to early King Crimson and YES may send some of you running for the nearest John Mayer CD. But for those of use who love the empty virtuosity, pretentious lyrics, and long, loooooong, songs from that era, The Mars Volta is a Godsend!

"Amputechture" is a very heavy, rewarding musical experience. The musicianship is first-rate, the concept perfectly-tailored to the post-adolescent psuedo-intellectual. They accomplish exactly what they want with this disc.

-- By Rudy Panucci

The Counting Crows: Live in Amsterdam

2006-10-15T16:38:00.000-07:00

THE CD: "New Amsterdam: Live at Heineken Music Hall 2003"
PERFORMER: Counting Crows
WEBSITE: http://www.countingcrows.com/
SELECT TRACKS: "Goodnight Elizabeth," "Hangin Around," "Hard Candy," "Omaha"

The Counting Crows are the kind of band people either love or hate. But either way, the group still has a huge fan base 13 years after their first major release, August and Everything After. Their sophomore effort, 1996's Recovering the Satellites, was an album that can only be compared in greatness and cult-like status to Weezer's Pinkerton, (which happened to come out around the same time), but unlike Weezer, Recovering the Satellites had a hit with "A Long December."

From there the studio albums were still good (This Dessert Life from 1999 and Hard Candy from 2003). But Counting Crows real strength seemed to be in their live shows, which makes New Amsterdam a little bit of a let down.

The album kicks off with "Rain King," a song any self-respecting Counting Crows fan is sure to know by heart. Unfortunately, the laid-back version presented here doesn't carry nearly the same punch as the album version from 1993's "August and Everything After." The song itself is based on Saul Bellow's book Henderson the Rain King, about a man whose miserable life is made irritatingly worse by the fact that everywhere he goes it rains on him. Deciding he has to escape, he travels to Africa on a safari and as usual the rain follows -- but instead is viewed as a blessing by the people he visits.

That doesn't really explain much about the version of "Rain King" on New Amsterdam, but the point of this tale is that I am a Counting Crows nerd and trust me: this version just doesn't hold up.

Most of the album sounds a little tired compared to the Crows' shows I have been to in the past, which rocked. Could it be the Crows have worn themselves with these songs by constantly reinterpreting them over the years, which is what made each live show unique? I'm not for sure but it sounds that way.

The album does have some bright spots such as "HanginAround," the first single from 1999's This Dessert Life, which reminds me of the now deceased town of Holley Lawn, and "Omaha," also from their first album August and Everything After. Other notable tracks are "Goodnight Elizabeth" from Recovering the Satellites and "Hard Candy," the much underrated title track from the album of the same name. There is also the non-LP track "Hazy" with Gemma Hayes and a cover of "Four White Stallions," which has appeared as a B-side on one of their singles.

All in all, New Amsterdam is probably a must-have for hardcore Counting Crows fans like myself who are sad enough to know which songs are named after books. (Don't stop with Henderson's Rain King; stop by the Public Library and see if they have a copy of The Greening of America by Charles Reich). However, it is hard to imagine why the Crows would put out another live album when they have several other ones available which are much better. On top of that, the last album they put out was Films About Ghosts...a greatest hits collection.

To sum up, a review on iTunes said it best: "This album is great, but we have heard it before. These guys need some new material." As much of a fan as I am, I agree.

--- by Mark Totten

"The U.S. vs. John Lennon" (Soundtrack)

2006-10-06T06:09:00.000-07:00

The Artist: John Lennon
The CD: "The U.S. vs. John Lennon" (Soundtrack)

"The U.S. vs. John Lennon" is a movie currently playing the arthouse circuit. It documents the anti-war efforts of the former Beatle during the Vietnam quagmire and the darkest days of the Nixon administration. Many of us die-hard Beatle fans already knew about the FBI surveillance of Lennon when his files were declassified years ago. But the general public hasn't really wrapped their minds around the fact that, within the last 40 years, we had a president so unstable and paranoid that he thought a rock musician was going to lead an uprising of young people against the government, and that extreme and legally-questionable measures would have to be taken to keep him from succeeding.

There were many levels of irony at play. Lennon, who famously railed against gurus, after spending his life searching in vain for a father figure, sort of became one himself, as he made a sincere effort to promote peace. Even though he never really got much farther than saying "war is bad," the Nixon administration viewed him as a major threat and ordered the FBI to keep tabs on him 24 hours a day. Ultimately, Lennon lost his credibility as a spokesman for the peace movement, in part due to his constant rambling in interviews about how his phones were tapped and he and his wife were always being followed -- which we now know to be true.

Today, it's quaint to think that a rock musician could lead a youth movement to overthrow the government. Rock music has become too trivial and universal to be considered revolutionary. The youth movement of the early 1970s consisted of the generation that's currently running Washington, and if anything, they've proven that it was right to dread their ascension to power, but not for the expected reasons. The movie "The U.S. vs. John Lennon" has no shortage of Bush/Nixon/Captain Queeg analogies, which lends it a relevance that's strikes a rather depressing chord. We could really use a John Lennon now, but there are no likely candidates on the horizon. Nobody has the right combination of idealism, naivete, and raw musical talent to impress an entire generation.

And with this soundtrack CD, the music is what's most important. Rather than a simple "greatest hits" collection, this is a thematic collection of Lennon's most political songs. It's a refreshing new take on the concept of repackaging Lennon's back catalog. Back in the late '70s, Capitol Records tried this sort of thing with the Beatles, releasing "Rock and Roll" and "Love Songs," both of which sold millions, and both of which were ignored when it was time to release Beatle music on CD. This concept actually works very well when you have an artist with a rich catalog, and this CD is a real eye-opener.

Drawing largely from Lennon's "Plastic Ono Band" and "Imagine" albums, "The U.S vs. John Lennon" presents some of Lennon's less well-known songs in a new context that shows how vital the music was. "I Found Out" is a remarkably defiant statement of disillusionment with a sparse but striking arrangement. "I Don't Want To Be A Soldier" speaks for itself. It's not just an anti-war song, but an anti-ME-going-to-war song. (Later. this sentiment was echoed in "The Call Up" by The Clash.)

Now, 36 years after its release, "Working Class Hero" still ranks as one of the greatest artistic statements in rock music. Lennon rummages through his emotional baggage trying to figure out how he became the spokesman for a generation even though he wasn't remotely close to having any real answers. The stark arrangement and a couple of f-bombs have kept this song from being over-exposed, so it's managed to maintain the same raw emotional impact that it had back when the world seemed more interested in the breakup of the Beatles than in the war in Vietnam.

This CD also includes Lennon's political slogan songs, "Give Peace A Chance," which is not as embarrassing now as it was then, and "Power To The People," which is way more embarrassing now than it was back then. It's frightening to think that Lennon's concept of promoting peace by using simple slogans displayed in big letters with dopey songs and catchphrases may have inspired a young Karl Rove to employ the same techniques when promoting his political puppets and their decidedly non-peaceful pursuits.

There are two unreleased cuts here: A live acoustic version of "Attica State" from Lennon and Yoko Ono's much-maligned "Some Time In New York City" album reminds us that that album was only half as bad as everyone says it is. An instrumental version of "How Do You Sleep" from the "Imagine" album is a revelation. This song was already a minor masterpiece, but with the vocals stripped out, it takes on a whole new feel, and you can hear how impressive George Harrison's guitar work on the track is. The latter cut is used as background music in the film, but it shows how impeccable the studio work of the Beatles could be, even after they split up.

The rest of the collection is well-thought-out. "Imagine" and "Happy Christmas (War Is Over)" are present, as is "God," one of the most impressive vocal performances Lennon ever delivered, as well as an amazing song in its own right. Some of the more obscure cuts are a welcome diversion. "New York City" is a fun little rock and roll diary of Lennon's time hanging out with the Yippies. "Gimme Some Truth" would be a good anthem for our country today.

A couple of the cuts are extremely obscure, having only been previously released on posthumous compilations. "Here We Go Again" is a song Lennon wrote with the infamous Phil Spector, and it's not really very good. The live version of "John Sinclair," about a political activist who'd been sentenced to ten years in prison for being caught with two joints, was just unearthed and released on the "Acoustic" album a couple of years ago. However, it fits perfectly here. It shows Lennon at his most strident, leading a live crowd at a protest rally. With this track, you can almost understand what the government feared about Lennon, if you ignore the fact that he was railing against a gross injustice.

In many ways, this CD could be a better introduction to John Lennon's music than any of the countless greatest hits CDs. It's more cohesive and presents different sides of Lennon than just his innate ability to write hit songs. There are examples of his sloganeering, both good and bad ("Give Peace A Chance" and "Power To The People," respectively). We also get songs that are journalism in its purest form ("New York City" and The Beatles' "Ballad Of John And Yoko"). There are also a few examples of Lennon at his most intimate ("Scared," "Love," and "Oh My Love").

John Lennon was a complex artist, neither the saint nor the revolutionary that people thought he was. This CD gives the listener a pretty good picture of some of the many sides of the man behind the myths.

-- By Rudy Panucci

My Morning Jacket's perfect live album

2006-10-04T15:02:00.000-07:00

THE CD: "Okonokos" (ATO/RCA)
THE PERFORMER: My Morning Jacket
WEBSITE: Click here.
SUGGESTED TRACKS: "Lay Low," "Run Thru," "I Think I'm Going to Hell," "Dancefloors," "Dondante," "Gideon"
YOU'LL LIKE IT IF...: you like it clean and vigorous.

Louisville madmen My Morning Jacket cobble together the finest live album this side of the "MTV Unplugged" series with their two-disc live album "Okonokos." And they pull it off without sacrificing a single bar of their heavily electric, operatic style.

The band's signature pageantry seems destined for failure when put to the often grainy and distorted medium of live recordings. Nirvana, for instance, sounded grainy and distorted in the studio yet the band's 1996 live album "From the Muddy Banks of the Wishkah" sounded awful. (In fairness, their "Unplugged" album was among the finest of the MTV series).

My Morning Jacket jeers live-album limitations as they howl and scream through 21 songs as crisp and clear as anything that comes from a sound-proof booth. Stir in the adrenaline speedball of the band and crowd's energy as captured in the recording and you have an album that should be a controlled substance.

Back-to-back renditions of MMJ's wailing epics "Dondante" and "Run Thru" shiver up the spine and back again. Off-beat numbers such as "Wordless Chorus" and "It Beats 4 U" -- dreamy, organ-heavy rumblers from last year's more experimental album "Z" -- pack every ounce of their original aural peyote.

Singer Jim James belts out his long-note, high pitched croon to a T. Except for a few cracked and tired moments -- "What a Wonderful Man" could have been scrapped -- James' ghostly soul wail dishes the same tingling energy here as it does in the studio.

"Okonokos" draws from all four studio albums. It favors "Z" and its predecessor "It Still Moves," but also features obscure tracks such as "O is the One That is Real" from the EP "Sweatbees."

If MMJ has never graced your stereo, take this time to get acquainted. You might not ever find so many of their songs in one grand place again.

-- by Morgan Kelly

Quartet of virtuosos span a cool world of styles

2006-09-27T09:36:00.000-07:00

THE CD: Out Louder (Indirecto Records)
THE PERFORMER: Medeski, Scofield, Martin and Wood
WEBSITE: Click here. Or here for John Scofield.
YOU'LL LIKE IT IF...: hip gangsters and icy-cool cocktail parties define your life.
SUGGESTED TRACKS: "Tequila and Chocolate," "Julia," "In Case the World Changes its Mind"

The instrumental trio Medeski, Martin and Wood bring on a fourth partner in cool New York jazz-funk, for an album that shuffles across a global village of hipster fusion.

MM&W sports the trappings of a contemporary jazz group -- an organ, a bass, a drummer and no lyrics save for the occasional brooding voice over. The addition of jazz guitarist and composer John Scofield on this latest album thickens the illusion. But on "Out Louder," the quartet spikes the classic jazz sound without neglecting the signature formlessness.

The opener, "Little Walter Rides Again," crashes into the room with a solid drum beat before Scofield whips out a playful staccato roll. Then, it smacks into a booming wall of John Medeski's church-organ holiness. Bassist Chris Wood keeps the party interesting with a flourish. From there the four break into a messy, distorted rock riot on "Miles Behind," followed by the droopy-eyed groove of "In Case the World Changes Its Mind."

Bored on home soil, MSM&W dust off their passports for a few trips south with the breezy merengue "Tequila and Chocolate," and "Cachaca," a spicy quasi-tango that seems to have fallen out of the closing credits of an Argentine crime movie. They find time after these two tamales for a jaunt to the Orient in "Hanuman." Once they return, the mad scientist lab coats come out for the sound-effect fusions of "Telegraph" and "What Now."

The entire journey marries jazz with all colors of straight-up noise to birth a super mutant hyper-jazz. The result is a nonlinear mush of sounds, scales and places going everywhere and nowhere at once. For all the heavy hitters taking up the organ, bass and guitar, respect should be heaped upon drummer Billy Martin, who somehow keeps order and sanity in the game.

MM&W the band rejects order and always has -- hence, every album since their 1991 debut shoots off in a new direction without backtracking. Scofield brings an extra means of disorder to "Out Louder" and it plays out beautifully bizarre as always. Four guys. No lyrics. Once crazy trip after another.

-- by Morgan Kelly

The Killer still shoots straight after 50 years

2006-09-26T11:30:00.000-07:00

THE CD: "Last Man Standing" (Art1st)
THE ARTIST: Jerry Lee Lewis
WEBSITE: Click here.
YOU'LL LIKE IT IF...: you sport vintage coats frayed on the right edges.
SUGGESTED TRACKS: "The Pilgrim Ch.33," "Lost Highway," "You Don't Have to Go," "Pink Cadillac"

Ever since Santana's "Supernatural," people flash the stink eye at aged rockers who team up with still burning flames. But the guests on Jerry Lee Lewis' new duet collection, "Last Man Standing," hang on tight as the Killer himself barrels toward the wild juke joints and weepy watering holes of Louisiana.

The 21-track album racks up a who's-who from the last 50 years of rock, country and blues from Buddy Guy, Willie Nelson and Merle Haggard to Mick Jagger, Kris Kristofferson and Kid Rock. Everyone backs up the Killer in their own way and do it well with only a few glaring missteps: for instance, nobody needed to fetch Kid Rock and Toby Keith from the airport.

Otherwise, enjoy a sweet sampler of melodies. Lewis and Merle Haggard ring with free-wheeling bliss on the hobo ballad "Just a Bummin' Around." We can belly up to the tap for the tear-jerking "That Kind of Fool" featuring the ghostly wail of Keith Ritchards. Or take it to the rowdy streets with Lewis and Bruce Springsteen on "Pink Cadillac." Even the insufferable Rod Stewart hands in a soulful croon or two on "What's Made Milwaukee Famous."

"Last Man" is Lewis' first album in about a decade. Fittingly, the album opens with Lewis teaming up with Jimmy Page for Led Zeppelin's "Rock and Roll," singing, "It's been a long time since I rock and rolled..."

Granted, the songs on "Last Man" are all covers. And '50s-style rock, though good, smells a bit musty even here. But the Killer, nearly 71, never slips. Sure, he slurs a tad during the studio chatter. But cut to the music and Lewis comes through clear and powerful. He pounds and slides across the piano like Eisenhower is still in office. He booms about love, loss and loose women with a vocal potion of youthful ego and elder wisdom. Consider Lewis' hard-drinking, substance-soaked life (which probably aged him closer to 80) and this is pretty impressive.

Hearing such energy is a bit sad. Despite his thing with prepubescent relatives, Lewis brought his best as a musician. Yet his career -- in the States at least -- never fully recovered from the scorn and rejection heaped on him. We suffered the loss. The Killer kept on killing.

But the Killer can't go on forever. "Last Man Standing" hammers that point home. The title alludes to the alumni of Sun Records in Memphis: Johnny Cash, Roy Orbison, Carl Perkins, Elvis Presley and Lewis. Everyone is dead save for Jerry Lee. The last man standing.

Rock and roll won't die with Lewis (Chuck Berry, turning 80 next month, lives). But hearing an original sire of rock is like finding someone who speaks Latin as a first language -- it's not new, but strangely beautiful when authentic. Sadly, "Last Man Standing" could be a kiss goodbye from another of rock and roll's native speakers.

-- by Morgan Kelly

Everclear: 'Welcome to the Drama Club'

2006-09-26T08:00:00.000-07:00

THE CD: Welcome to the Drama Club
THE ARTIST: Everclear
WEBSITE: here
SELECT TRACKS: Hater; Glorious; Your Arizona Room
YOU'LL LIKE IT IF: You were alive in the '90s

Somewhere between the much-hyped September 12th new releases of Beyonce and John Mayer, the '90s and early 2000's hit maker known as Everclear somewhat quietly released their new album, "Welcome to the Drama Club," on the same day.

I say somewhat quietly with good reason. While the album more or less slipped under the radar in terms of hyped releases, the video for the first single "Hater" has sparked something of a controversy with many. It even prompted Bill O'Reilly to invite Everclear front man Art Alexakis on his Fox News show to defend his position on the controversial video.

While I won't go into all that, (just check out the video on You Tube here), I can say that "Welcome to the Drama Club" is a return to Everclear's classic '90's sound made famous on 1995's platinum release "Sparkle and Fade" and 1997's multi-platinum "So Much for the Afterglow."

What is more impressive about Everclear's new/old sound is that Art Alexakis is the only remaining original member after a 2003 split. New members consist of bassist Sam Hudson, guitarist Dave French, drummer Brett Snyder and Keyboardist Josh Crawley.

Much of what I liked about Everclear in the past had to do with Art's autobiographical style of songwriting, and "Welcome to the Drama Club" keeps that tradition alive by diving straight to the heart of Art's personal life. Considering the recent divorce of Art and his wife and declaring bankruptcy after a 2004 split with Capitol Records, the title "Welcome to The Drama Club" may be an understatement.

The albums first single "Hater," which I have to admit, did not get the best fanfare when reviewed as a single with digital distributors such as iTunes and Musicmatch, is actually much better than I had originally thought. Described by Alexakis as the ultimate break-up song, "Hater" is actually an upbeat declaration of everything Art doesn't like about his partner -- with cowbell included (don't let that deter you from checking it out).

Other tracks on the album include the country sound of "Portland Rain," the love story of "Your Arizona Room," "A Taste of Hell," "Drama King" and "Shameless Use of Charm," which are all pretty tight tracks that won't disappoint longtime Everclear fans.

By far the albums best song is "Glorious," a tale of love lost which is probably the best thing they have done since 2000's "Wonderful." The lyrics are nothing out of the ordinary but the song really takes it up a notch with the chorus: 'Everything fades away/The world changes everyday/When I think about you and what we had/It makes me want to say... Glorious.'

All in all, this album is much better than 2003's "Slow Motion Daydream." If a new Everclear album is not up your alley, but you still want to check out their old stuff just look for 2004's "Ten Years Gone: The Best of Everclear."

-- Mark Totten

"Modern Times" -- Take Two Review

2006-09-12T10:16:00.000-07:00

NOTE: Given the high-profile of Dylan's new release, we had two reviewers angling for a shot at it. Here are both reviews then, of the latest from his Bob-ness. Gazz Editor

THE CD: "Modern Times" (Columbia)
PERFORMER: Bob Dylan
WEBSITE: Click here.
SELECTED TRACKS: "Ain't Talkin'," "Someday Baby," "Workingman's Blues #2"
YOU'LL LIKE IT IF...: you've traded your harmonica for a saddle and Boulets.

Bob Dylans' latest album, "Modern Times," wields a good bit of gravity in the grand musical universe for quality and Dylan's legacy -- he scores with yet another well-crafted album rich with Americana tradition and his unique brand of weighty narratives.

But any album stacked atop a career as long, revered and varied as Dylan's -- "Modern Times" is his 31st album -- stands in judgment before its predecessors, in this case, for a little Bob on Bob comparison.

"Modern Times" continues down the Mississippi dirt road of ragtime, swing and blues Dylan touched upon in 1997's "Time Out of Mind" and fully veered onto with 2001's "Love and Theft." The latter packed on the luster with instrument-heavy songs and a nearly overwhelming old-time energy. It felt like something wondrous just happened, which was odd given the album's September 11 release.

On "Modern," Dylan strips all that down to the rusted metal of abandoned cars and tin shacks along the Delta back roads. Big swing numbers and dreamy slow-dancers surrender to simple shuffles and brooding blues about ungrateful lovers ("Someday Baby"), a back-to-basics sound that smacks of 1969's "Nashville Skyline" without the optimism.

Mood-wise, "Modern Times" is more in line with the moody beer-guzzler, "Time Out of Mind." Although not quite so depressing, "Modern Times" touches upon uncertainty, loneliness and fear with "Workingman's Blues #2" and "Ain't Talkin'." He also spikes his sadness with humor as in "Rollin' and Tumblin'" when he rasps: "I'm flat out spent, this woman she been driving me to tears/This woman's so crazy I swear I ain't gonna touch another one for years."

But for all the Jazz Age hijinks, Dylan never has a message beyond tales of the hard times befalling the cowboy-bluesman persona he adopted before recording. He did this on "Love and Theft," too, but the musical virtuosity offset it. Sure, he's older, settled in, but the 2000 hit single "Things Have Changed" played the "tips from a disenchanted, grizzled old man" angle nicely. He couldn't do that again?

No one's expecting another "Times They Are A-Changing," but this is Bob Dylan -- expecting at least a few wise words is hardly unreasonable. Anything but just seems un-Bob.

--by Morgan Kelly

Bob Dylan "Modern Times"

2006-09-11T07:00:00.000-07:00

The CD: "Modern Times" (Columbia)
Performer: Bob Dylan

Late in an artist's career, when most would be content to rest on their laurels and coast on nostalgia, it's rare for a musician to still be cutting loose with fresh material that shows they can still turn out vital, important work. Of course, Bob Dylan is not just any artist. He's BOB FREAKING DYLAN!--the mad rock prophet, the poet laureate of folk music, the tunesmith messiah, author of more than a handful of the greatest songs ever written. He's the guy who introduced the Beatles to pot, for Christ's sake! The man could retire on any one of those accomplishments, yet he chooses to keep plugging away. And now, well into his AARP years, he has unleashed a CD that shows he's still near the top of his game.

"Modern Times" is a collection of some of the most intelligent honky-tonk songs and ballads ever recorded. From the opening track, "Thunder On The Mountain," which name-checks Alicia Keys, to "Spirit On The Water," a sweet ballad that avoids turning sappy due to clever wordplay, "Modern Times" finds Dylan in a playful mood--one that he's been hinting at more heavily since his days with the Traveling Wilburys. Many of the songs are Dylan's takes on earlier works. "Nettie Moore" borrows from a nineteenth-century ballad. "Rollin' And Tumblin" is a reworking of an old Muddy Waters tune. Other songs have less-obvious links to other artists, but it's clear that Dylan is not afraid, at this point in his career, to wear his influences on his sleeve.

"The Levee's Gonna Break" obviously reflects the Katrina debacle, but rather than preach or jerk tears, Dylan just gives us a first-person character study set during the Great Mississippi Flood of 1927 with words of wisdom and a dash of apocalyptic prophesy. And it's a bouncy little tune, too.

This album was recorded over the course of a month with Dylan's touring band. The sound is polished and professional without being overly slick. There's just the right amount of raggedness for the material. Dylan is in fine voice. He even drags out his "Lay Lady Lay" croon for "Spirit On The Water." The tempo varies from driving blues shuffles, to near waltzes, to slow ponderous ballads, but never bogs down. There's a lot of old-time Western music creeping into Dylan's music these days. That cross-pollination works a lot better here than it does when Nashville strip mines classic rock for their hit factories.

With age, Dylan seems to be having real fun making music. "Modern Times" is a sweet, engaging work, with Dylan's sense of humor subtly present but still very much in evidence. There are more than a few lines that will make you laugh out loud, but not until you hear them a second time.

-- By Rudy Panucci

The Beastles: Let It Beast

2006-08-29T13:45:00.000-07:00

THE CD: Let it Beast
PERFORMER: The Beastles
WEBSITE: here

YOU'LL LIKE IT IF YOU LIKE: Jay-Zeezer, Mash-up Radio
SELECT TRACKS: "Ladies Do Love Me"; "Let it Beast"; "Building My Life"
SOUNDS LIKE: Either the Beatles or the Beastie Boys invented a time machine and met up at Abbey Road.

Every once in a while an album comes around that makes you say "I wish I would have thought of that," and The Beastles "Let It Beast" is just one of those albums. Part Beastie Boys, part Beatles and all of Boston's DJ BC, make this one of the best mash-up albums ever.

The first track, "Ladies Do Love Me" is an extremely tight mixed version of "Love Me Do" and the Beastie Boys "Hey Ladies" which works amazingly well together. As the Fab Four sing "so please...love me do," the Beasties interject "Hey Ladies!" just in time to make these two tracks seem like they were each made with the other in mind. Throw in the fact that "Love Me Do" is sped up with a new beat added and you can kind of imagine where this thing is going. Doesn't sound great to read, sure, but just check, check, check ch, check it out (OK, that was cheesy).

By far one of the most interesting tracks is "Belly Movin," a song that seems if it is about to fall apart before the Beasties kick in some versus from their 1998 track "Body Movin." I'm not for sure which Beatles track this is but I suspect it's from sometime around the White Album from the sitar. The effect of these two songs together is interesting to say the least but somehow works.

The song that will definitely find its way to my IPod before this week ends though has got to be "Buildin My Life." Whether you agree with the Beasties 2004 take on the state of the union track, "It Takes Time to Build," or not, you have to think that John Lennon would crack a smile at hearing it over "In My Life" (Even though Paul wrote it, I think...anyways, I could be wrong). Either way it's an interesting social commentary all the same and a good song to boot.

There isn't too much else I can say about the Beastles Let it Beast besides its great. There are a few tracks like "Anna's MCs" and "Electrified Kite" that won't get much play but the rest is all good if remixes are your thing. If anyone is interested they can download this internet only release yourself here. Better yet have a look at the Beastie Boys official home page here, which offers acappella versions of some of their songs for people to use in their own remixes. It doesn't get much better than that.

~ By Mark Totten

Hot woman, tepid tunes

2006-08-28T12:10:00.000-07:00

THE CD: "The Orange Album" (Wind-up Records)
PERFORMER: Stefy
WEBSITE: Click here.
SUGGESTED TRACKS: "Chelsea," "Lucky Girl," "Nothing Really"
YOU'LL LIKE IT IF...: you lack a soundtrack for your Young Molly Ringwald look.

What does it say about a band when the first sentence of their promotional material hails them for having a hot lead singer? That's not to say neo-New Wavers Stefy invented banking on sex appeal. But more often than not, sex is a perk, a secondary emphasis (sometimes barely) to the music even when our throats are jammed near bursting with libido.

But Stefy (cobblers of the top-50 single "Chelsea") says: "Listen to us because our singer is a scorcher." Heck, the band's even named after her. The music just tags along.

So, is singer Stefy Rae fly? Well, yeah, in a Zooey Deschanel is Chantal Claret as Tiffany kind of way. Still, she's a few puddles shy of the Drool-o-meter Hall of Fame.

So sad for the band because they bring little else to the table. Rae channels a lesser version of Gwen Stefani as she squeaks sun-drenched California melodramas over fuzzed guitars and dizzying synths. (Hear the ridiculous "Orange County.")

"Chelsea" -- a catchy little Eurythmics knock-off about a euponymous girl who steals men -- about taps the Orange Album's wheat (hear it on the band's Web site). The song earned a spot in the recent film "John Tucker Must Die," but as the reviews for the movie roll in, it seems Barnes and Barnes' "Fish Heads" could have snagged a track in that dreck.

The album's other ten songs waver between over-worked, refried Tubeway Army songs and just palatable electro-pop.

Sorry, Stefy baby. It takes more than a pretty face -- even when you have one.

-- by Morgan Kelly

Pink Floyd's Pulse DVD

2006-08-18T20:01:00.000-07:00

THE DVD: "Pulse" (Sony)
PERFORMER: Pink Floyd
WEBSITE: here

Get the last Floyd fix you'll ever need with the recently released "Pulse" 2-Disc DVD set. If you had the 1994 concert CD set of the same name, filmed at Earls Court in London, you thought that blinking light on the case would never burn out. (The same way you had felt about the idealism of your youth, or the feeling that there was some benevolent force in rock music that could truly unite millions.) Well, after Pulse (released 7/11) had one of the top three opening sales weeks of any music DVD in history, opening at No. 1 on both sides of the pond, at least the latter sentiment still seems true.

The impressive DVD set features the entire 22-song set from the "Pulse" CDs, including the first ever audiovisual performance of The Dark Side of The Moon, in its entirety, remastered in Dolby Digital 5.1, and re-edited for 2006. The inside sleeve and artwork is done by longtime Floyd filmer Storm Thorgerson, so it keeps with traditional surrealist Floyd themes. The DVD menu selection chart in the sleeve, swamped with Floyd footage options, looks more like a FEMA funchart than something you were meant to enjoy. Suffice it to say, this fix is worth $20.

With a live Floyd show, you get to see the light show, and of course, hear the music. With this DVD set, you also get over 20 videos, original screen films from the '70s (which predate the MTV era), and alternate versions not yet seen by your eyeballs. Check out the high-minded and haunting video made for "High Hopes" to have your noodle sent reeling. The one made for "Us and Them" is cool, too. These videos do for the songs what Michael Stipe (of R.E.M., known for ambitious concept videos) said they should: add to what the songs mean to the fans, not take away.

"Say Goodbye To Life As We Know It" is a tour documentary from the 1994 Division Bell Tour, complete with beer drinkin' hotel room trashin' (a lamp is sacrificed), bathroom-to-bathroom footage, and general time killin' fun. Ever wonder what it would look like to get hit in the eye with one of their lasers? Check it out, it's scary. They shoot one directly into a camera.

The "Bootlegging the Bootleggers" footage isn't about our country's 20th Century heroes. No, it's live footage of the "Pulse" show shot from the crowd's perspective. This is right up the alley of all fans of raw concert recordings, like your humble narrator. There's also a cover art section, so you can check on those old records, too.

One of the cooler parts of the set is footage of Billy Corgan (of Smashing Pumpkins fame) inducting Pink Floyd into the Rock and Roll Hall of Fame in 1996. Corgan gives heartfelt reflections on the band's influence on him growing up, and on the (now) late Syd Barrett. Then, Corgan joins David Gilmour and Richard Wright for a version of "Wish You Were Here." Goosebumps ensue.

For those of you who will never see Pink Floyd live, or can never seem to get that perfect Floyd fix, this should do you. To see Pink Floyd's video for "High Hopes," click here. To see the live version of one of my favorite Floyd songs, "Coming Back to Life," click here.

--- Nick2

Slayer's "Christ Illusion"

2006-08-06T14:05:00.000-07:00

THE CD: "Christ Illusion"
PERFORMER: Slayer
WEBSITE: http://www.slayer.net/
LABEL: American
CHOICE TRACKS: Flesh Storm; Eyes Of The Insane; Jihad; Supremacist
YOU'LL LIKE IT IF YOU LIKE: Some anti-dogmatic attitude in your hardcore thrash...

Ahhh, good 'ol Slayer. With so many things in the world going to hell right now, it's good to know they haven't...yet. The Los Angeles-based four-piece is back with Christ Illusion to let you know, 20 years after Reign In Blood put them on the map, their version of hardcore thrash still rocks.

The band (Tom Araya: vox/bass; Kerry King: lead guitar; Jeff Hanneman: guitar; Dave Lombardo: drums) delivers a short, sweet, 10-song encapsulation of their sound (and of the self-fulfulling influence of deviant organized religion in all our lives). Sometimes punk-tinged thrash, sometimes slogging hardcore metal... always rockin'.

The CD picks up where God Hates Us All (release date: 9/11/2001...maybe it WAS God!) left off. Slayer still has Araya howling at the altar, and King's force-of-nature riffage to grab your attention. Not to mention the breakneck speed, which is what drew me in at first, when I heard "War Ensemble" on 1990's Seasons In The Abyss. And then, the devil seduced me. (Haha, just playing. I slapped that b---- up!)

"Jihad" starts with one of the more quirky guitar intros you'll hear on a Slayer song, and finds Araya stating what by now should be obvious: religious fundamentalism leads to death. Take these towers from the world...slit the throat of heathens...war of holy principles...this is God's war!

On "Cult," you don't have to listen too hard to get the jist of Araya's message: Religion is hate/religion is fear/religion is war. Religion is rape/religion is obscene/religion's a whore. Roger that, good buddy!

If you've heard one or more Slayer CDs, you will not be surprised with Illusion. Araya's tortured lyrics (which carry on the proud American tradition of moral freedom); King's wind-up solo parts; and the machine gun march that defines their sound are all here. So, you get what you expect out of a Slayer CD. I support that. Now, bring on the Millerites!

~ By Nick Harrah

Jay-Z raps w/Weezer. Sort of...

2006-08-06T13:09:00.000-07:00

THE CD: The Black & Blue Album
PERFORMER: Jay-Zeezer
SOUNDS LIKE: Jay-Z raps with Weezer
YOU'LL LIKE IT IF: You know where to draw the line with sampling...and Jay-Z or Weezer of course

OK, so it's not technically a new album, or for that matter even a real album. Yet here it is, in all of its black-and-blue glory for the world to see. What else could I be talking about except Jay-Zeezer's "The Black and Blue Album" of course?

It's been said that once MTV gets ahold of an idea, it's pretty much old news. But mashup music is definitely alive and well on the Internet. In fact, some of the most interesting stuff out there is just begging to be found by people with too much time on their hands. That's how I came across it anyways.

In standard mashup fashion, not only have the songs been mixed together, but so have the titles. So if for some reason you have ever wondered to yourself what Jay-Z's "99 Problems" would sound like mixed with Weezer's "Buddy Holly," just listen to, you guessed it, "99 Problems With Buddy Holly" by Jay-Zeezer.

Don't let my joking around fool you, however. This album has reached cult status with hardcore Weezer and mashup fans alike. I seriously have "Encore for Wayne," "Bonnie, Clyde and El Scorcho," and "Say It Ain't December 4th" rocking on my iPod daily. In fact, I've never recommended this album to someone who didn't at least get a kick out of it.

Don't take my word for it though, just check out the website for a free download of the whole album and be sure to sign the guestbook for DJ... uh... Mike. Besides, with reviews like "However many times this guy gets his a** kicked is not enough," "I hope this dissuades people from ever naming their album after a color again." And, my personal favorite: "White people have ruined Jay-Z for me" -- you have to at least check it out.

Oh yeah, did I mention it was free? Stay tuned for more music you will wish I never told you about.

-- MarkT

A trip to the 'Dub Side of the Moon'

2006-08-02T13:45:00.000-07:00

THE DVD: "Dub Side of the Moon Live"(EasyStar)
PERFORMER: Easy Star All-Stars
WEBSITE: www.easystar.com
YOU'LL LIKE IT IF YOU LIKE: Some rasta with your psychedelia
SELECT TRACKS: "Time," "Us & Them," "Money"
SOUNDS LIKE:"Dark Side of the Moon" meets "The Harder They Come"

It's estimated that one in 20 people owns a copy of Pink Floyd's 1973 masterpiece "Dark Side of the Moon" and the album still holds one of the longest stints on the Billboard album charts. In 2003, New York's prominent (only?) Reggae label Easy Star Records observed the 30th anniversary of the landmark psychedelic album by re-envisioning it with the dub riddims most associate with Bob Marley.

The result was "Dub Side of the Moon," a CD that topped the Billboard Reggae charts and created such a buzz that a touring group of the label's All-Stars hit the road to perform the record live. While the studio effort featured guest appearances by Corey Harris and the sultry female singer Kristy Rock of Trumystic, the Dub Side LIVE DVD features a crack team of reggae enthusiasts. They put their fever behind fond reinterpretations along with wacky visuals to enhance the trip.

The performance seen here took place in Falls Church, Va., but the DVD begins with an animated sequence set in outer space. While the band warms up with "Speak to Me," a space shuttle bearing the name Syd Barrett (the recently deceased original Pink Floyd front-man) orbits through the atmosphere carrying it's lone Rastafarian astronaut into "The Dark Side." When the monitor blinks "Now Entering Dub-Side," the band comes to life with "Breathe" and we get our first glimpse at the 11-piece ensemble. The sound is unmistakably reggae and Pink Floyd, and the two are melded together so seamlessly, you get the impression that Roger Waters and David Gilmour may've had a subconscious dub track looping in their head while conceiving Dark Side.

The two most notable things about this performance are the surprisingly cohesive arrangements that pay great attention to the original melodies, and the galactic space jams that stretch into pure instrumental bliss -- they are musically impressive but never grow overly jammy. Remarkably, they feel nicely drawn-out, the way a Phish jam, say, doesn't.
Stellar vocalist Tamar Kali does a bluesy take on the vocal howling from "The Great Gig in the Sky," a passage that I previously thought was impossible to recreate.

"Money" and "Time" both feature raps delivered with cultural conscience by Menny More. Although his interpretation is an artistically cool thing to do with the lyrics, they become completely unintelligible in his rapid-fire Jamaican accent.

More animated sequences with our Rasta-spaceman are interspersed between tracks. Instead of ripping bills and ringing cash registers, "Money" starts with our space man. He is in the midst of "Increasing Crew Awareness" with a deep inhale, a deeper cough, and immediately bloodshot eyes as the lilting, off-kilter and unmistakable bass line creeps in. You'll be surprised at how natural this comes off with the dub back-beat.

Musical highlights include smooth vocals from guitarist Junior Jazz on "Us & Them" and some atmospheric sax and flute by Jenny Hill. Jeremy Mage brings his keyboards to the front for an outspoken solo during "Any Colour You Like." Foghorns of reverb and wah-drenched trombone, provided by Buford O'Sullivan, complete "Brain Damage," and the entire concert comes to a close with a basic dub jam between the bass and drums. With that, our rasta-naut leaves the dark side and goes back to orbiting in a less enchanted atmosphere.

The bonus features don't offer much insight. There are a few studio shots of Corey Harris and Frankie Paul in a three-minute, sad excuse for a "Making of..." feature that only features small amounts of studio work and massive amounts of super-toking. The final interview with drummer Ivan Katz hints at the next Easy-Star project, a reggae re-take on Radiohead's 1997 acclaimed concept album "OK Computer."

~ By Adam Harris

Flogging Molly: Whiskey On A Sunday

2006-07-23T13:04:00.000-07:00

THE CD: Whiskey On A Sunday
PERFORMER: Flogging Molly
LABEL: Side One Dummy
WEBSITE: www.floggingmolly.com
YOU'LL LIKE IT IF YOU LIKE: Dropkick Murphys
SELECT TRACKS: Laura; Drunken Lullabies; The Likes Of You Again; What's Left Of The Flag
SOUNDS LIKE: Straight-off the boat Irish folk musicians formed a band with some punx.

Los Angeles-based Flogging Molly's latest release, Whiskey On A Sunday, is guaranteed to have you celebrating St. Patrick's Day...
EVERY DAY!! WITH N2!
No, the Irish punk rockers' 10-song CD has a mixture of acoustic and live songs (plus a bonus we'll get to later) so you can see if they suck live. It's common for bands.

Long story short...they rock. The seven piece collective known as Flogging Molly is comprised of Dublin transplant Dave King on vocals; Bridget Regan on fiddle; Bob Schmidt on mandolin/banjo; Matt Hensley on accordion; Dennis Casey on guitar; Nathan Maxwell on bass; and last but not least...George Schwindt on drums. I think they could break up into two seperate bands, and still be cool, but on with the review...

On more rockin' Flogging Molly songs, Regan and Schmidt set you up on the folk side, with, say, a fiddle overtop of a mandolin to open; then: drum (usually snare) roll, punk riffs...the rock ensues. The opening song on Whiskey, "Laura," fits the description. King's lyrics fall into the proud poetic tradition from the Emerald Isle, looking back on love lost: So bye, bye Laura/There's no one to take your place/Bye, bye Laura/Your beauty will never fade/I could've danced in the sun/but my world came undone/LAURA!!

You might have some sort of aversion to believing me when I say that Flogging Molly's mix of traditional Irish music and punk rockin' will have you doing circle fits quite promptly -- believe me now. I became a believer when I heard "Drunken Lullabies" on a Tony Hawk game. A slightly subdued acoustic version of that song is included on Whiskey, but you'll still feel like you're right there in the pub with Flogging Molly, singing in on the chorus: We find ourselves in the same old mess/Singing drunken lullabies.

It would be different if the songs weren't so catchy. And it would be different if Regan and Schmidt couldn't handle their own musically, and were used as, like, filler, for the sound. Those two can play, and they add a timeless feel of traditional Irish music and depth...to a punk band! All the musicians kind of take turns doing solos, or kind of driving the sound. Right when you think the Irish sound might be too much for you...TA-TOW!!!
(punk rockin' with rousing choruses)
How can you say no?

The live songs, recorded at a show in their hometown of Los Angeles, are great too. "Black Friday Rule" clocks in at 11:59, and it's worth it to hear the extended jam. King describes his mom as a "...happy f---in' puppy," after Ireland won a recent World Cup qualifer; says that, as regards to American football: "queers wear helmets," and that, after the song, he's five years older. Always great to hear live concert footage, and how the musicians interact with fans.

"What's Left Of The Flag" closes things with more high-speed, hook-filled Irish punk rockin'. Check that song out, maybe with some haggas and potatoes, dawg. Oh, if you get the CD when it's released Tuesday July 25 you'll get bonus material: a documentary DVD of the band. Nice. Check 'em oot.

Empire strikes back with Futurist

2006-07-11T09:47:00.000-07:00

THE CD: Futurist
PERFORMER: Alec Empire
LABEL: Digital Hardcore Recordings
SUGGESTED TRACKS: Kiss Of Death; Night Of Violence; Vertigo
YOU'LL LIKE IT IF YOU LIKE: Fearless originality, with uncompromising ideals. Oh, yeah: to rock out!

What could the spirit of rock & roll mean in 2006? For Alec Empire, it still means anti-conformity, irrepressible individuality, and that noise inside your head. The former Atari Teenage Riot leader's latest solo effort, Futurist, is a tribute to "a time when British rock was straight and fearless" and the result is hardcore, backbeat-driven, industrial rock. Fearless is exactly how I would classify this Berlin-bred anti-Nazi.

For fans expecting something along the lines of ATR, and the 240-BPM 808 drum kits and the noise-turned-into-gold sound on Burn, Berlin, Burn! and 60 Second Wipeout, you'll be disappointed...but not for long.

The 12-song CD is more straight-up rock than anything I've heard Empire put onto an entire CD. But never fear: DJ Nic Endo (a late addition to ATR) is back to help with sounds, effects, and yes, even a theremin. Empire (widely regarded as a genius in the electronic music genre) gets back to his roots on this CD: the picture of him holding a guitar on the back sleeve may serve as a reminder that he played guitar before he was an engineer.

"Kiss Of Death" opens Futurist with a sample that states plainly: I'm talking about the death of Rock 'n Roll. From there, Empire lets the rock, and his poetic (near-apocalyptic) words do the talking. On "Point Of No Return" you can't help think Empire is talking to us all when he says This horror can only consume you...And your only goal is to survive/someone has to cut their power/and that someone has to be you and me. On "Gotta Get Out" Empire says Their right wing s--- is a joke and let me tell you/there's gonna be a lot of fire and a lot of smoke.

By the time you think that he's completely abandoned his penchant for the mini-gun speed digital effects, Empire and Endo place them as filler or in bridges, panned to one side...nice. When you hear drum parts that couldn't possibly be played, that's Empire at work.

Futurist is a dream come true for fans of real, rebellious, intelligent rockin'. If you wanna hear something original, from someone with something to say, check it out. You won't be disappointed.

-- nick2
P.S. -- Thanks for the CD, Jesse!

Swedish Concretes have a gentle touch

2006-07-10T16:29:00.000-07:00

THE CD: "The Concretes In Colour" (Astralwerks)
PERFORMER: The Concretes
WEBSITE: Click here.
SUGGESTED TRACKS: "Tomorrow," "On the Radio," "Your Call," "Sunbeams"
YOU'LL LIKE IT IF...: you're looking for Euro-pop driving tunes for a summer trip to the Gulf of Bothnia.

Don't wait for the Concretes to grab you by the shirt and tongue-kiss you. This eight-member behemoth of sugary Swedish sounds would rather do some eye-gazing, keep it gentle then pull the door closed on the way out so as not to wake you.

"The Concretes in Colour," the group's latest album (and the first to turn heads this side of the pond) harnesses the finer points of every feel-good, sunshine groove ever composed. The first track "On the Radio" opens with an official Peter Tork staccato that bleeds into a chime-heavy, high treble Wall of Sound a la late-60s pop. And thus it continues for 12 songs. By the end, a drop-top Saab and the sunny plains of Gotaland haunt your dreams.

Catchy, yes, but the Concretes are no mindless bubble machine. A stream of pop tributes runs through "Colour," oozing a hip, "in crowd" vibe like the soundtrack of an indy film about quirky relationships. Enjoy the raspy patois singer Victoria Bergsman (below) inherited from Nico as you and some friends guess who the Concretes sound like now: Nena? The Grateful Dead? Camper Van Beethoven!? (Ooooo, good one.)

Outstanding songs like the boiled-down "Your Call" and the somber "Tomorrow" leave no doubt about the Concretes' sincerity or talent. They just happen to have a major sweet tooth.

--by Morgan Kelly

Rise Against

2006-06-30T17:10:00.000-07:00

THE CD:"The Sufferer & The Witness" (Geffen)
PERFORMER: Rise Against
WEBSITE: www.riseagainst.com
CHOICE CUTS: Injection; Bricks; Under The Knife; Worth Dying For; Roadside
YOU'LL LIKE IT IF YOU LIKE: Politically charged, high-energy punk that fights till it dies and enough energy to make you forget about Red Bull.

Recently, Myspace put the new Rise Against CD "The Sufferer and the Witness" up to hear in its entirety. Skeptical of another pseudo-radical political punk band endorsing some crap like the overthrow of capitalism, I decided to give their new 13-song release, due out on 7.4, a listen. The band (Tim McIlrath, Joe Principe, Brandon Barnes, Chris Chasse) delivers a tight CD that will keep punk fans placated.

From the opening thrash on "Chamber The Cartridge," the band catches your attention with their version of hardcore punk. McIlrath sings Is it to late to reverse what we've become? Save us from what we've become tonight...Eyes glazed with distrust/No sense of wrong or right. Not bad.

"Injection" is more in-yer face punk with nice tempo changes and good vocal harmonies. Oh yeah, the whoahs over the choruses set the song off proper. "Ready To Fall" is a more pop-punkish (you can check out the video here) tune you might like.

"Bricks" is straight-up thrash. McIlrath's strong vocals combined with the tight, fast rhythm section (nice basslines) give this band (featured on the Van's Warped Tour) a little bit of an edge over bands with a more derivative sound. I mean, sure, this band sounds like other punk bands, but these are punk bands I'd actually listen to.

"Under The Knife" is solid punk. "The Approaching Curve" features some spoken word lyrics over driving intro music, leading into slower, more powerful choruses. "Roadside" is a sullen tune that features female backing vocals, 8-bit sounding synth, and strings...something a little different.

There are a lot of rock bands out there that are good, and it's tough to stand out when even Burger King is putting out punk music. Regardless of whether you think that music is an appropriate vehicle for societal change, Rise Against is a good enough band to to not need any political posture. Check 'em out, see what you think.

--- By Nick Harrah

The Ky. Headhunters: Flying Under The Radar

2006-06-30T09:48:00.000-07:00

THE CD:"Flying Under the Radar"
PERFORMER: The Kentucky Headhunters
LABEL: CBuJ
YOU'LL LIKE IT IF YOU LIKE: A dash of blues in yer Southern-fried rock.
CHOICE CUTS: Country Life; Back to the Sun; Go To Heaven; Ashes of Love; Rock On

After 36 years and over 6 million records sold, it's hard to imagine that The Kentucky Headhunters would be flying under any radar. But that's how it is with this recently released 15-song CD, comprised largely of their last three releases: 2005's "Big Boss Man"; "Soul" (2003); and 2000's "Songs From The Grass String Ranch," the last two now out of print.

So the CD serves as a good introduction for potential Headhunter fans ...fans of a more rockin' blues and country format. "Louisiana CoCo" opens the CD with classic ZZ Top-sounding southern rock. "Country Life" is a feel-good, slow-life livin' anthem. "Back to the Sun" is a rockin' piano-ballad with some vengeance thrown in for good measure.

"Go To Heaven" is an uptempo, gospel-flavored tune, and it's funny because it's exactly the opposite of what n2 tells people all the time. The blaring guitar intro and pounding drums on "Big Boss Man" remind me of what it was like when that CD quickly became n2's "drinkin' CD" last year, with their version of "Like A Rolling Stone" setting things off.

The Headhunters (Richard & Fred Young, Anthony Kenney, Greg Martin, and Doug Phelps) redo versions of "Chug A Lug" (in Dance format with female chorus) and "Midnight Special," a rockin' version of the Leadbelly song, and honestly as cool as the CCR version.

If you're ready to go out and buy the CD, wait -- there's more! The band will play the Rig St. Festival in Petersburg (WV) this Fourth of July. The band will then hit the Putnam County Fair in Eleanor 7.8, and bring it to the Boone Co. Fair in Danville August 4. Now, go out and buy the thing...

-- nick2

Good dreadlockin' music

2006-06-27T10:41:00.000-07:00

THE CD: "Brightblack Morning Light" (Matador)
PERFORMER: Brightblack Morning Light
WEBSITE: Click here.
SUGGESTED TRACKS: Start at the beginning and just go, man.
YOU'LL LIKE IT IF...: a juke joint pulse keeps you from a bad trip.

No one can accuse Brightblack Morning Light of being spread too thin. Rocking out in their California teepee, the hippie quintet rarely wavers from the gospel and blues roots of their native Alabama. They go home a little too long at times, such as on the 25-minute, four-track medley built on a single, three-note blues tune.

But you really don't notice. By the time the song breaks into the light, hop-scotch organ on "All We Have Broken Shines," you've been sucked into the zone. Notes with visible and distinct personalities mingle before you. Kissing and fighting. Living and dying, man. Even the lyrics -- none exceed a few lines -- become sounds as they are breathed rather than sung.

Rhythm and sound pilot this record and go to crazy places if you relax and let them drive. BML exalts your soul with the hymn "A River Could Be Loved," boils your blood once more with the hard-nosed "Black Feather Wishes Rise," then dumps your unconscious body at the edge of camp with the tribal crash of the closer, "We Share Our Blanket with the Owl."

Trance or not, the song names warrant a chuckle. And look for granola marketing ploys like the 100-percent recylced paper jewel box. And the cannibis-adorned spectrum glasses, lovingly inscribed "resisting babylon system one rainbow at a time," seen here:

Available at all local record stores.

-- by Morgan Kelly

Red Hot Chili Peppers need a kick

2006-05-22T20:32:00.000-07:00

The CD: "Stadium Arcadium"
PERFORMER: Red Hot Chili Peppers
WEBSITE: Click here

"Stadium Arcadium" is a curious beast of an album. Clocking in at over two hours, you'd think that this new release from the Red Hot Chili Peppers would be an example of bloated excess. And you'd be right, sort of. It's definitely a humongous chunk of music--too much to take in at one listen. However, except for a couple of obvious filler tunes, it'd be hard to trim this work down. There's certainly more than a single CD worth of good music here.

Having said that, this is still a disappointing album. While there's more than a CD's worth of good music, there isn't that much "great" music spread across the two CDs. For this album, the Peppers reunited with producer Rick Rubin, with whom they recorded their breakthrough album "Blood Sugar Sex Magic," and in many ways this album seems more like an attempt to revisit past glories than a fresh artistic statement. Fans of the Chili Peppers won't be surprised. There's nothing really new here. You still get Anthony Kiedis' quintessential rock star vocals, virtuoso bass and guitar work by Flea and John Frusciante, and a lyrical focus on Southern California as the center of the universe. The band is still a melting pot that can manage to borrow heavily from Lynyrd Skynyrd, hardcore punk, and classic soul, and somehow wind up sounding like themselves.

Unfortunately, that homogeneity works against them. It's not quite "Tedium Arcadium", but at several points while listening to this CD, I was struck by how great the band sounds, but how uninspired the material seems to be. It reminded me of the Rolling Stones in the early 1980s, when they were the most polished musically that they had ever been, but couldn't even come close to writing songs as memorable as they had fifteen years earlier. The Chili Peppers play better than they ever have, but can't write song like they used to. "Stadium Arcadium" features the same mix of pop ballads and alterna-funk that they've been cranking out for the last two decades. The high quality of the musicianship makes the blandness of the songs more glaring.

There are exceptions. "Snow (Hey Oh)" is a catchy little half-rap with a memorable guitar riff and a great chorus. "Stadium Arcadium," the title track, is one cheesy synthesizer away from sounding like ASIA, but at least it doesn't sound too much like their previous work. "21st Century" harkens back to their pre-success days, with a percolating new wave synth and a killer bass line.

This may sound sacrilegious, but maybe the guys should consider bringing in an outside lyricist. Musically, this is a killer album for the most part. Lyrically, it falls flat. "She's Only 18" is a sad lament about how tough it is when your date is more than twenty years younger than you. Boo-freakin'-hoo! What are they going to do next, write a blues song about how their limo is the wrong color? These guys seem to be at the height of their powers as musicians. It's a shame that they also seem to be about a decade past their peak as songwriters.

--- By Rudy Panucci

Andrew Russo meets John Corigliano

2006-05-22T08:48:00.000-07:00

THE CD:
THE PERFORMER: Andrew Russo doing the music of John Corigliano
WEBSITE: Click here
GET RECORD: Click here

Andrew Russo, who made a memorable debut with the West Virginia Symphony Orchestra in February, has a new recording of the piano music of John Corigliano, who has gotten some play in Charleston.

In the 1990's, flutist James Galway played his "Pied Piper Fantasy" and classical guitarist Sharon Isbin played his "Troubadors" with the orchestra. Those pieces are populist landmarks, kaleidoscopic and engaging. Russo's album of Corigliano’s piano music features some more serious fare, though there is nothing remotely dry or off-putting in it, even if one piece seems scary (more on that in a bit).

The crowd pleaser here is the Sonata for Violin and Piano, the early work that launched Corigliano's career in the 1960s. Violinist Corey Cerovsek, who also appeared with the WVSO this season, joins Russo. Together, they bring an old-style magnetism to the music. Their timbres are abundant and multi-hued; textures are clean and vibrant. The music of the three fast movements -- think jubilant, rhythmic energy -- is vivacious while the lyricism in the slow one is downright attractive.

Russo offers penetrating accounts of the "Etude Fantasy," five pieces reminiscent of the serious work of Copland with a Rachmaninov chaser, and the "Fantasia on an Ostinato." The Fantasia uses a fragment of the slow movement of Beethoven's Seventh Symphony to spin a minimalist web. Russo's performance is haunting, intense and luminous.

For the apparently scary, the pianist Steven Heyman joins Russo on "Chiaroscuro," a piece for two pianos tuned a quarter step apart. Tuning two pianos in quartertones breaks the half step intervals to yield 24 steps in an octave -- spread over the two instruments. The notion is over 100 years old, so don't get dragged down by a notion of "new music is scary."

In Corigliano's piece, the effect yields a jangling world of sound, but you don't really notice the odd tunings in the short opening piece, which is a kind of fanfare that sets up the odd sounds. The middle movement reveals a melody that descends through the 24-note scale, to surprising effect, although with a slight giggle quotient. The finale is a brilliant Bartokian fantasia on the "Old One-Hundredth Psalm Tune." In the capable hands of Russo and Heyman, it sounds clangorous and exhilarating and ultimately, if clandestinely, beautiful.

--- By David Williams

Bob Thompson Unit's "Hit From the Git"

2006-05-18T11:17:00.000-07:00

THE CD: "Hit From the Git"
PERFORMER: The Bob Thompson Unit
WEBSITE: www.colortones.com

On "Hit from the Git," the Bob Thompson Unit's latest release, the Charleston keyboardist tries to channel jazz legend Herbie Hancock's funky, soulful sound of the early '70s. This is a worthy goal: "Head Hunters"-era Hancock represents a pinnacle of groove-based jazz, full of exhilarating melodies and compelling beats.

"Hit from the Git" stumbles a bit out of the gate, with the five-piece band settling into an uptempo groove on the title track that gets buried under an overly ornate melody. Guitarist Ryan Kennedy's solo is technically impressive but lacks coherence: the licks sound like they were cut and pasted out of a practice book, rather than flowing spontaneously into one another.

"Blues for America," an almost-eight-minute epic (one of five tunes written by leader Thompson), finds bassist Chris Allen and drummer Tim Courts locked in a plodding groove. While Thompson and alto saxophonist Doug Payne deliver credible solos, the song fails to rise above the lackluster rhythm section. Somebody wake these guys up!

On "Still Waters," the band hits its stride, digging into Thompson's meditative ballad and producing soulful solos that command (and reward) the listener's attention. Kennedy displays a delicate, bluesy touch on the slower song, and his playing is much more tasteful than his shredding on the faster numbers. Payne is also in top form, bending notes into a beautiful line in his elegant solo.

The band also delivers a satisfying version of "Afro Blue," a Mongo Santamaria song made famous by John Coltrane. Kennedy's staccato guitar pattern compliments Courts' polyrhythmic beats, giving Thompson and Payne a fertile backdrop for their lilting, restless solos.

The quintet fares less well on "Donna Lee," Charlie Parker's bebop standard written over the chord changes to "Back Home in Indiana." By slowing the tempo down to a crawl and having piano, guitar and bass play the head in unison, Thompson makes Parker's soaring line sound like a teaching device. (Note to bassist Allen: A little bit of chromaticism makes a solo interesting. Too much turns it into a practice exercise.)

While the band is clearly talented, what's missing from most of "Hit from the Git" is the sense of group interplay that makes jazz so exciting. Each musician seems to be performing in a bubble, not playing off of each other. The result is flat and airless: the music never really opens up and breathes.

-- By Andrew Clevenger

The Raconteurs: Jack White and Co.'s spotty new project

2006-05-13T14:24:00.000-07:00

THE CD: "Broken Boy Soldiers" (Third Man/V2)
PERFORMER: The Raconteurs (a.k.a. the Saboteurs)
WEBSITE: Click here.
SUGGESTED TRACKS: "Blue Veins," "Broken Boy Solder," "Steady, As She Goes," "Level"
YOU'LL LIKE IT IF:: any album by indie-rock heroes has you marking your calendar.

The Raconteurs boast a lineup worthy of buying expensive panties just to throw them: Jack White of the White Stripes (insert pubescent shriek); Detroit pop-smith Brendan Benson, and the neo-blues Greenhornes. Yet somehow the recently-released fruit of this fertile orchard, "Broken Boy Soldiers," yields several sweet moments, but falls criminally short of the juicy experience it could have been.

A cold war divides the supergroup's catalog -- songs swing either White or Benson (the Greenhornes, sans frontman Craig Fox, play neutral but solid backup). Not in a tense, horn-locking way. "Soldiers" feels compromised as if neither side wanted to overshadow the other, which could have easily happened.

White and Benson both come from Detroit, but musically they hail from opposite ends of the sonic universe. Benson reportedly hates being described as "power pop," but how else does one peg a man citing the Cars and Electric Light Orchestra as among his influences? Enough said.

White, on the other hand, comes to us via the screeching, gritty, beating-the-crap-out-of-other-bands highway from Hell, a road paved by numerous hooligans of rock. Granted, he more than waxed pop on the Stripes' 2005 album, "Get Behind Me Satan," and played nice on Loretta Lynn's brilliant 2004 album, "Van Lear Rose."

But Jack's softer side whimpers in the corner on most of his Raconteurs contributions. Songs such as the squealing, psychedelic march of "Broken Boy Solder" and the smoky, wailing depression of "Blue Veins" smack of classic Jack (hear 1999's "White Stripes").

Yet most of the time, White's tunes run up against the enchanting, bubble-gum drone of Benson's cuts such as "Together" and "Yellow Sun." Goodbye flow, goodbye congruity. Nice knowing you. A good album, yes. But "Soldiers" differs so much from one song to the next why did Benson and White bother to record together?

Here's why. White's hard style occasionally loves-up just right on Benson's softer sound to spawn little cuties such as "Steady, As She Goes" and "Level," songs with daddy Jack's dirty rock and daddy Brendan's pop good looks. With the charming purity and seductive naughtiness of a corrupted choir girl, these songs reveal the true Raconteurs. Here's hoping Benson and White get a little more frisky next time.

--by Morgan Kelly

Pearl Jam: "Pearl Jam"

2006-05-02T17:07:00.000-07:00

THE CD: "Pearl Jam"
PERFORMER: Pearl Jam (Monkeywrench/J. Records)
WEBSITES: here and here
LISTEN: here
YOU'LL LIKE IT IF YOU LIKE: Hard-charging, insightful rock with no cheese on top.

So you think you've heard everything Pearl Jam has to offer on their seven previous studio efforts? Fans, you would be right...they do still rock. On their eponymously titled new one (frontman Edward Vedder said a title would have been "pretentious"...okay), the band that has nothing to prove, and no world left to conquer, reaches down and comes up with an effort that is no doubt better than 2002's "Riot Act" and probably THE definitive Pearl Jam CD!! [You are only allowed one exclamation point per post. Preferably none-- ed.]

The first single, "World Wide Suicide," has already reached the top slot on Billboard's Modern Rock charts. You're still standing there with your arms crossed because you are a cynic?? OK. You watch the news? Well, it may be tough to get into one of your all-time favorite bands when nucya-lur apocalypse is as as certain as a worthless dollar. Vedder feels the same, screaming on "Suicide": "What does it mean when a war has taken over?" You're back on board? Good. Now you're ready to rock to "Life Wasted" and "Comatose," which sound to me like they could've fit on most PJ records.

"Marker In the Sand" is one of the best songs on the CD. It sounds like the band (Vedder, Mike McCready, Jeff Ament, Stone Gossard, Matt Cameron) has found a nice middle ground, musically speaking, between their rockin' side (verses) and their soft side (chorus). Vedder sings on the soft-strumming choruses: "What went wrong/walking tightrope high/over moral ground/walk the bridges/before you burn them down." All this in a land which sees "both sides claiming killing in god's name," and "god is nowhere to be found." Vedder breaks down, singing "god what do you say?" over the end of the song. This is classic Pearl Jam: chorus/reverb effects giving the guitars an oceanic quality, Vedder's vocal range, the tempo changes, the rock. The outro picks up the tempo, ending things on a high note with cool organ riffage.

"Big Wave" is one of my personal faves off the CD, a punk version of Pearl Jam that is on display in their music only slightly. Pearl Jam fans like the band as much for their music (which takes on a jam band quality live, with extended solos) as Vedder's vocals and words (from the personal to the political). The political side is on display in "Army Reserve," written from the perspective of a wife who "tells herself and everyone else father is risking his life for our freedoms" and then sees "lightning in my child's eye." Wow. The personal is on display in the song "Come Back." Vedder sings "Since you slipped away/know that I still remain true. . . From wherever you are/come back."

I support the band not because they're big time rock stars (which we need) but because they've used their stardom to support worthy causes, like taking on Ticketmaster, apathy, bad public policy, and yes, even Satan. I like them because they didn't kill themselves.

The band is touring worldwide, then coming stateside for a string of gigs with Louisville-Kentucky's own My Morning Jacket. Who said Ky. was just good for lazy American workers? I kid. I kid.

Neil Young: "Living With War"

2006-05-02T14:39:00.000-07:00

THE CD: "Living With War"
PERFORMER: Neil Young (Reprise)
WEBSITE: neilyoung.com
LISTEN: Here
A disclaimer: If you're into that whole North Korean, Bush-is-God, leader worship thing, stop reading now.

So, 36 years ago today (5.4) students protesting the conflict in Vietnam were shot at Kent State University, providing the inspiration behind Neil Young's song "Ohio." Young returns with his much anticipated anti-war, anti-Bush CD "Living With War," which you can listen to in its entirety on his website.

Young still rocks -- for scientific proof of my argument, see "Rockin' In the Free World." Yeah, I learned to play that song on bass: It's easy, and it gives me goosebumps. As do many of the 10 tunes on "War." Recorded in 10 days (no, 'twas not outsourced to India,) "War" is short, bitter, sweet, and oh, did I mention it rocks?

Young is not alone; he's brought a powerful afro-spiritual female chorus with him, giving the songs more weight. Black god rulez!

"After the Garden" kicks things off and sets the truly patriotic table with rhetoric that'll have Sean Hannity rolling over in his grave (he'll die after hearing the first couple of bars.) A cool reverse-sounding riff opens, with Young singing in his patented nasal voice: "Won't need no shadow man/runnin the government/won't need no stinkin' WAR. Won't need no haircut/won't need no shoeshine/after the garden is gone."

The title track follows "Garden" and finds Young praying for peace and taking the unheard of holy vow to "never kill again." HUH?? Like me, Young admits he's "not bound by the thought police." Rock on, you crazy Canadian! "The Restless Consumer" has nice distorted riffage, along with a Dennis Miller-like rant against TV ads, Madison Avenue, lies, poverty, and war.

"Shock and Awe" is more driving protest rock, with a trumpet solo and a big, cymbal-riding, rock show end to the song. No fade-outs. "Families" is written for the people that suffer daily, while corrupt cronies and their subsidiaries get rich. Potable drinking water? Not gonna happen. Not in Dick Cheney's America.

"Flags of Freedom" is probably the best song on the CD. Lyrics? Pick 'em up!

"Today's the day our younger son is goin' off to war/Fighting the age old battle/we sometimes won before. . . Do you see the flags of freedom? What color are they now? Do you think that you believe in yours/more than they do theirs somehow?"

The song creating the most buzz, "Let's Impeach the President," is a song John Conyers could get behind. Young calls for the prez to be impeached for "lyin'" and "spyin'" and, oh yeah: "hijacking our religion to get elected/Divided our country into colors/and still leavin' black people neglected." Young delivers this verbal blow to the Bush admin.: "What if Al-Qaeda blew up the levees? Would New Orleans have been safer that way/sheltered by the government's protection?" Cool samples of Bush contradicting himself, ala The Daily Show appear. Young gives Bush the rope to hang himself free of charge.

"Lookin' For a Leader" has Young searching for someone to steer our country away from a Thelma and Louise finish. "Maybe it's a woman, or a black man, after all. Maybe it's Colin Powell, to right what he's done wrong."

The CD closes with the chorus singing "America the Beautiful." I wished that Young would rock this song out, but he is nowhere to be found. Weird. Fans, I was able to listen to this entire CD on May 2, one week before this "hot joint" "drops." The thing that I take away from someone so famous putting out on the Internet is that if you have something important to say in your music, or even if it just rocks, people will support you. Copyright laws? What are those?

People of all stripes can like this CD. Except if you're a Republican. You will not like it. Promise. I'm off to start my Neil Young tribute band. I play bass.

Danko Jones: "Sleep is the Enemy"

2006-05-01T14:41:00.000-07:00

THE CD: Sleep Is The Enemy (Razor & Tie)
PERFORMER: Danko Jones
WEBSITE: dankojones.com, myspace.com/dankojones, sleepistheenemy.com
YOU'LL LIKE IT IF YOU LIKE: Hot and sweaty riff driven rock n' roll, with a little bit of groove and a little bit of soul.

Danko Jones is a Toronto-based three-piece (singer/guitarist Danko Jones, bassist J.C. and drummer Damon Richardson -- since replaced by Dan Cornelius) that has been kicking around since 1996. The band has spent most of that time doing their thing overseas, where they're much better known than they are here in the United States. (Their current headlining tour has featured sold-out shows in countries like Finland, Sweden, Germany and Austria, to name a few.)

Up until last year, when the band finally got a U.S. record deal, only a small pocket of stateside fans that followed the international rock scene knew about Danko Jones. That started to change when songs like "Lovercall" and "Forget My Name" from "We Sweat Blood" started getting radio airplay. The funny thing is, that CD had been out everywhere else in the world for a couple years already.

So, while we were getting caught up here, Danko fans across the globe were waiting for a new CD. "Sleep Is The Enemy" was released in February (debuting at No. 8 on the Swedish sales charts). Released everywhere except the States, that is. Their label here decided to hold off until May 23, thinking that we're still getting acquainted with the last disc. Whatever. It's time to get on the same page with the rest of the globe.

In concert, Danko (the man) is one of the most charismatic and electrifying performers you'll see on the touring circuit. He hits the stage fired up and then proceeds to get the audience fired up. He feeds off their energy to get even more fired up. The shows become celebrations. That energy and personality translates to the testosterone fueled songs, which are tight and catchy, with a good deal of tongue in cheek wit thrown in. If you're wondering about influences, AC/DC, Kiss and Thin Lizzy are good reference points.

Listening to the tunes, you get the idea that Mr. Jones is a smooth operator who always makes the right moves with the ladies ("First Date," "Natural Tan"). But you also find out that he knows what it's like to be a jilted lover who has had his heart stapled to the wall ("Baby Hates Me," "Don't Fall In Love"). He's addicted to the opposite sex ("She's Drugs"), and he's willing to do whatever it takes to attract and win a woman over ("Invisible," "When Will I See You Again").

A note about "Invisible," which might be my favorite song on the CD: guest vocals were provided by John Garcia, the former voice of the dearly departed Kyuss (a band that featured at least a couple guys who would go on to be part of Queens Of The Stone Age). How cool is that? It's very cool! The song also features one of the most painful lines I've heard in awhile. Let's just say it's refers to breaking the part of the anatomy that a guy would least want broken. You’ll cringe when you hear it sung.

Occasionally, Danko displays a bit of a mean streak, especially if he feels like he's been crossed. If you need to get rid of a little built-up aggression, Danko Jones helps you out with "The Finger" (guess which one the song is about) and "Sleep Is The Enemy."

Knowing that they've got a chance to expand the Danko Jones audience, some songs sound like they might have been written with radio airplay in mind. Maybe you've already heard "First Date" on the radio. Overall, "Sleep Is The Enemy" is a worthy follow up to "We Sweat Blood." Not all of the songs on the new CD are as memorable as songs on its predecessor, but it won't take long for them to become familiar.

If you're looking for a solid rock record, put down the Nickelback and leave that Godsmack alone. Danko Jones is what you're seeking. Catch them live if you ever get a chance. (They're in Cleveland on May 20th.)

-- By Ozz

Tool: 10,000 Days

2006-04-24T13:15:00.000-07:00

THE CD: 10,000 Days
PERFORMER: Tool
LABEL: Zomba
WEBSITE: http://www.toolband.com/
Like Tool? You may/may not love: King Crimson, Pink Floyd, A Perfect Circle
Yeh, but what does MTV call them?
Psychedelic math metal

Yeah, so I've seen Tool live twice. I got to see Maynard Keenan, singer, turn his back on the Huntington crowd when they came to dub-vee. Let me bullet this review, to make it easy 4u:

Tool is one of the best rock bands ever; and
Maynard James Keenan is one of the greatest rock singers ever.

So, now, the skinny: It only seems like 10,000 days since prog-rock gods Tool (Keenan; Adam Jones, guitar; Justin Chancellor, bass; Danny Carey, drums) released "Lateralus" in May of 2001. There is some good news that we can stick in that time period up to now: Tool is still a band, no matter what label they're on. And, as they approach two decades of band-hood, they still rock.

While "Lateralus," was more instrumental at times (I found myself asking "What are they on?" -- I still liked the CD.), "10,000 Days" seems to find Tool back at their hard-rockin' best, maybe influenced by recently touring with Swedish metal outfit Meshuggah.

Songs along these lines on the new CD are "Vicarious," the first single and opening track (and incidentally, leaked earlier in the month from a Pittsburgh radio station "The X. . . 105.9"), "Jambi" and "The Pot" (that one's about kettles and hypocrisy). Headbangin' tunes, all.

"Wings for Marie (Pt. 1)" and "10,000 Days (Wings Pt. 2)" are more trippy songs, in line with what you'd expect out of the band's experimental side. The songs sound to me like they fit in between "Aenema" and "Lateralus" -- heavy, tribal, and trippy.

Keenan, who left the army to go to art school, still lays down some of the most beautiful and powerful vocals. And, his lyrics deal with suffering, spirituality, and ultimate salvation. Not to mention the perils of the record industry.

This is not a band easily categorized or dissected. Yes, the weird time signatures (like Meshuggah) and polyrhythms still give a sort of tribal feel to their version of nu-metal. It does seem that "10,000 Days" is a little more approachable than "Lateralus."

Tool fans will likely make this latest effort No. 1 on the Billboard Charts, as they did for "Lateralus" five years ago. It's a Nick2 mustbuy for rock fans. All the sharpest Tool fans, out there in their sheds, will agree with me come Tuesday. Thanks for the CD, Freddie Malcolm of Quincy Hollow, YOU ROCK!

-- 10,000 Days release date: 5.2.2006

Edwin McCain is 'Lost in America'

2006-04-09T19:09:00.000-07:00

THE CD: Lost In America (Vanguard)
PERFORMER: Edwin McCain
WEBSITE: Right about here.
BEST SONGS: "Gramercy Park Hotel," "My Mystery"
LISTEN: here

When I first listened to Edwin McCain's new CD "Lost In America" I must have been in a bad mood or something. I was reviewing McCain's seventh release, having never heard him. His mix (maybe overproduced) of rock, folk, blues and country seemed bland to me; I was comparing it to stuff you'd hear on 93.3 K-Love. You know what I mean.

"Gramercy Park Hotel," the first single, opens the CD and is a good alt-rock song. It's a perfect example of the duality of McCain's songs: at once catchy and inviting, the next moment you feel like you're in an elevator or something, listening to the theme music from "Friends."

The title track, a tongue-in-cheek American anthem, features another fairly dated production technique: singing through lo-fi effects. YEAH, like you hear on all those K-Love commercials! Escalades and prosthetic surgery are the new apple pie and Chevrolet, so McCain sings:
Yes we're lost in america/in this land we're so proud of/we got the cars, the girls, the money, the drugs/to get you out of your rut.
"My Mystery" is probably the most rockin' song on the CD, along with the closer, "Babylon" -- another good tune.

One thing I noticed was how many fade-outs there are on the CD. I thought that was more of a couple-of-decades-ago thing.

Yeah so, I think I owe this guy an apology for the K-Love reference. I rushed to judgment on that one. He's a good songwriter with a kind down-home quality, and the band is good. It just seems a little too radio-friendly, not really my cup of tea.

Threaten your mother's life or something on your CD. Now, that's entertainment!

Bird York's "Wicked Little High"

2006-04-05T01:02:00.000-07:00

The CD: "Wicked Little High" (Narada)
The Performer: Bird York
More: Click here.

Millions of viewers were first exposed to actress/singer/songwriter Bird York when she recently performed her Oscar-nominated song "In The Deep" at the Academy Awards. The dirge-like "In The Deep" is included in this collection of songs, but it's hardly the highlight. York is an intriguing lyricist, but the music on this CD fails to do justice to her words. The tempo rarely breaks past a slow trot, and that leads to a sameness among the songs.

Even York's take on the Sam and Dave classic, "Hold On, I'm Coming" suffers from a low-key approach, as though she's trying to perform it in a manner that won't wake anyone up. She has a very pretty voice, but it's not terribly distinctive. The CD has an overdose of "Lilith-fair" styled production, with tepid arrangements that really don't do anything to enhance the lyrics. It's a little too laid back.

Exceptions are "Freedom," which is one of the more uptempo cuts, and sports a catchy chorus. "Up In Flames" mixes things up a bit, with a funkier beat and more adventurous production. "Lovely Thing," featuring a squeezebox and sitar, shows that York can mix things up with very nice results. In addition to the unorthodox instrumentation, this song features York's best vocal performance. These songs hint at greater things in the future, should York hook up with a more diverse production team.

"Wicked Little High" is an okay CD. It's very laid back, lacking much musical range among the songs. This is definitely a "Sunday morning" album, not something that you'd crank up in the car on a sunny afternoon while tooling down the interstate. Still, it's lyrically interesting enough to make me want to hear her work in a less restricted context. Fans of Suzanne Vega or Loreena McKinnett may find a lot to enjoy here.

---By Rudy Pannuci

Pop highs, indie lows and one sexy voice

2006-04-04T13:33:00.000-07:00

THE CD: "Show Your Bones" (Interscope)
PERFORMER: Yeah Yeah Yeahs
WEBSITE: Click here.
SUGGESTED TRACKS: "Cheated Hearts," "Way Out," "Phenomena," "Gold Lion"
YOU'LL LIKE IT IF...: NYC art-house ballads with gnashing claws and teeth get your blood flowing.

Channeling the voice of a jilted lover on the song "Mysteries," Yeah Yeah Yeahs' singer Karen O., in her horny-nymph squeal, belts out over a hyper riff: "I don't even know what it's like not to go back to you."

That's more or less how I feel about the New York-based trio's latest effort, "Show Your Bones." No matter how many CDs I have floating around the car or teetering in boxless stacks on the dresser, I pop in this aural speedball (as in John Belushi, not Nolan Ryan). "Bones" lulls the listener into a happy stupor with tracks tantalizingly familiar to some really good pop song we can almost remember, then punches with the maniacal, shout-and-thrash garage-rock that fueled the Yeah Yeah Yeahs' 2003 album, "Fever to Tell."

The dance-club grind of "Phenomena" drips of Gwen Stefani, with a few "Rock your body, y'all"s thrown in for effect. Seconds later, guitarist Nick Zinner whips out wild bends and vibrattos to a backdrop of blaring car alarms. Karen follows up with a ghostly moan. How very Eels.

An effective formula overall, but it comes of as half-cocked at times. One minute, the band curls up in the prickly blanket of UV-lit-basement metal on "Fancy" only to later connect with its inner-Sheryl Crow for the acoustic "The Sweets."

What kind of album is this anyway?

A cynic could say the Yeah Yeah Yeahs saw the public's fleeting infatuation with every band with "The" in front of its name, and spiked successful formulas with their own sound to play it safe without selling out.

Evidence: "Gold Lion," although a good song, jumps on the making-noise-as-a-chorus train with veteran passengers Blur and Third Eye Blind. The Nena-esque "Cheated Hearts" smacks of the '80s-pop resurgence headed by Franz Ferdinand and others.

But the Yeah Yeah Yeahs pump out enough attitude, distortion and screeching (not to mention super sexy) vocals to plant their own flag on familiar territory.

--by Morgan Kelly

The Flaming Lips: "At War With the Mystics"

2006-04-04T08:02:00.000-07:00

THE CD: "At War With the Mystics" (Warner Bros.)
PERFORMER: The Flaming Lips
WEBSITE: Click here
IF YOU LIKE THE LIPS THEN YOU'RE GONNA LOVE . . . Sonic Youth, Wilco, Beck
Here's what they're saying: "Existential space-rock protest songs, commentaries about social responsibility and some really weird pop tunes" (so says a reviewer) and "Songs about life, death, and what it means to be alive" (so says lead singer Wayne Coyne).

So, yeah, I've been a fan of The Flaming Lips from the first time I heard their song "She Don't Use Jelly" more than a decade ago. The Oklahoma City-based rockers have developed a reputation for their original mix of ball-trippin', experimental, American acid rock.

If you are in the mood for a challenge, listen to their 4-disc set "Zaireeka" simultaneously. (That's right, a la Pink Floyd/Wizard of Oz.) The band -- Wayne Coyne, Steven Drozd, Michael Ivins -- had a huge hit in "Do You Realize??" off 2002's "Yoshima Battles the Pink Robots."

"The Yeah Yeah Yeah Song (With All Your Power)" opens "Mystics" and is a zany upbeat number about the responsibilities of being in power. Coyne's lyrics celebrate life and imagination, and, impugn the president's and our choices alike. Coyne sings:

"It's a very dangerous thing to do exactly what you want. If you could make everybody poor just so you could be rich would you do it? yeah yeah yeah yeah/yeah yeah yeah yeah. And so we cannot know ourselves for what we'd really do/with all your power."

Phaser effects and squwakboxes make it trippy, so it's good for you!

"The W.A.N.D. (The Will Always Negates Defeat)" is the first single off the CD, and probably the best song on the 12-song CD. Fuzzy synth riffs play over top of record-playing skip sounds. You like your phasers set to random pan, with a slicer effect over it? You're in luck here.

Coyne has more socially conscious lyrics for you as well: "Time after time those fanatical monks try to rule all the world/tellin' us all it's them who is in charge of it all/I've got a trick/a magic stick that will make them all fall/we got the power now motherf*&*ers -- that's where it belongs."

This CD has more of a '70's funk feel to it than "Yoshima" and doesn't have as many really good, catchy songs, either. Reviewing a Lips CD can be tough, but I made it. These guys are a treat to listen to, take it from me. Any band that can incorporate a theremin and a bullhorn in to their live act is ok with me. As a P.S -- try and find "The Kleptones vs. The Flaming Lips," a mash-up remix of "Yoshima" featuring 50 Cent, Chuck D, and others. Thanks, MarkT. It's cool.

--- By Nick Harrah

LocalMusic Videocast 2: The Twistin' Tarantulas at the Empty Glass

2006-03-31T06:08:00.000-08:00

Click right here to view the 2nd show in thegazz.com's new LocalMusic videocasts of live music in area clubs. This one features the hip, no bulls!$t rockabilly of the Twistin' Tarantulas, who performed recently at the Empty Glass. A cooler use of an upright bass cannot be found. Plus those are some way-out tattoos around the lead singer's neck.

COMING UP:
Stay tuned for these upcoming LocalMusic videocasts on thegazz.com:

Show No. 3: Motley Crue: The LocalMusic videocrew hung out with the crowd waiting to get in to see the raunch'n'roll at Motley Crue's recent Civic Center show

Show No. 4: The Bark O' Loungers. Enter the well-dressed confines of the Vandalia Lounge in Charleston as LocalMusic checks in on Michael Lipton's latest musical endeavor,

PREVIOUS SHOWS:
Show No. 1: Click here to see the debut LocalMusic videocast, featuring Fairweather Fan, Ten Carp Lie and Vintage Tone at Charleston's Sound Factory in February.

CRITICAL NOTES:
We finally got some lights to go with our videocam, so starting with show 3, we'll be throwing a little more light on the subject. Send your feedback, constructive criticism, destructive rants (take your medication first) and suggestions for LocalMusic programs to us through a blog comment OR click on 'Contact' at the top right of this page.

A Southern Gospel tribute

2006-03-28T17:11:00.000-08:00

THE CD: "Voice of the Spirit: The Gospel of the South" (Dualtone Records)
PERFORMERS: Several

Nashville producer John Carter Cash, son of the late Johnny Cash and June Carter, put together this tribute to Southern Gospel music. It features Mac Wiseman, Johnny Cash, Mavis Staples, Connie Smith, Marty Stuart, Ronnie and Del McCoury, Rodney Crowell, John Cowan, Tony Rice, Earl Scruggs, Vince Gill, The Fisk Jubilee Singers and others, on separate tracks, singing a wide variety of vintage gospel songs.

"Voice" starts off with Wiseman singing the Alfred Brumley song, "By the Side of the Road." The bluegrass legend's voice gets warmer with age. Cash includes one of his father's final recordings, "Unclouded Day." The timeless lyric and stark accompaniment are the perfect accompaniment for Cash's weary yet still vital, singing.

Banjo master Earl Scruggs is also a killer guitar player, and presents a simply beautiful "If I Be Lifted Up," played in the what sounds like the "Carter Scratch" style, created by Mother Maybelle Carter.

Which leads us to another Carter Family gem, "Diamonds in the Rough," done here by Laura Cash and Larry Gatlin. They trade verses, and Cash plays some nice fiddle.

Each track is different, presenting a wide spectrum of Southern sounds. This is another one of those pleasant surprises that comes in the mail. What is it about a gospel melody that is so moving? "Listen to the tiny voice inside," producer Cash writes in his liner notes. Indeed.

NOFX sez "Never Trust a Hippy"

2006-03-18T08:31:00.000-08:00

THE CD: "Never Trust A Hippy" (Fat Wreck Chords)
PERFORMER: NOFX

Punk rockers NOFX made their feelings re: hippies known on the song "Always Hate Hippies." So, it comes as no surprise that they take a shot at them on their 6-song EP "Never Trust A Hippy" (That's the preferred misspelling of hippie, right? ed.) Some background on the band is in order, since there are only six songs.

NOFX (Fat Mike, bass/singer; Eric Melvin, guitar/sings; El Hefe guitar/trumpet/sings; Smelly, drums) formed in L.A. in 1983 (wow) and toured the country for beer money, sleeping on people's floors. Their steady rise in popularity, some might have thought, culminated around the mid-'90's, when punk "broke" and the band shared the limelight with fellow Epitaph acts like the Offspring and Rancid. (Just don't mention MTV or Green Day.) Their epic "Punk In Drublic" was released around this time, with their anthem "Linoleum" being sung by kids nationwide, including El-Doochay.

Never short on socio-political commentary (see "The Bag" on "White Trash, Two Heebs, and a Bean"), they got even more political with the new millineum, when Fat Mike formed PunkVoter.com to rally punks and dissatisfied citizens to defeat President Bush. Then, for a long time, nothing happened.

Until now.

"Hippy" is more of the same NOFX -- f*#^ed up, funny, and fast. With some food for thought. "Seeing Double at the Triple Rock" and "The Marxist Brothers" open things up and serve as a nice encapsulation of the band's music and message. "Triple Rock" is vintage NOFX: Melvin shredding; Fatty running his fat mouth; and Smelly's drum fills that, by now, every fan knows and loves. Fat Mike and Melvin combine for some of the best vocal harmonics in the history of punk. And that's saying something, becuz I'm the foremost authority on punk journalism. I won a Peabody Award. The lyric hilarity is proudly on display, with Fatty singing How much more art can we take? I'll let you know when the medication wears off.

"The Marxist Brothers" is a reggae-flavored track with sleepy rock choruses. Insert witty commentary: So the next time I visit the third world/I won't have to fly second class/The people's revolution/is gonna be a podcast. Proves my point nicely, no? "Golden Boys" is a catchy power-punk song. Fat Mike screams in his patented voice Go, go, golden boys/you got your war toys/lookin' straight on/and with your eyes of blue/we'll do the old war two/one for me, and one for you. Mike sings on the outro: millions of boys lay dead. Not too subtle.

"You're Wrong" is something of a treasure in the NOFX library: an acoustic protest song. More lyrics, please: You're wrong about the virtues of Christianity/and you're wrong if you agree with Sean Hannity/and if you think that pride is about nationality. . . you're wrong. "Everything in Moderation (Especially Moderation)" gets back to the punk, with a line that sums up where NOFX stands after two decades of putting out: When your band has been a band longer than the Ramones/and the critics coin you the punk Rolling Stones/That's when you know this is for life.

"I'm Going to Hell For This One" is an appropriate title for the closer, with Fatty pointing out what he feels is the crass commercialisation of our lord and savior: Jesus Christ is coming back/He wants to kick Mel Gibson's ass/superstar, the passion of/he wants his money, not your love. . . He's not the fragile/white child hippy/he looks and acts/more like an indignant Ice-T. So, you can see where he's going with the song title. "Scare tactics," "love," and "BMI royalties" are among the themes this song deals with. Pretty deep.

The band, by the way, is not anti-Christian. They're just against ignorant people in general. NOFX uses their music to effect positive social and personal change. Right on, brother. A band that tries to turn people on to Eric Schlosser, Howard Zinn, and Noam Chomsky is alright in my book. If I had a book. They're expensive, and full of words.
Are you still reading this? Go out and buy this CD -- DO IT! GO NOW!!!!!

The Arctic Monkeys want to destroy your town -- join them

2006-03-11T10:22:00.000-08:00

THE CD: "Whatever People Say I Am, That's What I'm Not" (Domino)
PERFORMER: Arctic Monkeys
WEBSITE: Click here.
SUGGESTED TRACKS: "Fake Tales of San Francisco", "I Bet You Look Good on the Dancefloor", "Riot Van", "Mardy Bum"

The Arctic Monkeys continue retro Brit-pop's recent winning streak with their debut album, "Whatever People Say I Am, That's What I'm Not." They join the likes of Franz Ferdinand and the Kaiser Chiefs, bands who stormed stores and stations in the last few years with tongue-in-cheek, '80s-fueled tunes about sex, dancing and misanthropy.

The Monkeys fall on the harder side of the sound spectrum, but keep the pop structure. As many layers of rock form one mountain, they build a song on several energized riffs instead of punk power-chords. Yet they are fast, loud and really annoyed with the rest of us.

In his heavy northern England patois (brush up on your British slang), singer Alex Turner barks about bar fights, jerk bouncers, getting home and other nightlife trials of 19- and 20-year-olds (in the U.S., add two years). He's wonderfully rude and abrupt, such as in "Dancing Shoes," when he demands: "Get on your dancing shoes/You sexy little swine." Even the softer songs hit like nails; the smokey-lounge traipse of "Riot Van" backs a tale of drunken teens sassing and fighting cops.

Turner can get astoundingly wordy at times, but can also create a scene with one line. In "Fake Tales of San Francisco," a funky indictment of poseur bands, we feel the misery and see the silliness with a simple lyric: "Yeah, but his bird thinks it's amazing, though, so all that's left/Is the proof that love's not only blind but deaf."

The Monkeys can be specific to a fault. "Red Light Indicates Doors Are Secured" is about trying to get a bunch of drunken people into a cab, not a particularly exciting topic (nor familiar to the car-owning youth of America). In the same vein, "The View From the Afternoon" refers to a girl finding text messages from her drunken boyfriend on her cell phone: "When she's pressed the star after she's pressed unlock/And there's verse and chapter sat in her inbox." It's hard to see this reference as timeless.

But the Monkeys don't claim to be poets. They are chroniclers and instigators of the rowdiness that makes youth worth while. It certainly isn't the money.

Available at all local record stores.

--by Morgan Kelly

Solid country from Big Al

2006-02-28T20:56:00.000-08:00

THE CD: "After Hours" (Columbia/Legacy)
PERFORMER: Big Al Anderson
WEBSITE: Click here

"Big Al" Anderson was a longtime guitar player and songwriter in NRBQ. For the past 13 years, he has been a songwriter who divides his time between Nashville and Connecticut. He has placed songs with Carlene Carter, Aaron Tippin, Alabama, Trisha Yearwood, and The Mavericks, to name a few.

This kind of songwriting resume takes versatility and variety. Anderson's writing partners include R&B veteran Delbert McClinton, and Sharon Vaughn, as on "Do Nothin' Day," which features Vaughn's lead vocal:

."I hear them singing happy birthday/better think about the wish I made/cause this year gone by ain't been no piece of cake/just another revolution/pull it together and it comes undone/just one more candle and a trip around the sun/and I'm just hanging while this old world keeps spinning/and its good to know its out of my control/ 'cause if there's one thing that I've learned from all this living/is that it wouldn't change a thing if I let go."

This particular cut has a Ronnie Milsap sound, but the CD also touches on honky-tonk, big-band jazz and blues to gospel, country and back again. Along the way, Anderson displays some very impressive guitar chops, as on "Blues About You Baby." More good country music from a solid artist. Release date is March 7.

You can't rock the country out of Radney

2006-02-28T20:52:00.000-08:00

THE CD: "This World We Live In" (Dualtone)
THE PERFORMER: Radney Foster
WEBSITE: www.radneyfoster.com

Radney Foster is a veteran Nashville songwriter who has had songs recorded by The Dixie Chicks, Guy Clark and others. Foster's "Real Fine Place to Start" was a number one hit for Sara Evans.

Joining Foster here are some out-of-towners, namely guitarist Waddy Wachtel, drummer Charlie Drayton and Bob Glaub on bass. These guys have rock credentials that stretch to LA and back, but they don't rock the country out of Foster. The recording has a rich, spare, sound, and isn't overproduced.

Foster's vocals have a heartfelt longing, as on "New Zip Code

"A new Zip code is what I need/Anyplace where your heartache can't find me/Ain't a bar in this town where I can lose your memory/So I'm kissing this dirt goodbye/I'm probably never gonna outrun this hurt/But I'm damn sure gonna try."

This is smart music from a top songwriter with a solid rhythm section. "World We Live In" will be released on April 4. Dualtone is a label listeners can look forward to hearing more from.

--- By Paul Gartner

Davies could have done better

2006-02-28T10:45:00.000-08:00

THE CD: "Other People's Lives"(V2 Records)
PERFORMER: Ray Davies
WEBSITE: Click here.
SUGGESTED TRACKS: "Creatures of Little Faith", "The Tourist", "The Gateway (Lonesome Train)"

The first solo album by ex-Kinks frontman Ray Davies sounds pretty much like the solo effort of an aging rock star. Most of the songs on "Other People's Lives" involve vague tales of pensive song-people struggling with change or age or insecurity. Very little of the clever social commentary -- or plain old good songs -- Davies penned for the Kinks appear here.

The Davies of yore glows dully in the background on such songs as "The Tourist," an indictment of rich, clueless vacationers inspired by Davies' pre-Katrina move to New Orleans: "Just another tourist checking out the slums/With my plastic Visa, drinking with my chums."

"Creatures of Little Faith," a simple song of waning love, shows Davies can still write a good little tune when he wants to: "You caught me with my pants down but I was only taking a shower/Still, you looked for the evidence like the smell of perfume or lipstick on my collar."

In fairness, no one should expect Davies to sound just like the Kinks -- it's time to move on. But 30-plus years of heading up one of hard rock's seminal bands should have resulted in more than throwaway Herman's Hermits tracks and bizarre railings against stand-up comedians. Let us hope this otherwise outstanding musician realizes his potential in the next 40 years.

Available at all local record stores.

-- by Morgan Kelly

Time to 'Walk the Line' again

2006-02-27T09:05:00.000-08:00

Tomorrow night already feels like a good night to stay inside with a movie. The one I'm thinking of will be released on DVD this Tuesday. Walk The Line hit theaters back in November, and now you can add it to your collection.

The movie covers the first 36 years of the storied life of Johnny Cash. It gives fans a glimpse at Cash's humble upbringing amid the cotton fields of Dyess, Arkansas, including the darkest moment of his life: the death of his older brother Jack, something that haunted Johnny for the rest of his life. From there, the early days of Cash's career, which coincided with the dawn of rock n' roll, are chronicled. Elvis Presley and Jerry Lee Lewis were among his peers. A performance at California's Folsom Prison, which was recorded for what became a classic live album and a milestone in his career, is also a key plot point.

"Walk The Line" is mainly about the relationship between Johnny and June Carter Cash, which is probably one of the best love stories of all time. It began as a story of forbidden love between the right people who met at the wrong time. Eventually, it became the story of how a woman's deep and unwavering love helped to save a self-destructive man from himself. Joaquin Phoenix (Johnny) and Reese Witherspoon (June) do an excellent job capturing the personalities of the real-life couple -- although they really are both too pretty for the roles. If the truth be told, both Johnny and June were a little on the homely side. However, both were cast with the blessings of Mr. and Mrs. Cash. Their only child together, John Carter Cash, served as the movie's executive producer. With those factors in mind, it's easy to see how the movie was able to tell the story it set out to tell.

The movie is entertaining, and for the most part, is well done. Much of the initial buzz centered on the movie's musical numbers. Phoenix and Witherspoon do the singing themselves and both turn in credible performances. They worked incredibly hard to replicate the nuances of both singers (and in Phoenix's case, Cash's guitar playing style as well), and it shows. From the beginning of the movie's promotional cycle, both thespians were touted as Academy Award worthy. As it turned out, he was nominated for Best Actor, and she got a nod for Best Actress.

If Entertainment Weekly's prediction is correct, it'll be Witherspoon who takes home a trophy on March 5th. She's adorable as June, playing her as light-hearted and strong-willed at the same time. Cash fans are very familiar with the stories of his wildman antics in the early 1960s, which were fueled by a nasty amphetamine addiction. While watching "Walk the Line," it's easy to see how much of a nightmare it had to be to deal with him at times. Perhaps June should be considered for sainthood.

Knowing the real-life story made it easy to buy into the on-screen portrayals, but the movie could've dug even deeper into Johnny and June's relationship. It's true that as a youngster, Cash had become smitten with June after hearing her perform with her family on the radio. Upon meeting, it was also apparent that there was a certain chemistry between them, which radiated in their appearances onstage together.

From there, however, the film doesn't always do a great job of explaining why they fell for each other. To see their romance develop onscreen, it seems that things sparked simply because they were always around each other while touring together. Marriages to others were merely obstacles they'd eventually get around. Cash's attraction to June was obviously based on more than just an infatuation stemming from childhood, so what was at the heart of it? What was it about Cash that attracted June despite the darkness that surrounded him?

The idea of falling in love with someone that you probably shouldn't is what led June to co-write "Ring Of Fire," which became one of Cash's biggest hits and signature songs. The movie acknowledges that, but glosses over it. It would've been interesting to see how Phoenix's Cash reacted when he heard the song or read the lyrics for the first time. How did he feel when he realized it was written about him? A scene with Witherspoon's June explaining her inspiration would've made the scene where the song is performed feel symbolic as a defining moment in their relationship.

Considering what the song is about, "Ring Of Fire" would've been a more appropriate title for the movie. "I Walk The Line" was a song Cash had written for his first wife. He wrote it to let her know that he'd remain faithful to her as his budding career demanded that he spend more time away from her. That turned out to be a line Cash couldn't quite walk.

"Walk the Line" captures the period in Cash's life where his rebellious nature made him infamous and legendary, but ends with the beginning stages of the redemption that is equally a part of the Johnny Cash persona and mystique. Without June Carter, that redemption wouldn't have been possible. Without her, the story of his life would have had a much different ending.

---By ozz

Enter Gazz Oscar Contest by noon Monday

2006-02-21T13:38:00.000-08:00

Click here for contest details...

Reinterpreting Fahey

2006-02-15T21:36:00.000-08:00

THE CD: "I Am the Resurrection: A Tribute to John Fahey" (Vanguard Records)
PERFORMER: Several

John Fahey was the creator of what he called “American Primitive Guitar,” which is marked by a contemplative deep blues feel, played solo, fingerstyle, with open tunings. He was an early influence on -- and champion of -- Leo Kottke, Peter Lang and others. Fahey died on Feb. 24, 2001.

Vanguard Records has released this new collection to mark the fifth anniversary of Fahey's death. It features a clutch of artists unfamiliar to me: The Fruit Bats, Devendra Banhart, Lee Ranaldo, and Howe Gelb. Former Plimsoul Peter Case has a tune here, too.

Like Fahey's music, the CD is very quiet and meditative, and well... somewhat repetitive. But as any traditional musician knows, repetition is good for you. And Fahey's tunes are ripe for interpretation. "The Dance of Death" from Calexico has a great groove. Ranaldo's "The Singing Bridge of Memphis, Tennessee" has what sounds like the rhythm of cars hitting pavement as a backdrop to acoustic guitar and feedback, with vocal chorus. The effect is very gentle.
"Bean Vine Blues" evokes Mississippi John Hurt, and sounds like it is played through the kind of 8 watt amps Woolworth's used to sell back in 1965, only with a busted speaker -- and set on 12. Cul De Sac's "The Portland Cement Factory" is interrupted by what sound like emergency transmissions from Mars.

This is a great collection and homage to the master of American Primitive.

--- By Paul Gartner

Neo-'70s duo rock hard, but nothing new

2006-02-14T09:04:00.000-08:00

CD: "Morningwood"(Capitol)
PERFORMER: Morningwood
WEBSITE: Click here.

The self-titled debut of NYC-based Morningwood represents everything good about '70s pop-rock -- it's equal parts sexy, sassy, catchy and loud.

At a tender 23, front woman Chantal Claret sounds like she earned her rock stripes alongside the Runaways and Debbie Harry. Under her calm stare and Jaclyn Smith-curls lurk both '70s girl-rage (as in the roaring indictment of condescension, "Body 21") and the power to lull us into sweet teen-dreams, as in the song "Ride the Lights."

Although known to spit out killer songs solo, Claret has a damn solid band backing her aural tour of the Carter-era. Ex-Wallflowers drummer Pedro Yanowitz -- the band's only other official member -- now takes on the backup vocals and lays down pounding grooves on bass (hear "Everybody Rules").

To attain that authentic Wall of Sound, the duo called upon a host of guest musicians with a history in throwback pop. Guitarist Richard Steel played lead guitar for the defunct Brit-band Spacehog (the foursome's drummer, Johnny Cragg, makes a one-song stop).

Spacehog also borrowed heavily from the '70s, although their sound-of-choice leaned more toward the operatic, arena-rock of Queen. Steel's style of accentuating the lyrics with simple, high-octave riffs (a la Brian May) softens Morningwood's proto-punk roots well: songs such as "Nth Degree" and "Jetsetter" feature a dance-club body drawing life from a beating Heart-like grit.

Sadly, this album dropped last month, not 30 years ago. Morningwood's wild, vintage-punk venues surely offer something radical (and worth seeing) in today's music world, but their album sounds like a retread. The sound they rekindle no longer shocks but influences, meaning everyone has heard it and now tries to build on it. Bands such as the Strokes also borrow heavily from this era, but tweak it for freshness. Morningwood sounds so 1970s that you could slip the song "Televisor" into a classic rock station playlist and no one would notice.

All love aside, it's hard to imagine that Morningwood will ever be treated as more than a novelty (the name doesn't help). And that's a heartbreaker.

-- by Morgan Kelly

Santana doubled up: live and on tape

2006-02-13T21:32:00.000-08:00

THE CD: "Santana III" (Columbia/Legacy)
THE PERFORMER: Santana

This double CD bookends the original studio album with a live set recorded at the Fillmore West on July 4, 1971. Nearly two years after their Woodstock debut, the band had changed in a big way with the addition of guitarist Neil Schon and perscussionist Thomas "Coke" Escovedo.

First, the live cuts. The band cooks thru "Batuka" and "Toussaint L'Overture," but by the time they roll out their signature smash, "Black Magic Woman," the band sounds tired. Things do perk up with "Incident at Neshabur." "In a Silent Way" proves once again how these guys could jam.

The studio cuts sound as good as ever, with fire and emotion from the guitar of 15-year-old Schon. (Schon and Rolie, by the way, went on to further fame and fortune in Journey.) "Everything is Coming Our Way" is powerful, with a happy yet haunting vocal from Santana.

There are also four bonus tracks from 1971: "Gumbo," "Folsom Street - One," "Banbeye," and "No One to Depend On." Of these, "Gumbo" really cooks. Crank it up.

-- Paul Gartner

A legendary Miles Davis meet-up

2006-02-13T21:31:00.000-08:00

THE CD: "Miles Davis: The Cellar Door Sessions 1970" (Sony)
THE PERFORMER: Miles Davis and friends

This six-CD set from Columbia/Legacy contains six of 10 sets recorded during legendary jazz trumpeter Miles Davis' four-night run -- Wednesday, Dec. 16, through Saturday, Dec. 19 -- at the Washington, D.C., club in 1970.

This was quite a band. With Davis (on different nights) were Gary Bartz on soprano and alto sax; John McLaughlin on guitar; Keith Jarrett on keyboards; Michael Henderson on bass; Jack DeJohnette on drums; and Airto Moreira on percussion. This is the first time any of this music has been heard, except for the Saturday night set (which was included on the 1970 album, "Bitches Brew").

Josef Zawinul's "Directions" got a workout that week, and appears on five of the six CDs, as this collection is aimed at Davis afficionados. On the other hand, the tune is based on a repeating bass line in E, so by set five, it is a different tune. Maybe it is just the rock leanings, but I find this period more accessible than "Birth of the Cool," and Davis' icy trumpet tone. This may owe more to the composer than any brilliant insight on my part, but shows the debt bands such as Weather Report owed to Davis.

On "Directions" on CD 5, McLaughlin appears, playing biting staccato passages (as he says in his recollections of the time, to "fight it out on stage with Miles" was a blessing). These give way to Jarrett's double keyboard solos then Davis' wah-wahed trumpet. Imagine the frustrations of these great players, making scale wages while rock stars played blues scales for millions.

You can absorb this music for five years and not get it all. The 100-page booklet is excellent and most informative.

-- Paul Gartner

Train's "For Me, It's You" is for me, just O.K.

2006-02-06T17:31:00.000-08:00

THE CD: For me, it's you (Columbia)
PERFORMER: Train
WEBSITE: Here
LISTEN: Here

It's hard not to like Train. Even if you think they are just a Top-40 act that pops up every few years to fill in the spaces between other songs that are on the radio way too much, you have to admit, they do write some killer songs. In fact I can't think of better song lyrically than 2001's "Drops of Jupiter," which takes on Van Morrison status as far as I'm concerned.

That's why I was so excited to pick up their brand new album "For Me, It's You" which came out this past Tuesday. I had already bought the first single, "Cab," which is every bit as catchy as anything they have ever put out. Singer Pat Monahan has always had a way of reaching his audience with lyrics that were so creative there was slim chance anyone else had beat him to them. On "Cab," when he sings Sometimes I feel like I'm the only cab on the road, you can't help but admire his ability to sink some loneliness into everyday objects.

Unfortunately that is where this album somewhat parts with Train's previous efforts. While you could probably get by with calling Train's previous albums inspiring (think 2003's "My Private Nation") this album would be considered much darker and depressing. All the while Train's music is right on with previous efforts, and mixing that with depressing lyrics kind of takes a little of the band's charm and spirit away. Consider the following not so great example.

Where Train's first single, "Meet Virginia," introduced the listener to a woman who seemed so quirky and cool you wished you could meet someone just like her and then write a song about it too, tracks like "Shelter Me," "Explanation" and "Always Remember" make me want to say "Dude, maybe you should stay away from this woman." Also, skip "Skyscraper" if you want to do something more productive with your life for a couple of minutes.

Don't get me wrong, there are still plenty of good things to check out on this album. Train's worst attempt at a pop song still beats most bands absolute best try. The first track, "All I Ever Wanted," is Train at its best; and "Give Myself to You" is sure to end up being the next single. The title track, "For Me, It's You," is also a keeper and when Monohan sings Everybody's got something they want to sing about, laugh about, cry about it's true . . . for me it's you -- it will make you glad you took the time to check it out.

All in all "For Me, It's You" is not the Train album I was hoping for, but it's still worth checking out. Maybe go to Itunes (which also has an Itunes exclusive track "I Wanna Believe") and preview the songs to see which ones would be worth it before buying the whole album. It's not that it's bad, it's just that I know what Train has done in the past has been great, and this is, well, just a step down, which still qualifies as pretty good. In the end though, Train may say "For Me It's You," and you may say for me, it's great, but when it comes to this album for me, it's just O.K.

-- by Mark Totten

AZ-based Fivespeed sees "Morning Over Midnight"

2006-01-25T17:39:00.000-08:00

THE CD: "MORNING OVER MIDNIGHT" (Virgin)
PERFORMER: Fivespeed
WEBSITE: Here

After getting signed to Virgin Records in 2002, Belle, W.Va. native Brad Cole and his band Fivespeed finally have a major release that hit stores January 24, and it doesn't disappoint. After a rough couple of years of lineup changes (one in the middle of the Vans Warped Tour), having all of their equipment stolen in Detroit, and recording in both Vancouver, Canada and New York City, I have to say it's amazing to finally have the disc in my hand.

While only 10 songs long, the album shifts easily thru every style Fivespeed has without exhausting any one sound. The album starts with the solid track "Fair Trade," which kicks in with a much stronger, though still melodic, sound than the band's previous EP releases.

The next track, "The Mess," is the first single and is getting some good rotation around the country. The band also has a video for the song and if you like pumpkins you will like the video (I'm not gonna explain that, you'll just have to check it out). According to the band, the video was filmed at about 4 a.m. somewhere in California with plenty of people (and pumpkins) on hand to help. It must be getting some air time somewhere because many of the reviews of the song on Itunes mention seeing the video and then buying the single because of it. OK, long story made short -- it's a really good song.

Some other good tracks on the album (also my favorite) are the pseudo-ballad "Blame It On You" and the down-tempo tracks "Touch of One" and "Misery Loves Company," all of which are good choices for the next single. The disc also has some other good rock songs on it as well, such as "Lost Vegas" and "Wait Forever." While many of the songs seem to be about personal relationships one has to wonder if the line in "Wait Forever" that says I have yet to find a low is really about getting this album released finally.

The only song I wish was a little different is the title track, "Morning Over Midnight," which is such a nice sounding title and, I guess I'm still used to the 80s trick of making the title of the album whatever the strongest track on it was. Again, long story made short -- not the strongest track, but still a really good song.

All in all "Morning Over Midnight" is a nine out of 10 for sure. If you like the upbeat rock of the last couple years such as Taking Back Sunday or Fall Out Boy, take that sound and kick up the guitars, throw in the range of Dashboard Confessional lead singer, write some good songs and enjoy pumpkins, you will definitely enjoy Morning Over Midnight. Check out Fivespeed on Itunes or leave them a message on www.myspace.com/fivespeed.

-- by Mark Totten

Knockout music from Shawn Camp

2006-01-25T08:09:00.000-08:00

THE CD: "Shawn Camp: Fireball"
PERFORMER: Shawn Camp

Shawn Camp is a Nashville veteran who made his major label debut in 1993. Since then, his songs have been recorded by Ricky Skaggs, Ralph Stanley, Brooks & Dunn and Garth Brooks, among others.

Camp, who performs on Sunday's "Mountain Stage" at the Cultural Center in the state Capitol Compex, has a new recording, "Fireball," that shows his versatility as a singer, musician and songwriter. From the very danceable title cut, a wide variety of different moods and colors ensues -- and fun. Camp plays guitar guitar, mandolin, fiddle, bass and dobro, in addition to his songwriting.

And the lyrics? Take "Hot Wired, " an ode to Miss Demeanor:
"My baby's got a talent/she don't like to talk about/they sent her daddy to the pen and he still ain't got out/it runs in the family like some kind of burning fire/ her kin can get a free ride/it don't matter where they are."

Or "Just As Dead Today" (with Camp's bluesy country fiddle):
"He's just as dead today as he'll be tomorrow/might as well just plant him where fell/let the preacher say some mournful worlds of sorrow/and pray that them bones ain't bound for hell."

OK. Steinbeck, it ain't. Who cares? These tunes are pushed along by a band. Camp has assembled a crew of fine musicians, including rock 'n' roll legend Billy Burnette, who plays guitar and drums on two tracks (and also helped to engineer and co-produce.)

Another song, "Would You Go With Me," is in full newgrass mode, with Scott Vestal on five-string banjo. Speaking of bluegrass, "Beagle Hound" has a snippet of the late, great Jimmy Martin and his hunting dogs. Camp also released a fine bluegrass album, "Live at the Station Inn," in 2004.

"Fireball" came in the mail Monday, and has been in my CD player all week. This is some knockout music from a very talented songwriter and musician.

DETAILS: "Shawn Camp: Fireball" will be released March 21 on Skeeterbit Records. PO Box 550, White Bluff, Tenn 37187.

-- Paul Gartner

Legbone walks "Different Path"

2006-01-13T16:32:00.000-08:00

PERFORMER: Legbone
THE CD: Different Path (Rock Ridge)
WEBSITE: Legbone.com
LISTEN: here

Legbone is a 5-member skatepunk outfit from Ohio. You may have asked yourself 'Why do Ohio drivers drive so obnoxiously?' It's probably 'cause they're listening to Legbone. The group's second CD, "Different Path" is a veritable cookbook for aspiring punk bands. The opening riff on "Swallowing Razorblades" may mislead some punx with it's dirge sound, but it kind of sums up the band's flirtation with heavy metal, as the genre winds its way into some songs.

Legbone seems to have taken the best hooks, lines, and yes, even sinkers from punk songs and incorporated them into the tracks on "Different Path" quite deftly. The songs move in a seamless "path" from first to last. These guys could've plugged in and recorded this CD in one setting, if you listen to the guitars. No experimental songs here, just hardcore punk. If you tied this CD on a string and tossed it into the Town Center, you're liable to land a couple of punk kids on it.

One disturbing trend in the punk genre, of late, has been to find the most pansy-sounding post adolescent male, and make him the singer of a punk band. . . with profitable re$ult$. Not these guys. "What You Are" and "Do You Choose" are tight and fast, with lyrics that are about more than getting dumped by your first girlfriend. "Blazin' Urethane" and "Different Path" are also along these lines; tough, yet smart.

"Mind Your Business" is perfect for someone with my kind of attention span, jumping right in with some high-speed rockin'. "Productive Coughing" opens with heavy, slow riffage, but picks up tempo, I promise. "C*ck Blocked" (a power-pop punk ditty) and "Dirty Sanchez" provide some comic relief on the CD, ala NoFx.

Joey Ramone once said "It's all in how you suck it in," when describing the Ramones enigmatic mix of influences and cover songs. These guys really know how to suck, and that's a good thing.

Total time for the 15-song CD: 24:41. If that ain't punk, I'll come to Ohio and kiss your you know what.

-- By Nick Harrah

You can't hear this CD yet

2006-01-10T05:57:00.000-08:00

The CD: "Pretty Little Head" (label to be determined)
Performer: Nellie McKay

In a move typical of the slumping record industry, Columbia Records dropped eclectic songwriter/musician Nellie McKay from its artist roster a couple of weeks ago, after sending out review copies of her new album, "Pretty Little Head," but before the CD's planned release date of Jan. 3. The reasons for this are not entirely clear, but not totally unexpected.

McKay had been fighting with the label for weeks over the length of the album. Columbia sent out a 16-track version to reviewers, while Mckay was loudly protesting that they should release the full 23-track album that she submitted. That situation, coupled with the exit from Columbia of the man who signed her to the label -- and the fact that Columbia couldn't figure out how to promote such an hard-to-categorize artist who would not be touring to support the project -- made it a foregone conclusion that the relationship was doomed.

McKay is said to have left on decent terms -- with ownership of the masters -- and will be looking into alternate means to distribute the album. But those plans are on hold as she prepares for a run on Broadway in "The Threepenny Opera."

Meanwhile, we're left with the Columbia Records edit of the album, which is quite striking. There are some phenomenal songs on this CD, and the production is as varied and surprising as McKay is herself. ("Mountain Stage" listeners may recall her appearance on the show a couple years back as a precocious, effervescent, sometimes potty-mouthed 17-year-old).

The CD kicks off with "Cupcake," a tune about gay marriage, which manages to sound like a long-lost cut from the Mamas and Papas and The Bangles at the same time. That sets the tone for the CD, as many of the cuts show so many varied influences that you can almost play a game trying to figure out where this stuff is coming from. Musically, it's all over the map, and lyrically McKay is just filled with inspiration. A short jazzy interlude, "Pink Chandelier," follows, and manages not to be jarring, despite being a complete musical departure from the previous tune.

"There You Are In Me" manages to sound like Jane Siberry and vintage King Crimson at the same time. You have to wonder if the still very young (21 years old) McKay was raised in a used record store or something.

The masterpiece of the CD is "The Big One," which could have been a huge hit single in the hands of the right promotional team. About a tenant's rights activist, this tune sounds like it was co-produced by Dr. Dre, Kate Bush and They Might Be Giants. Yet it works. It's got a hip-hop vibe, with a killer horn section and a piano line that may just be the best hook I've heard in ages. This song has "hit" written all over it.

After that epic sonic blast, the CD smartly takes a mellow turn, as the next four tunes showcase McKay's sweet vocals in a less bombastic setting. "Gas" is just under two minutes of pleasant, piano-driven Beatlesque pop. "I Will Be There" is a lounge/samba tune that has a killer chorus and also sports some very Beatle-y sounding chord progressions. "The Down Low" has a Beck-ish drum pattern underneath a very clever little piano ditty, with sparkling vocals.

"Long And Lazy River" is a laid-back meandering slice of light jazz, again with very clever lyrics. Next up is "Bee Charmer," a quirky duet with her "Threepenny Opera" co-star, Cyndi Lauper. Of course, it sounds like vintage Lauper with a lot of unexpected turns and spoken word interludes that belie its very commercial vibe.

"Real Life" is pure early-80s New Wave. I could reel off half-a-dozen bands that this sounds like, but nobody's ever heard of them. It's a kick that this sounds like it could have been recorded 25 years ago. It's an aggressive little tune with strong power-pop leanings. This is followed by the slow, jazzy "I Am Nothing."

Up next is a duet with KD Lang, "We Had It Right." This is another one of those eclectic tunes that sounds like so many different things that you can't really pinpoint all the influences. This song has quiet piano interludes, shimmering vocal arrangements and hints of British Tin Pan Alley.

As we approach the end of the album, McKay has established her own style that equals more than the sum of her many varied influences. The CD ends with the goofy "Tipperary," which, though fun, is a bit extraneous.

Columbia's eagerness to jettison such a unique artist is symptomatic of why the music industry is currently in such dire straits. Reportedly, when McKay was called by Columbia to be told that the album wasn't coming out, the person who broke the news had to confess to never having listened to the CD, and further said: "This isn't about the music. It's a business decision." Funny, I thought music was their business.

Let's hope that this CD gets a proper release soon. It's an amazing work. It'd be a shame to see the music industry run off a rare talent who could bring us decades of incredible music. After the split, Mckay told one reporter: "All that matters to me is that I can continue to make irritating music which will baffle and enrage."

--- By Rudy Panucci

Give Strokes another chance with "First Impressions"

2006-01-09T15:28:00.000-08:00

CD: "First Impressions of Earth"(RCA)
PERFORMER: The Strokes
NOTE: Parental advisory for explicit content

The Strokes third studio album "First Impressions of Earth" continues the band's strategy of not sweeping people off of their feet. We get the Strokes' usual winning recipe -- clean-sounding, syncopated guitars over singer Julian Casablancas droning about relationships and young-adult apathy.

But like the band's last album, 2003's "Room on Fire," the dry, pseudo-pop sound of "First Impressions" somehow isn't as easy to swallow as it feels it should be. "You Only Live Once" opens the album with a jaunty Cars-like riff. Instinct urges you to tap the steering wheel or sing in the grocery store, but the song cuts those basic pop reflexes short. The song trainwrecks from verse to chorus. Casablancas' sounds slightly off rhythm as if he didn't have time for a second take.

Meet the Strokes' signature sound. This raw, unrehearsed (almost amateurish) sound helped their 2001 debut, "Is This It," thunder in with a herd of critical acclaim. It earned plaudits as the rock fan's salvation after years of bubble-gum-teenie-pop a la Britney Spears and the Backstreet Boys.

Now, it seems clear that the desperation to escape that Mickey Mouse club-induced hell forced non-pubescents to latch on to any gritty band with "the" in their name without really knowing the band. Pop culture rolled vastly different bands such as the Hives, the Vines, the White Stripes and the Yeah Yeah Yeahs into one genre: garage rock.

The Strokes make great music. Don't be fooled by the oft-bouncy tunes: the songs on "First Impressions" go further than simple pop. "On the Other Side" professes happy misanthropy against a semi-sea chantey roll similar to the dark/light musings of the Doors. The song "Ask Me Anything" harnesses another pop Kafka, Nico, with a simple sonata played over an ode to insignificance. (Casablancas croons over again, "I've got nothing to say," for a nice trivial chorus.)

The Strokes never do what's expected of them, which might annoy people expecting love at first listen. Give "First Impressions" three or four chances to win you over.

Available at all local record stores.

--by Morgan Kelly

Wilco "Kicks TV" via Chicago

2006-01-09T15:24:00.000-08:00

THE CD: Kicking Television -- Live in Chicago"(Nonesuch)
PERFORMER: Wilco
WEBSITE: www.Wilcoweb.com

"Kicking Television" is Wilco's 33-song, 2-disc embodiment of the perfect live CD. Recorded May 4-7, 2005, at Chicago's Vic Theatre, this CD proves that these Grammy-winning alt-country rockers (headed by Jeff Tweedy and formed out of the dissolution of Uncle Tupelo) don't suck live. It also serves as a greatest hits for their previous releases. All of your favorites are here: "Shot in the Arm," "Jesus, Etc.," "Ashes of American Flags," and "Heavy Metal Drummer." Yesss!

I bought Being There after reading a review of it in some no-name music publication. When my dad and I were both like 'That CD rocks' (It was actually the tape) -- the power of rock sent my mind reeling. Since then, I've been a Wilco fan. That epiphany-inducing moment stands in stark contrast to the dire situation our parents may have found themselves in when their parents found their rock records back in the day: 'Are you on drugs, Jimmy?' Yes he was, and he was waiting for a band like Wilco to come and blow his mind.

"Misunderstood" (the acoustic dirge which opens "Being There") opens the live set with a 6-minute jam in honor of rock and being back in your old neighborhood. When Tweedy sings "But you still love rock 'n roll. . . you still love rock 'n roll," the crowd goes nuts; goosebumps ensue. It's the next best thing to actually being there. Before "Handshake Drugs" Tweedy puts some jerk yelling KAAANSAS CITYYY!!! in his place -- 'How dignified is it to come from K.C. to Chicago to see Wilco?'

Whoah, whoah, whoah. . . don't just rush out and buy "Being There" -- you first need to check out my favorite CD, Summerteeth. Also; Yankee Hotel Foxtrot and A Ghost is Born -- then you're ready to rock, brutha.

The band's immersion in synthesizers and an even more Pink Floyd-ish sound may take you by surprise if you don't heed my warning. If someone tells you they're an acoustic band -- go upside their head once for me; some of their synth-based sounds can make you sick. Sonic discordance rearing its head, inside of well-written acoustic-based songs, is definitely on tap with Wilco.

It behooves me to mention that "Via Chicago" got rave reviews from the Windy City crowd. "Radio Cure" seems too fast, losing its mellow effect, in a way. I don't have the space to go into Tweedy's vocals and lyrics, or the direction the band will now take without multi-instrumentalist Jay Bennett. Whether it's solo or with Wilco, Tweedy's songs will find an audience anywhere. Wilco closes with "Comment" (originally sung by Charles Wright and Yusef Rahman), a gospel-tinged ballad. Here's my money. . . SAVE ME, WILCO!

I know what you're asking, 'If they're so great, then why don't they play Charleston, maaa-nn!?' They did a few years back; I and fellow LocalMusic blogsman MarkT were in attendance. Wilco made a short, sweet appearance on Mountain Stage -- I know, because I was there, man! After that, I had to hear their version of Woody Guthrie's "California Stars". Let's bring these guys back ASAP -- and get me some free tix, gazzeditor man! (Depends on if you clean up your room. Ed)
Available at all local record stores.

Ryan Adams: "29" issues & counting

2006-01-06T13:55:00.000-08:00

THE CD: "29"
PERFORMER: Ryan Adams
WEBSITE: click here
LISTEN: here

Whenever people ask me what I'm listening to these days, I always have to mention Ryan Adams. Of course, people always look at me strangely and say 'Bryan Adams?' to which I say, "No, Ryan!!" And then, they tell me they've never heard of him.

Never heard of him -- the critically acclaimed, eccentric, rock 'n roll, folk, and country artist rolled into one? The former Whiskeytown singer who managed to put out three albums this year, barely able to play after falling off stage and breaking his wrist in 2004?

'Oh, isn't he that guy that sings Summer of 69?' No, NO, NO!

Ryan Adams is someone else indeed, and his album "29" sounds as if it were his first instead of third release for the year. Of course, much of this may have to do with dropping the country sound of the last two albums, "Cold Roses" and "Jacksonville City Nights" and going with more of, well. . . a Ryan Adams sound.

The album starts with "29", which also happens to be the only up-tempo track on the album. While it does feel a lot like "Truckin," with lines like I spit in his face, the bastard knocked me out, you know you're not listening to the Dead.

From there the album goes into Adams' signature gloomy but inspiring sound. Tracks like "Strawberry Wine," "Caroline Rain," and "Starlite Diner" are quiet and stripped down songs, usually with just Adams and a lone guitar or piano.

Just when it seems like he has exhausted every possible way to write a sad song, the seventh song, "The Sadness," has a Spanish sound mixed with Adams' favorite themes of loss and personal problems galore: The sadness is mine, it's why you're not helping me, he sings in contrast to the somewhat upbeat music or the track.

The last two tracks, "Elizabeth, You Were Born to Play That Part" and "Voice" are strong but down-tempo and depressing as well. Pretty good, though.

While it's safe to say "29" is not Adams best album ever, it's no slacker either. It's an inspired album that mixes storytelling with personal tales of love and loss. To Ryan Adams fans this is probably a must have, but the new listener may find it way too much. I would definitely go back and pick up "Gold", "Demolition" or "Love is Hell" -- which to many, myself included, are some of his best CDs.

Listening to "29" first may initially turn many new listeners away. Listening to his previous work and this CD together, however, you will think 'Wow, this guy really has some issues.' From then on your friends will say, 'Who has issues -- Bryan Adams?' Then you can scream "No, Ryan Adams!"

-- by Mark Totten

Patti Smith, then as now, as powerful as ever

2006-01-04T17:50:00.000-08:00

THE CD: "Patti Smith Horses/Horses" (Arista/Columbia/Legacy)
PERFORMER: Patti Smit

This album was high on my playlist back in the early 1980s. It sounded great, blasting out from my old tube amp stereo. Smith wasn't the first woman to front a garage band by any means, but she brought literary tradition and intelligence to punk. I never regretted missing the punk thing, but Smith and company made me wonder.

This 30th anniversary release includes a remastered first disc of "Horses," with a second disc featuring a live reworking of "Horses" from the Meltdown Festival in London. On my first listen, I was a little disappointed. Vinyl is alive; CDs aren't (and ne'er the twang shall meet). No matter. How many thrash bands have come and gone since these guys? "My Generation" is a pretty faithful turbocharging of the Who original, with Smith front and center on the edge of the abyss. Like she said in 1975: "We created it, let's take over."

The live versions of the original tunes, recorded in London in 2005, features Lenny Kaye and Jay Dee Daughtery from the original band, along with Flea, Tom Verlaine and Tony Shanahan.

Smith's voice is deeper, and the Lou Reed cadence is intact, but the pace isn't quite as frenetic. Age, perhaps. Thirty years down the road, "My Generation" takes on new meaning: "We had dreams, man," Smith roars, "and we f***ing created George Bush...Make change, the world is yours"

Smith endures. Buy this or not, but play it loud.

--- By Paul Gartner

Some "Fancy Fiddle" from an Ohio champion

2006-01-04T17:49:00.000-08:00

THE CD: "Fancy Fiddle" (CNT Tri-Agle-Far CDTR708)
PERFORMER: Curly Herdman
WHERE: Available from CNT Tri-Agle-Far Records, P.O. Box 4112, Dayton, Ohio 45401. Or from this site.

This album from Curly Herdman, the late Ohio contest fiddler was recorded in 1967. Among the backup musicians is younger brother Troy Herdman. The guitarist helped to judge the Vandalia gathering contests for many years. Herdman was born and raised in Jackson County in 1918, started fiddling at age 9 and grew up playing local square dances. He worked in radio in the 1930s, inlcuding a stint at the Renfro Valley Barn Dance.

Herdman was a prolific composer of fiddle tunes. Six of the 12 selections here are originals. As befitting a former Ohio state champion, Herdman is firmly rooted in the contest style, with lots of fancy bow work and rich tone. "Rachel" gets a pretty good workout, as does the very familiar sounding "Run, Rabbit, Run." (According to Ivan Tribe's liner notes, the latter tune is an original.)

"Dixie Hoedown" and "Big Tracy" feature some nice three-finger banjo counterpoint from Joe Tanner. "Running Bear" has some wonderful long bow pulls and notey passages that end right on time! "Rocus's Reel" gives the whole band a chance to trade breaks.

For lovers of contest fiddling, this CD is a nice look back at an early standard bearer. The transfer to CD sounds like it came from the original vinyl LP, not tape, and sounds just fine.

--- By Paul Gartner

Notorious B.I.G.'s posthumous "Duets" Touch and Go

2005-12-28T14:58:00.000-08:00

The CD: "Duets: The Final Chapter" (Bad Boy Records)
PERFORMER: The Notorious B.I.G. (and company)
NOTE: "Parental Advisory" for explicit content

A complaint being heard about "Duets: The Final Chapter" is that the late-rapper Notorious B.I.G. wouldn't have slapped the guest emcees featured on it with his rusty bling let alone recorded with them.

Well, B.I.G., or Christopher Wallace, was murdered in 1997 before many of the guests on this album were big (this is his second posthumous album). Who knows what would have happened? But judging by the quality of his past work, the B.I.G man might have hesitated to sign off on this misfired project anyway.

The album's concept, if not fresh, shines with ambition. All the tracks are seeing daylight for the first time and Bad Boy Records brought in some of rap's heavy hitters, who smack some out of the park. B.I.G.'s lazy-spoken narratives on sex, violence and desperation -- recorded throughout his career -- are as cool and catchy as ever.

The music, though, hits a wall. "Duets" starts out semi-well with "It Has Been Said" featuring Eminem, except that B.I.G. doesn't even rap (duets?!). On the next song, "Spit Your Game," the plane crashes into the mountain. B.I.G. and friends do the usual posturing to a cheap-sounding, syncopated organ with what sounds like Lil' John in the background shouting for help from a locked bathroom. From there, the beats seesaw from Nintendo-cheap to Andrew Lloyd Webber-overblown.

When considering the thought and effort that clearly went into this album, the musical missteps seem mystifying. For instance, "Living the Life" boasts aural-cameos by Ludacris and Snoop Dogg, but takes it on the chin thanks to an obnoxious pseudo-'70s-funk jive. An overcooked operatic hook destroys B.I.G.'s duet with fellow dead guy Tupac Shakur on "Living in Pain." (An odd duet since B.I.G. was rumored to be involved in Shakur's 1996 murder. B.I.G. denied it.)

B.I.G.'s duet with Bob Marley on "Hold Ya Head" is a charming idea: he raps about being a criminal, waste-of-life curse to his mother, Jamaican-born Voletta Wallace, while Marley laments the pain of having a son shot dead. Sadly, the producer made little effort to hide the seams and it sounds like two separate songs playing at the same time -- a.k.a. a big mess

Don't fret, B.I.G. fans: songs such as "1970 Somethin'," B.I.G.'s anthem about the beginning of his ill-fated life, and the hilarious and raunchy ballad "Nasty Girl" serve up some high points. If you love B.I.G and froth at any new record of his, you might enjoy "Duets." Then again, you might sadly wonder how a hot idea came out so tepid.

Available at all local record stores.

-- by Morgan Kelly

Straight out of Oak Hill: Randy Gilkey's "Remedy"

2005-12-28T08:53:00.000-08:00

Randy Gilkey of Oak Hill plays one of his songs while his dog Ace keeps watch. Gazette photo by LAWRENCE PIERCE

More than 2,000 Americans have died in Iraq. The country is facing record-setting debt. And Junior says the bird flu could really put the hurtin' on us.

But don't despair. Randy Gilkey has the "Remedy."

The classic "Remedy" is one of the songs on Gilkey's first solo CD titled "Party Ready." Each of the songs he selected or wrote has a bluesy, rockin' feel. You can find shades of Leon Russell in a few tunes.

Aside from the classics he covers, Gilkey wrote all the other songs and plays all the music himself. With the help of engineer Bill Thomas, he recorded the CD in his home studio in Oak Hill, Gilkey's Garage, and added all the other parts.

Gilkey is well-known in the area for his piano playing. Many will recall his playing with the Carpenter Ants. (Gilkey played "Johnny Be Good" at a John Kerry campaign appearance in West Virginia along with the Ants.)

He does a good job of selecting songs. "Sleepless Nights" makes a good fit with his song, "Little Affairs." He grew up listening to his father's Chuck Berry records, and started playing boogie-woogie piano when he was just a child. He chose Berry's "School Days" for his CD and plays it for all it is worth.

While still an infant in a hospital incubator, Gilkey lost his eyesight. If people gain other senses when one is taken away, Gilkey's ear for music is supersonic. He concentrates and memorizes music. He has worked as a studio musician and played on dozens of albums and opened for such acts as Junior Brown. Now 29, he is able to support himself full-time with music.

I like the whole CD. But "Remedy" has a good beat and you can dance to it. I give it a 98 on 'Rate-A-Record.' Gilkey sings out wonderfully: "You hold the key, you got the remedy! Once I was blind, now I see!"

For now, "Party Ready" is only available (for $10) at shows where Gilkey plays. But he hopes to have it available in stores soon. He can be reached at gilkeysgarage@yahoo.com.

--- Susan Williams

'Unpredictable' predictably bad

2005-12-24T08:26:00.000-08:00

The CD:: "Unpredictable"
PERFORMER: Jamie Foxx
NOTE: PARENTAL ADVISORY for strong language and sexual content

Jamie Foxx can sing. Far from the best, his crooning in the Ray Charles biopic "Ray" and his numerous song-dates since prove that he can hold at least a half-bucket of water when it comes to belting out a tune.

But Mel Torme couldn't save "Unpredictable"'s abyssmal catalog of songs. None of them seem to know which way they're going. Foxx lends his breathy moan to some cheap R&B/soul beats and it seems we're heading for a funky second-rate love album a la bargain-basement Luther Vandross. Fair enough. Even bad make-out music serves a purpose.

When you actually listen to Foxx, he's not romantic at all. Jamie the Satyr lusts after everything with protruding breasts. And guess what, ladies? The Foxx-rod kindly blesses womankind with his sexual hyper-drive whenever the chance arises.

On the song "DJ Play a Love Song," Foxx leers at a woman from across a club and notices how much her man bores her. Never one to see a lady suffer, Foxx suggests popping into the loo for some sex. Good save, Jamie. No woman should have to spend a night at the club with the guy she came with.

The theme repeats: Jamie like sex; woman need sex; Jamie have sex with woman. No feelings ever get in the way. Why would they when sex is so much more fun? The motto of Jamie World, as told in the song "Three Letter Word" (it's not "cat," "hot" or "ram," but you're getting warmer), holds that "sex is stronger than any drug, even love."

The Motown-esque music suggests passionate, sultry love-making, but Foxx sings about strait-up boinking (even Marvin Gaye loved his song-women). The album's gangsta guest list suggests why. Foxx called in the hip-hop cavalry -- Ludacris, Twista, the Game, Snoop Dogg and Kanye West, among others -- to pitch in their two-cents of flow to attempt a million-dollar album. Granted, Foxx sang on West's hit "Gold Digger" and Twista's "Slow Jamz." (Quid pro quo, Clarice.) That doesn't mean they can carry his album.

In fact, Foxx's spitter friends make him look silly. He tries to emulate these guys (and perhaps distance himself from the Ray Charles-sweetness that got him recognized) with rampant swearing and racy scenarios, but it's not fooling anyone. Foxx is not a 'G' and he doesn't 'chill with his doggs' as he purports. The over-sexed thug image so genuine in Snoop Dogg fits Foxx like a clumsy Furrie costume -- looks an animal, but it's clearly a goofy prop.

Foxx grew up involved in music, but he is not a professional musician. Sure, he played Ray Charles, but that was a movie. He excelled in the world of illusion as an actor should. Foxx can walk and talk like Charles, but he isn't likewise consumed by sounds in his head. Charles' self-absorption reeled us in and made us care about his feelings to the point of adopting them as our own. Foxx just seems like a pompous self-promoter miles from his home turf.

Musicians possess a pure insanity and alluring egotism that "Unpredictable" shows cannot be faked. Someone should have predicted that.

--- By Morgan Kelly

"Blame The Vain": Dwight's Sure Alright

2005-12-23T15:24:00.000-08:00

The CD: "Blame The Vain" (New West Records)
Performer: Dwight Yoakam
Website: dwightyoakum.com
Listen: here

New West is Dwight Yoakam's, well, new label, and though he has parted ways with longtime producer-guitarist Pete Anderson, do you think he's gonna suck now? Hardly.

"Blame the Vain" is more of the same Dwight: the patented whiny-trippy voice, romance gone wrong, a landscape of loneliness and, oh yeah -- rockin' country. One thing that you get for free, with the purchase of any of Yoakam's CDs, is the mental image of Dwight shaking his leg (complete with spray-painted on jeans) to the beat. Cool.

You can always count on Dwight having an open slot on "Imus in the Morning." Yoakam's appearances are one of the best parts about that show.

The title track opens the CD, with Yoakam firing off verbally: So go ahead and blame me for anything you want/It all ends up the same/When everything you've been claiming is wrong.

One of the best things about Yoakam's songs are that you can feel alone with him. So, you're not really alone -- right? "Lucky That Way" is a somber song with gospel-type singing that fits right into this theme. Listening to this type of country fried rock, you can understand where a lot of rock & roll came from -- country.

I did see the video for "Intentional Heartache", the third song, on CMT. (Why, you may ask, was I watching CMT? At least they play music!) The song spells out what can happen to two-timin' male pigs and their signed Dale Jr. posters. You dogs -- you're filth to me!

Check out the swinging, up-tempo "Three Good Reasons" -- I almost "fell out" when I heard what the number one reason was: I'll give you three good reasons for leavin'/Number one is that I've forgotten number two/Number three is in a place that's been kept hidden for so long I can't remember, but it's true. MMMMMWAAH!

Love it. DY sings in his best Elvis voice on this one.

"She'll Remember" sounds like the Rentals song "These Days" at first, what with the sliding synth and all -- that's right: moog-sounding synthesizers on a country song. This goes on underneath an unknown sample of a guy lamenting lost love, then -- twangy guitars and Dwight singing! It wasn't some kind of horrible DJ project after all. Yoakam sings about self-denial and the likelihood of a particular female (Bridget Fonda?) returning to him: Once all that's left is what's been used/And any chance to hide from the truth keeps getting slimmer/then she'll remember. The song has an almost classic rock feel to it, and that's good.

P.S. Oh yeah, Massey Energy brought the Ohio-born & Kentucky-bred Yoakam to play at their picnic a few years back, and people not slaving for their little fiefdom weren't invited. Massey -- you've made my eternal sh!tlist!

--- Nick Harrah

"Seeing Things" is fine contemporary folk recording

2005-12-14T07:22:00.000-08:00

THE CD: "Seeing Things: Heidi Muller & Bob Webb"
PERFORMER: Heidi Muller and Bob Webb
WEBSITE: www.heidimuller.com

This new recording features Seattle songwriter Heidi Muller and Bob Webb, a longtime Charleston musician. The pair also serve as producers, with Webb as engineer. The result is a nice blend of folksong and fine instrumentals.

The title tune is a wistful look at people and places that are no more, with a warning about the future. "Those houses that you see on open land/Were put up where the cornfields used to stand/Funny, I expect to see/Dairy farms and apple trees/Who will feed us in the end?/Does anybody look around the bend?"

Loal legends come to life in "From an Earlier Time," a song that grew out of Muller's work at the Patchwork Dream project at the Big Ugly Community Center in Lincoln County. "And can you quite picture a man all alone/Who lived in a cave in the shadow of stone/Steven Hart was a loner, he never sought fame/But the creeks in these mountains still carry his name"

Or: "Miss Emeritt Adkins was living in Leet/The Guyan and Coal River train only feet from her porch/When the brakeman attempted to flirt/So she raised up her shotgun/And riddled his shirt."

The instrumental medley, "Elk River Blues/West Virginia Hills" joins the classic ode to West Virginia with a fiddle tune from the late Ernie Carpenter of Braxton County. Another combination "Bach's Old Coat," mixes J.S. Bach with a cello version of a traditional fiddle tune found in West Virginia.

"My Barista" is an ode to the local coffee bar and the Queen of Caffeine. All hail!
"Seeing Things" has well-crafted lyrics, rich production and varied instrumentation, with harmony singing, dulcimer, guitar, fiddle, mandolin, slide guitar, piano, cello, harmonica and percussion, ably provided by top players in Charleston's music scene. Among them: Julie Adams, Ryan Kennedy, Paul Elliot, Janis Carper, John Kessler, Guy George, Deron Sadaro, Mellissa Javors, Ammed Solomon, Randy Gilkey and Ron Sowell.

"Seeing Things" is a fine contemporary folk recording, and would be right at home on "The Folk Sampler" or similar programs. Here's hoping Muller and Webb are finding a wider audience.

-- By Paul Gartner

WHERE: Available on the Web at CDBaby.com, Taylor Books, Frog Creek Books at Capitol Market and Showcase West Virginia in downtown Charleston, W.Va.

"Ants in Your Pants" is the Carpenter Ants at their gospel-fired, genre-bending best

2005-12-13T09:55:00.000-08:00

THE CD: "Ants In Your Pants"
PERFORMER: The Carpenter Ants

By Nick Scala

The question was posed to me while talking to a friend about the Carpenter Ants: 'What kind of music do they play?'

The first thing that came to mind was 'gospel. Then, understanding that gospel music isn't everyone's cup of tea, I quickly blurted out "R&B ... soul ... country ... rock 'n' roll ... umm ... Ya' know... Music."

It's made all the more interesting by the way the Ants are able to seamlessly juxtapose a soulful gospel number alongside a raunchy secular hip-shaker. The inability to categorize the Carpenter Ants is what makes them fun to listen to. You don't know where the next song might take you. But it's a pretty safe bet you're going to enjoy the ride.

That's the spirit of "Ants in Your Pants," the Charleston-based band's third CD. The blend of styles is outstanding, and it's backed by a few improvements over its predecessors: original songs (absent from previous efforts), better production values and a bigger dose of the fine guest musicians the Ants seem to attract.

If you're a regular Wednesday- or Sunday-night patron of the Empty Glass, chances are you've heard most of the songs on "Ants in Your Pants." The album, though, gives you bonuses you might not always get when you visit the band live, such as a second guitar to accompany Michael Lipton, or keyboards, or a sexy-voiced female vocalist.

Core ants, who include Lipton, Jupie Little (drums), Ted Harrison (bass) and Charlie Tee (vocals), are joined throughout the album by guitarist Steve Ferguson, who made his bones with NRBQ, another multi-genre, uncategorizable band that hit its stride in the 1970s, as well as Jon Carrol, keyboard player for Mary Chapin-Carpenter.

We also get an all-too-brief contribution from Robert Shafer, whose credentials merely include being twice selected as the national flatpicking champion and who added so much to the band's first album, "Long Live the Queen."
Credits are also given to drummer Ammed Solomon (Mountain Stage Band, Voodoo Katz), vocalist Larry Groce (of Mountain Stage fame), producer Don Dixon, who chips in with guitars and vocals, and vocalist Laura Nadeau. The album is a tribute to the aforementioned diversity of sounds.

Meet the Ants in song

The CD opens with "Picnic With the Lord" (What I still can't figure is why this song wasn't included on the Ants' second album, the all-gospel disc titled "Picnic With the Lord.") The difference in this one is that it's written by Lipton. It's a sassifying gospel rocker -- what better way to get things started?

Next up is "Charlie Tee from NYC," the first of three Lipton-penned musical bios about the band's core members. (My question to the Ants: Isn't it about time one of you guys wrote one about Lipton?) The song is about -- and sung by -- Charlie Tee, the lead singer whose huge stage presence is matched by his passion. I've seen Charlie a few-dozen times now and have never seen him without a smile on his face. What I can't imagine is that smiling face under the funky 'fro of many years ago that Charlie sings about. That I wanna’ see, because, these days, his head is smooth (and so, we're told, are his moves).

"On My Way Home" returns us to the gospel soul train and keeps hands clappin' and feets tappin', with Charlie and the mellow chorus leading the congregation down the road to rapture. We return to the biographical sketches with "Jumpin' Jupie Jive," concerning drummer James "Jupiter" Little and his zest for life, including chicken, Hennessey and ... other stuff.

I suppose the country-funk of "Sausage Song" is as close as we'll get to self-revelation from Lipton (well, maybe "Mama was a Big Un" may qualify). He turns the tables on the age-old question asked by us single menfolk, you know the one: 'Why buy the cow when the milk's for free?' Well, this one's from the ladies' perspective -- Why buy the hog when the sausage is free? Lipton shares the lead vocal with Nadeau, lead vocalist, guitarist and lyricist for Stella, a popular band from Athens, Ohio.

The third and final installment in the Meet the Ants series is "Ted's on the Move," which intimately introduces us to rock-steady bass player Harrison. The album then returns to its gospel roots, slows things down and hands the lead vocal to Jupie on "Cryin' in the Street." (Jupe also gets credit for additional lyrics.)

The Ants March On

I can't say for sure, but I'm guessing that, during the break, that's Lipton on rhythm and Ferguson doing the solo work. Fergie spent lots of time this summer and fall with the Ants, and I always looked forward to hearing him do the decidedly secular "Downtown" song. Why isn't that on the album, dagnabbit?

The countrifried hook returns on "Mama was a Big Un," on which Lipton speaks of genetic progression and pays a quick, smile-inducing tribute to the 1960s one-hit-wonder classic "Countin' Flowers on the Wall." He gives us another peek at where he's been, and lets us know that bigger is, indeed, better. (I still think Charlie, Jupe and Ted owe him one.)

"How I Got Over" is another spirit-lifting hand-clapper in the gospel mold, leading into "Get Outta Here," on which Charlie sings about a parent who's not exactly enthralled by his daughter's choice of beaus. Good stuff, specifically the guitar crescendos throughout.

Shafer's dynamite contribution comes in on "Insect Ball," sung by Little. The penultimate offering is the fast-paced gospel-rocker "I John Saw," punctuated by Ferguson's unmistakable voice on a solo refrain.

The album ends with "Ant March" (not to be confused with Dave Matthews' "Ants Marching," which would be appropriate for these Ants to cover if they could come up with a fiddler). This one is basically filler at the back end, where Ferguson, Lipton, Harrison and Little were just messing around between numbers. I'm told that Dixon, emerging from the bathroom, kept the tape rolling for a couple-three minutes because he loved what he heard out of the jam.

Give "Ants in Your Pants" a listen, and I'm guessing you'll love it, too.

WHERE:To order a copy, call 304/342-4412, e-mail mlipton@gmail.com or visit CDBaby.com.

RELATED: "The Spirit Behind the Ants New CD," by Bill Lynch

Well Beyond Pink Floyd: Roger Waters tackles opera in "Ca Ira"

2005-11-28T08:00:00.000-08:00

The artist: Roger Waters
The CD: "Ca Ira (There Is Hope): An Opera In Three Acts" (Sony Classical)

Anyone who has listened to "The Trial," the finale of Pink Floyd's classic album "The Wall," knows that Roger Waters is capable of writing classically styled music sung by characters with distinct voices. It should come as no surprise that he has taken his music in a more intellectually challenging direction. Ca Ira tells the story of the French Revolution, and unlike many contemporary composers who merely dip their toes into classical forms, Waters dives deep into Grand Opera, and surfaces with an impressive work that has much more in common with Verdi and Rossini than it does with Philip Glass or Andrew Lloyd Webber. This is a real opera. It's sung in English, but it's not a glorified Broadway musical.

"Ca Ira" has had an elephantine gestation. Begun in 1989 to commemorate the bicentennial of the French Revolution, this work has seen the death of Waters' collaborators, Etienne and Nadine Roda-Gil. Etienne Roda-Gil is a respected French librettist, and with his wife Nadine, he conceived the opera. Nadine provided illustrations that endowed the project with a powerful visual hook. Sadly, Nadine passed away shortly after the work began, and it sat on the shelf until 1997, when Waters began working on an English version of the text. With Etienne's blessing, Waters fleshed out elements of the story and made it more relevant to the current political climate.

The result is a work that stands separate musically from Waters' long-form efforts with his former band, Pink Floyd. There are the occasional hints of Waters' previous work, but for the most part, musically, this could have been written in the first half of the nineteenth century, when opera was at its peak as an art form. This is not a "rock opera" or an overblown musical. If you aren't used to listening to opera, it may take a while to acclimate yourself to this work. This is not a collection of catchy pop tunes, but a powerful story told with serious music. It's unlikely that you'll come away from "Ca Ira" humming any of the songs.

Lyrically, this is pure Roger Waters. The villains are the same that he's always written about, and it's the "bleeding hearts and the artists" who are the real heroes and hope for the future. Even in his most dark and personal works, Waters has been an optimist at heart, and the title of this opera is proof. There is hope.

The vocals are handled by a world-class cast of opera stars. Bryn Terfel lends his distinctive bass-baritone to three roles, and anchors the cast. Internationally-acclaimed soprano, Ying Huang, is superb as his counter, also assaying multiple roles and breathing life into the spirit of liberty. Paul Groves and Ismael Lo are major supporting players. I could go out on a limb and attempt to dissect the technical aspects of their performances, but I'd really be out of my depth. Essentially, they all sound really good. That's all you need to know.

"Ca Ira" casts the story of the French Revolution inside a circus ring, complete with a ringmaster, clowns and acrobats retelling the tale. This adds an element of theatricality that allows a further suspension of disbelief, while acting also as a metaphor for the political circus surrounding the revolution. I was reminded of Philip DeBroca's 1966 film "King Of Hearts," where a Scottish soldier during World War One wanders into a French village entirely populated by inmates of an insane asylum. "King Of Hearts" employs that dramatic device to both distance the audience from the action, and then draw them into it more deeply. I felt the same way with "Ca Ira."

With 38 tracks spread across two CDs, it's hard to single out individual songs for praise. The music works in service to the story, and as such, there isn't any single standout song. The work is so cohesive that you really have to judge it as a whole. Clocking in at nearly one hour and fifty minutes, that may seem like quite a commitment, but it's very rewarding. The music alternates between calm exposition and stirring action, punctuated by bird sounds and cannon shots. There are come contemporary musical touches, but they're not overbearing.

While the music is grounded in the forms as set forth by the greats of 150 years ago, there are hints of some early-twentieth century styles evident, and there are some melodies clearly consistent with Waters' previous works. He didn't completely subjugate his compositional voice here. He merely immersed himself in a different musical form than he's used in the past. I'd even say he mastered that form.

I don't think anyone is expecting this album to break out and sell millions of copies. It's a little too deep and out of the norm for that. Fans of Pink Floyd may find it too challenging, and fans of opera may dismiss it without giving it a fair chance. This is really an exciting and rewarding work that tells a powerful and important story with wonderful music.

There are two versions of this opera available. You can buy a regular two-CD set, or a deluxe SACD version that comes with a bonus 60-page booklet and a DVD with a documentary about the making of the album. The documentary is fascinating, but unless you have an SACD-ready player, you may not want to spend the extra cash. I'm hoping that a companion book of Nadine Roga-Gil's illustrations will be published.

Now, if we could only convince Waters that the Clay Center would be a fine venue to hold a public performance of Ca Ira...

--- By Rudy Pannuci

The Cardigans: Super Extra Gravity

2005-11-27T17:59:00.000-08:00

The Artist: The Cardigans
The CD: Super Extra Gravity (Universal International)

In the US, The Cardigans are known mainly for their 1996 hit "Lovefool," from the soundtrack to that pretentious version of Romeo and Juliet with Leonardo DeCaprio. While that light breezy pop tune caught the ear of the American public, it was not typical of the Cardigans' harder-edged sound, and as a result, they've been consigned to the one-hit-wonder category. And that's a shame, because this band is the true successor to the "tough broad with a killer voice fronting a tight band with great songs" mantle that used to belong to Blondie. This new album was supposed to be released worldwide back in October, but the release date came and went without it showing up in US stores. Evidently the Cardigans' American record label had second thoughts about dropping this CD into the crowded pre-Christmas musical landscape. This sort of decision is the real reason that the music industry is in such a slump. This album is topping the charts all over the rest of the world. Luckily, imports can be ordered from Amazon, and I hear the album is available from iTunes. If you enjoy crisp, well-crafted pop rock with great vocals, it's well worth the extra expense.

The album opens with "Losing A Friend," a ballad that's a killer "kiss-off" song. The darker tone sets the emotional theme of the album, which is about as far removed from the light pop of "Lovefool" as you can get. Musically, this track would be right at home on one of the later Beatles albums. "Godspell" is nearly as catchy as anything the Cardigans have ever done. It has no relation to the musical, but it's still a contender for "hit single that never was" status. That it's a wry comment on the pitfalls of organized religion is gravy.

I mentioned the darker tone. Lyrically, this album seems to be inspired by the type of emotional upheaval that makes for great music. Many of the songs sport just the right mix of bitterness, cleverness and harmonies. There's lots of "you hurt me but I'll survive just to spite you" sentiments infused into this music. Singer/lyricist Nina Persson has said that she wanted the record to sound "strange and good." I'd say the band succeeded admirably.

"Little Black Cloud" is another track that, by all rights, should be a huge hit. The harmonies are incredible, the arrangements sparkle and anyone who's ever been through a bad relationship can identify with the lyrics. "Holy Love" keeps the album from being an overwhelming downer. The optimistic lyrics blend perfectly with the thumping organ and dramatic arrangement to reaffirm that, despite all the travails in life, everything is worth it in the end.

With any luck, Universal/MCA will wise up and put this CD out in the United States. So much of what's being forced onto radio and into stores these days is so dismal and contrived. When a gem like this comes along, it's a shame to not even try to sell it to Americans.

---By Rudy Pannuci

Pennywise: "The Fuse"

2005-11-23T14:57:00.000-08:00

THE CD: "The Fuse"
PERFORMER: Pennywise
WEBSITE: pennywisdom.com

How best to describe Pennywise? Hardcore punk is a good start.

"The Fuse" is the eighth release from the Hermosa Beach band. And, despite what you may hear from other members of the chattering class -- let me set the record straight: They rock!

The band formed in 1988, so that makes Pennywise older than a lot of their fans. Cool. My first experiences with them were 1995's "About Time" -- which features two personal faves: "Peaceful Day" and "Perfect People" -- and '97's "Full Circle" ('nuff said).

Fifteen songs, not enough time. That's how I feel about this record. Pennywise has helped steer punk music away from its more mindless origins, towards a more mature attitude. We've all seen the old stock footage of the girl with the safety pin through her nose saying 'I don't care what I think.' Not these guys.

Lead singer Jim Lindberg is among a growing contingent of musicians who say it's OK to be informed, opinionated and political. Just like KRS-1, his lyrics are of the self-help type; antithetical to the poverty pimp mentality that has invaded youth culture, particularly music. His vocal delivery is rapid, and at the same time, easily understood. The lyrics are included in every CD, but you really only need it for reference.

Guitarist Fletcher Dragge is now an old pro, not just at getting in trouble with law enforcement. He shreds the tempo for the band. He'll puke on you, screw your mom, and shoot you in the back with an automatic BB gun, just ask bassist Randy Bradbury.

"Knocked Down" opens the CD at a blistering pace. And, yes, the anthem does have some familiar favorites: sing-along choruses and hooks. Lindberg wants his listeners to open their eyes.

That's just what he says on "Take a Look Around" On the chorus, Lindberg sings in his typical voice: They say you can't make a difference/That you can't make a change/It's a cruel world/Full of hate and full of lies/And it's time to re-arrange.

"Yell Out" has the whoas that we all know and love in our thrash. On "6th Avenue Nightmare" Lindberg sings about planned urban genocide, civic pride, living in hell, street life, and prison cells. Sounds like Shrewsbury.

I don't mind if the band sounds the same as they did 10 years ago. I liked them then, and I'll keep rocking them out. Look at what changing did for Metallica. Some fans hated them; say they sold out; me, I don't care.

This CD does have a few noticable changes of style. But don't fear: the band apparently left their acoustic guitars at home this time.

"The Kids" has a mellow guitar intro that you don't hear frequently on a Pennywise record. Fletcher rides a phaser, something rare for the raw sound that has characterized the band.

And, if you thought Fox News could escape their wrath, forget it. On "Fox TV," Lindberg calls Murdoch's baby to task.

So, this is not a musically limited band; they just do what they do, and they do it well. Linberg gives into the Lo-Fi effect on some lyrics, as he has in the past, and that's cool. The same type of effect is used on Fletcher's guitar.

On "Dying" there is the civil defense siren, something that appeared on 2003's "From The Ashes" and made me think it was the third Wednesday of the month each time I heard it. Or, that the sh_t had finally went down, maaan. Start hoarding water.

"Disconnect" seems like it was written by Teddy Kaczynski himself. It features cool samples of If you'd like to make a call, please hang up and try again and dial-up Internet noise. Lindberg has a problem with technology dumbing down the masses. Samples are something not featured too prominently on punk records, and that sucks. If you've heard 1999's "Straight Ahead" and the band's perverted version of Kennedy's famous Ask not what your government... tripe, you know the band has some sight.

So, not much has changed with Pennywise. That's why I actually paid ($) for the CD. Lindberg says it best on their Web site: "Loud, hard and fast -- it's what we're comfortable playing and we know that's what people expect from us. ... With each record we just try and add subtle changes to the form without morphing into a completely different band, or worse, trying to keep up with the latest trends in music."

Nick's Note: If you want to give "The Fuse" a listen, click here to allow Knocked Down & Disconnect into your ears. These are songs on the album, duh.

---By Nick Harrah

"Rubber Soul" Revisited

2005-11-20T09:00:00.000-08:00

The CD: This Bird Has Flown (Razor And Tie)

Various Artists interpret the Beatles' "Rubber Soul"

Tribute albums can be problematic. By their very nature, you're forced to compare the new interpretations of familiar songs to the originals. The novelty of a bulk batch of cover versions of songs can wear off quickly. Then you're left with the job of deciding if the new version of each tune brings anything fresh or exciting to the song. This is even more of a challenge when a tribute album is a track-by-track recreation of a milestone like Rubber Soul by The Beatles.

Rubber Soul is a key to the Beatles' transition from the "Mop-tops" of Beatlemania to the serious songwriters that they're recognized as today. It marked a major progression in the evolution of John Lennon and Paul McCartney as songwriters, and the emergence of George Harrison as a compositional force to be reckoned with. To commemorate the 40th anniversary of its release, Razor and Tie has gathered together some of the leading lights of today's alternative music scene to recreate this classic album (with the original British running order), and the results, as usual with this sort of project, are a mixed bag.

A typical drawback with this type of tribute album is that some artists are too timid with the material, basically just copying the original version note-for-note. While this approach can be pleasant, and remind us of how great the songs are, it's not very satisfying in the long run.

On the opposite end of the spectrum are the artists who crash and burn. They either try to do something drastically different and fail, or they are simply not suited to handle the material.

The trick is to strike a balance between the two extremes. The best cuts on This Bird Has Flown allow the artists to establish their own identity within the songs, without murdering them. Dar Williams does a respectable version of "You Won't See Me" that manages to sound fresh without slavishly duplicating the original version. Yonder Mountain String Band manages to use bluegrass instrumentation on George Harrison's "Think For Yourself" without sacrificing the original version's sparkling arrangement. This is a truly striking accomplishment. Ben Harper and The Innocent Criminals apply a light reggae touch to "Michelle" that works perfectly. Tad Leo takes on "I'm Looking Through You" with samples, a near-punk tempo and a truly hyper drumline that makes the song sound totally contemporary.

The album has a few contributions that are too respectful of the source material. The Donnas kick off the album with a version of "Drive My Car" that, but for the female vocals, could be the original recording. Ben Kweller's version of "Wait" sounds so much like the Beatles' recording that you might think it's an out-take with fewer backing vocals.

We also have a few noble failures. Some of the artists (none of whom, I believe, were even born when Rubber Soul was first released) try to do something bold and new, and fall flat on their face. These are the "interesting" versions of the songs that only merit a curiosity listen. Nellie McKay attempts a lounge-jazz-samba arrangement of "If I Needed Someone" that totally destroys the beauty of the song. Sufjan Stevens apparently thought that Ringo's country flavored showcase tune, "What Goes On," would sound great if it were done up in the style of early-1970s Jethro Tull. It doesn't.

For the sake of novelty and entertainment, there are a couple of absolute train wrecks on the album, too. In a "two lousy tastes that taste worse together" moment, the Cowboy Junkies, one of my least-favorite bands in the world, take on "Run For Your Life," a song so bad that John Lennon later claimed to be ashamed at the abusive misogyny in the lyrics and called it one of the worst things he'd ever written. As usual, the Junkies run the song through their patented dirge-0-matic and create a recording suitable only for CIA torture sessions.

Surprisingly, that's not the worst song on the album. The Fiery Furnaces turn in a very strange version of one of the Beatles' most beautiful songs, "Norwegian Wood." All I can say is that this recording is all the proof you need that stoned teenagers should never be allowed to listen to The Residents. This cut belongs on an album with recordings by William Hung and Moms Mabley.

Aside from the odd disaster, This Bird Has Flown is a typical tribute album. It can't hope to compete with the original Rubber Soul. Face it, nobody does tributes to albums that aren't already considered definitive. Still, it's a happy little listen with a few outstanding moments, and except for some notable missteps, a fun trip through the Beatles' "middle" era.

Kate Bush: "Aerial"

2005-11-09T22:00:00.000-08:00

Artist: Kate Bush

CD: "Aerial" (Sony)

Not many artists can take 12 years between albums and pick right up where they left off, but with "Aerial," Kate Bush proves it can be done. This is the comeback of the year. Kate has delivered a two-CD set that exudes class, sophistication and musical excellence.

The first disc of this set is titled "A Sea Of Honey," but it's really just a collection of songs that cover a wide range of topics. "King Of the Mountain," the first single, relays the story of a reclusive elderly Elvis, living like Charles Foster Kane in a mountaintop Xanadu. "Pi" is a tune about a man's infatuation with the mathematical formula. This song, which is not immediately, obviously humorous, cracked me up completely. Not many listeners pick up on Kate's subversive sense of humor, but she is an honorary member of the British alternative comedy scene that spawned "The Young Ones" and "Absolutely Fabulous."

"Bertie" is a mother's tender, happy song about her son. Kate's son, Bertie is 8 years old, and she was able to hide his existence from the British press for nearly three years, much to their consternation.

"Mrs. Bartolozzi" is a seductive piano, cello and voice piece that makes mundane household chores sound like a high holy calling. "How To Be Invisible" is the likely second single. This song, based on a book, but also analogous to Kate's 12-year hiatus, is like a slower version of her 1985 hit, "Running Up That Hill," but with eerie electronic interludes.

The emotional knockout punch of the first disc is "A Coral Room," about her late mother. In this stark, striking elegy, Kate paints a picture of her loss and how she dealt with it. This is a powerful and beautiful work, and a fitting end to the first half of this collection.

The second disc of "Aerial" is titled "A Sky Of Honey" and it is a conceptual work. With music based on field recordings of birdsongs, this song cycle follows the progression of a day, told through the perspective of several different characters. It's a joyous work, with touches of classical music, Spanish guitar, and just a hint of Celtic music in the mix. This is not her first long form song work. Side two of her "Hounds Of Love" album was a cycle called "The Ninth Wave" about a woman drowning. As impressive as that was, with "A Sky Of Honey," Kate tops it, with a cohesive, musically adventurous work that is some of the most intelligent music of 2005.

"Aerial" is a major return to form. This album is a sublime musical accomplishment that will not only please Kate's longtime fans, but should also find a following among a whole new generation, who were too young to appreciate her earlier work. Fans of Tori Amos, Fiona Apple and Regina Spektor should take the time to listen to the woman who inspired those artists.

Stevie Wonder: "A Time To Love"

2005-11-09T21:00:00.000-08:00

Artist: Stevie Wonder

CD: "A Time To Love" (Motown)

Stevie Wonder's first collection of new songs in 10 years treads carefully between the experimental jazz-fusion music he produced in the 1970s and the commercial pop that he churned out during the following decade. The result, though potentially disastrous, is a pleasant, mature CD, with enough mainstream appeal to keep the fans of "I Just Called To Say I Love You" happy, while at the same time, pushing the envelope just enough to prove that, at 55, Wonder can still innovate and kick up a decent groove.

For instance, "Sweetest Somebody I Know" seems like an idea that could be fairly sappy on paper, but brought to life by Wonder's exquisite production, it blossoms into a laid-back semi-samba, with a killer bass line.

The opening track on the CD, "If Your Love Cannot Be Moved," a duet with Kim Burrell, blends world music rhythms with contemporary pop arrangements and a touch of Flamenco, and qualifies as a minor masterpiece.

Another notable track is "How Will I Know," a duet with Wonder's daughter Aisha Morris, who made her recording debut as an infant on the song written in her honor, "Isn't She Lovely." The most striking track on the album is the sprawling, nine-minute title cut, a duet with India Arie, with Wonder's old "Ivory" buddy, Paul McCartney on guitar. This epic tune sports a captivating African drum pattern and an amazing vocal arrangement that perfectly frames his plea for world peace.

This is not a perfect album. Fifteen tracks seems like a great value, but a couple of the lesser tunes could have been trimmed to make this a more solid album. But when one of the complaints about a CD is that it has too much music, then it can't be bad. "A Time To Love" is a brilliantly crafted collection of songs for grown-ups. There's something relaxing and reassuring about it, but it's not boring.

Walls Of Jericho: "All Hail The Dead"

2005-11-01T16:50:00.000-08:00

The CD: "All Hail The Dead" (Trustkill)
Performer: Walls Of Jericho

If you like metal, you're gonna like, or at least be impressed with, Walls Of Jericho. On their sophomore effort, "All Hail The Dead," the Detroit-based five-piece puts their own spin on the hardcore.

When I say metal, what pops into your mind -- Satan? Slow down, Benny. The thing that I like about WOJ is they thrash, up-tempo, 200-BPM style! But, as with a lot of music, there are parts I really like, and parts that make me push the little connected arrows on the CD player.

Guitarists Mike Hasty and Chris Rawson come out swinging on the opening title track. But you don't have to sit there with your money in your hand waiting to buy the CD, as you can listen to their stuff right now here.

With lead vocalist Candace Kucsulain, this band has one thing that you can't get off the shelf at FYE -- balls. On "All Hail The Dead", she shouts: "Our world is crashing down before our f---ing eyes. . . it's time to fight this, the status quo. . . our broken families. . . your billboard barbie. . . All hail the dead."

One of the coolest parts about their songs are the sing-along choruses and backing vocals. I can't believe they're not punk! On "Revival Never Goes Out Of Style," I could swear that they sampled the 'whoas' off of the Pennywise song "Bro Hymn Tribute." It would fit in well with the title of the CD if they did, but they have no need to do that -- I mean, coome aaahhn.

As with a lot of acts, they've earned their reputation the hard way, by getting hit in the face with microphones and who knows what else. They've toured with Fear Factory (which, if you haven't heard yet, give those guys a listen). I used to rock out a couple of their CDs, but lost touch with them after graduation.

You can check out the WOJ website here, and, go ahead, buy the CD here.

Nobody's happy -- but it's home in Billy Matheny's musical world

2005-10-31T11:31:00.000-08:00

THE CD: "Rockabilly Music" (BMI)
THE PERFORMER: Billy Matheny

Ever wonder what would have happened if Glen Frey and the rest of the Eagles had strangled Don Henley and replaced him with Elvis Costello? No, this is not a ridiculous Harry Turtledove novel where the aliens show up and Adolph Hitler manages the Jackson Five.

But it is basically what you get with Morgantown boy singer/songwriter Billy Matheny.

The messages are familiar. The backwater world is paradoxically a strange paradise and a desperate hell. Nobody is really happy, but it's home.

Matheny plays a dizzying array of instruments including acoustic and electric guitars, bass, drums, lap steel guitar, mandolin, banjo, dobro and keyboards. Busy hands are happy hands. He offers up some nice bombastic alt country, plus honest or awkward songs about booze, women, truckstops and other sacred icons of the country hipster.

--- By Bill Lynch

Lewisburg's Rust Kings deliver the grit with 'Lo Fi Heartache'

2005-10-31T10:39:00.000-08:00

THE CD: Rust Kings
PERFORMER: "Lo Fi Heartache" (Mudbone Records)

They're a little bit country, a little bit rock n' roll and not exactly either... Lewisburg's own Rust Kings deliver a nice little album of Americana grit.

This is roots music with the band's roots pretty well exposed -- a little Lucinda Williams here, a little bit of the Band there and heaping helping of early, pre-electric Bob Dylan.

From start to finish, Jeanne Hoffman, Allan Sizemore and assembled company go through a collection of songs infused with the same Southern gothic guitar twang that bands like R.E.M. refined and pretty much trademarked about 25 years ago. What "Lo Fi Heartache" does is revist and remember what wasn't quite ready for anything but college radio play then -- and is almost genuinely underground now.

It's not a perfect album. Bright spots include "High Time." "Empty Broken Tow" and "The Only Sound I Hear." "Isabel is something of a Southern rock stinker and seems a bit out of place with the rest of the songs.

Don't bother the people at FYE on this one. All they'll do is stare at you like you've got lobsters crawling out of your ears. These guys are local. If you want to hear this, you'll have to buy local or get it off the web at: www.rustkings.com.

--- By Bill Lynch

Tommy Jarrell re-release

2005-10-26T18:58:00.000-07:00

THE CDS: "Down to the Cider Mill" and "Stay All Night and Don't go Home," County Records 2734 and 2735

THE ARTISTS: Tommy Jarrell, Fred Cockerham, Oscar Jenkins

These are the recordings that first brought the late (and much revered) North Carolina fiddle and banjo players Tommy Jarrell and Fred Cockerham to a wider audience. The recordings also feature the fiddling and unorthodox banjo playing of Oscar Jenkins.

"Cider Mill" was an effort to recreate DaCosta Woltz's Southern Broadcasters, a string band from the 1920s, which featured the fathers of Jarrell and Jenkins. This late 1960s incarnation was an unusual pairing. Jenkins' 5-string Mastertone banjo sounds a little like a banjo uke, with some unusul chords thrown in on "Ground Hog." Jenkins was also a pretty good fiddler, as on "Honeysuckle Blues."

The best cuts are the Jarrell/Cockerham banjo fiddle duets -- listen to "John Brown's Dream." This is Old-time Music 101. Head to Clifftop next August and you can listen to hundreds of people play these very tunes in this very North Carolina style. Many are festival standards today, known nationwide, and around the world: "Suzanna Gal," Reuben," "Fall on my Knees" and "Cider Mill."

"Stay All Night" holds more good music, especially "Breakin' Up Christmas," and "Old Bunch of Keys."

You can hear why: a lazy bow, an irresistible pull and decidely homemade singing and playing, all wrapped in layers of slippery subtlety it takes a lifetime to unravel. And that is half of the fun. This is must-hear music for traditional music fans.

Available on the Web at www.countysales.com, or from County records, P.O. Box 7405, Charlottesville, VA 22906

DEVO was right

2005-10-23T09:23:00.000-07:00

The artist: DEVO

The CD/DVD: DEVO Live 1980 (Music Video Distributors)
Back in 1980, nobody thought that DEVO, a quirky semi-novelty new wave rock band, would turn out to be one of the most prescient and influential musical touchstones for the next 25 years. But the spudboys from Kent State left more of a mark than anybody could have suspected. From the background music for dozens of movies and TV shows (including "Rugrats" and "Rushmore") to the musical direction for countless commercials over the last few years, the guys from DEVO have proven that, once freed from the restraints of a very restrictive Warner Brothers recording contract, they are capable of being an industrial music force to be reckoned with.

Add to that the way that mainstream radio has embraced the once "offbeat" sounds that were their stock-in-trade, and it's striking that a band of "geeks" made music that still echoes in recent hit songs by Britney Spears, Green Day, Franz Ferdinand and even Madonna.

Then there's also the whole "De-evolution" philosophy that grounded the band's lyrics and approach to music. Basically, De-evolution is the theory that, rather than progressing, man is regressing, growing progressively stupider as things wind down for the human race. (If the direct line from Ronald Reagan to George W. Bush isn't proof of that, I don't know what is.)

So it's only fitting that the DVD side of this dualdisc (DVD on one side, CD on the flip) begins with a Star Wars-style screen crawl that details DEVO's battle against the political tides of the 1980s, and declares: "Now, 25 years later, the reign of Ronald Reagan seems in retrospect like a ray of sunshine compared to the present-day rule of Emperor 'W' and his fellow fundamentalist enemies around the world." We are then treated to a complete DEVO performance from their prime, taped on August 17th, 1980.

This is DEVO at their most vital, performing their trademark New Wave bombast, with wild synthesizers and guitars layered over impeccably crafted hyper-pop tunes. That the lyrics all have to deal with man's stupidity to man is a bonus. This concert film was recreated and assembled from many surviving chunks after being thought lost for years. The end result is not a technical masterpiece. This is basically what any rock concert videotaped in 1980 would look like, but the performances more than make up for the pedestrian presentation. The fuzzy video makes the concert seem sort of like a futuristic relic from an earlier era.

Standout performances are "Jocko Homo," "Smart Patrol/Mr. DNA" and "Uncontrollable Urge," but all the songs, mostly taken from DEVO's first three albums, are great. If all you know about DEVO is "Whip It," then you owe it to yourself to check this dualdisc out. There's so much more to the band than that one song. But they do perform it on this disc, as well.

The DVD side contains some bonus material. There are a couple of performances by DEVO as "Dove, the Band of Love" -- their born-again alter-ego band, which was a parody of alt-Christian pop music before that genre even existed. We're also treated to the film and song "Tunnel Of Life," featuring DEVO's mascot, Booji Boy.

The CD side is a little odd in that it eliminates some of the material from the DVD, including "Jocko Homo." If you just want the audio of a live DEVO concert from 1980, you may want to seek out the expanded version of "DEVO Live" that Rhino Handmade released a few years back. It was recorded four days later for the King Biscuit Flower Hour, and has better overall audio quality than this release.

But that is missing the point somewhat. DEVO was as much a visual band as they were musical artists. Seeing them perform is as much fun as hearing them, and this is DEVO at the top of their game. After watching this concert, and looking around at the current political landscape, you'll agree with Booji Boy when he says "We're all DEVO, Dad!"

-Rudy Panucci

The Aquabats take "Charge!!"

2005-10-17T08:14:00.000-07:00

The CD: "Charge!!" (Nitro Records)
The Artist: The Aquabats

Imagine if DEVO, Oingo Boingo, and The Power Rangers teamed up to fight space monsters. That's the sound of The Aquabats.

Originally a third-wave Ska band from the same Southern California music scene that spawned No Doubt and Sublime, The Aquabats have gone from being a quirky semi-novelty act to carving out a solid career as a smart but fun band whose music shows a tremendous level of craftsmanship and cleverness. On the West Coast they have a huge following, with lots of younger fans ("Aquacadets" they call themselves) who are fiercely loyal.

In a refreshing contrast to much of the current music scene, The Aquabats make some of the most entertaining noise you can hear today. Their songs are loaded with good-natured self-deprecation, ridiculous fantasy, and really cool imagery straight out of cheesy sci-fi movies. This shouldn't be a surprise, coming from a band that took their name from some obscure henchmen in the old 1960s Batman TV show.

"Charge!!" marks a new stage in The Aquabat's evolution. With this album, their horn section has departed. Their last few albums have featured less and less of their original Ska sound, and more of the type of synthesizer-driven rock that makes me drive faster than I should. "Charge!!" sounds like pure early-80s New Wave, with percolating synthesizers, crunchy guitars, and crisp production. The tunes are like New Wave flies in amber. And since this is the type of music I devoured in my formative years, I'm loving it!

The Aquabats have always chosen offbeat topics and themes for their songs. With their penchant on previous albums to sing about action figures, alien girls, and fighting giant monsters, the 'Bats at times seemed intent on usurping the crowns of the reigning kings of Nerd Rock, They Might Be Giants. The difference is that the Aquabats are less artsy, and loads more fun.

On "Charge!!" The Aquabats treat us to an adventure song about "Fashion Zombies" (the video of which can be seen here), as well as killer bursts of energy like "Mechanical Ape," "Plastic Lips," and "Demolition Rickshaw." Another memorable highlight of the album is "Look At Me (I'm A Winner)," a Cheap Trick-esque anthem for guys who manage to be happy with nothing but "Four radios blasting classic rock."

"Awsome Forces" is another in a long line of songs where the Aquabats tell us how they're protecting the downtrodden from a variety of menaces: "We are your average ordinary superhuman punishers of evil rock n' roll band." "Hot Summer Nights (Won't Last Forever)" is a very funny song about a guy who falls in love with a girl who goes to great lengths to avoid him.

Underneath the goofy lyrics and superhero shenanigans, The Aquabats are very crafty tunesmiths. The songs are bright and well-constructed and fun for the whole family. Kids love the way these guys cavort on stage in superhero costumes, and the songs are strong enough to hook anyone else. A bonus for nerdy guys my age is the subject matter. There's an obvious connection with anyone who grew up under the influence of Batman, Star Wars, Rat Fink, monster movies, and just about anything else really cool in pop culture for the last half-century.

"Charge!!" is a terrific wake-up call and real bright spot for anyone depressed at the current state of the world. Once again, The Aquabats come to the rescue!

--- By Rudy Panucci

The other side of Bruce Cockburn

2005-10-12T06:11:00.000-07:00

THE CD: "Speechless"
PERFORMER: Bruce Cockburn

I've read enough bad puns regarding the title of the latest Bruce Cockburn record to last me a long, long while. So I won't jump on that bandwagon. Needless to say, it's difficult to picture the 60-year-old Cockburn as a guy with nothing to say on a new record.

But "Speechless," an all-instrumental compilation effort that snatches gems from previous Cockburn albums and throws in a few new pieces, lets the music, sans words, speak for itself. Craftsmanship is the watchword here. Cockburn, a one-time student at the Berklee School of Music in Boston, has always been interested in writing instrumental music.

The disc begins with the tune "Foxglove" from the 1973 album "Night Vision." It's a bouncy American-ish miniature (or should I say 'Canadian-ish') that would make Leo Kottke proud. Other early solo guitar efforts include "Water into Wine" (from 1974's "In the Falling Dark") and "Salt, Sun, and Time" from the album of the same name released in 1976.

The track "Mistress of Storms," a duet with Gary Burton, is a real attention getter. Nimble acoustic guitar pairs here with Burton's dark, low-register vibes. It's jazz -- well kind of. It's folkish -- but not really. Think beyond genre: this is just a great acoustic track, a conversation between friends.

The sinuous organ-laced "When it’s Gone, it's Gone" features Edgar Meyer on bass. Mark O'Connor chimes in on mandolin and Booker T. Jones (Booker T and the MGs) is the organist that gives this track a dark edge which complements Cockburn's echoey, spooky guitar line.

A new track, "The End of All Rivers," features pensive guitar harmonics coupled with some loops and effects. Cockburn also uses a Tibetan prayer bowl and Navajo flute to add to the most atmospheric piece on the record.

This is a fan's album. People who love Bruce Cockburn will be impressed with his great musical chops and be pleased that he has finally released an all-instrumental collection. Others may overlook this disc -- which would be a mistake. Bruce Cockburn is a pretty good musician -- with or without his signature firebrand lyrics.

--- By Laura Allen

Shatner: The Final Frontier

2005-10-07T09:13:00.000-07:00

THE CD: "Has Been"
THE PERFORMER: William Shatner

It would be easy to dismiss William Shatner's music as either a strange exercise in a television icon's ego or some bizarre novelty.

The thing is... 'Has Been' is pretty good. It's a lot less inadvertantly silly as say his 1960's classic 'The transformed man', which included a memorable takes on "Lucy in the Sky with Diamonds" and "Mr. Tambourine Man" that could be described as the kind of entertainment provided by watching a train crash into a carload of mimes.

It's sort of tragic... sort of funny...

Trippy club beats, snarling guitars and solid backing vocals elevate Shatner's one-of-a-kind delivery from pop culture pap to something incredibly fun. It doesn't hurt that Shatner doesn't take the whole thing entirely seriously or that 'friends' like Ben Folds, Aimee Mann and Henry Rollins put in appearances.

Track 10, "I Can't Get Behind That," featuring Rollins, is an absolute riot.

--- By Bill Lynch

Danny Barnes gets himself together

2005-10-05T21:18:00.000-07:00

THE CD: "Get Myself Together" (Terminus Records)
THE PERFORMER: Danny Barnes

Bad Livers founder Danny Barnes mixes country, neo-traditional music, Delta blues, rock classics ("Sympathy for the Devil") and some newfangled clawhammer banjo. Think John Hartford and Roger Miller in a sack race with Clarence Ashley.

Don't let the hipster thing fool you -- Barnes is a clever songwriter. (Hear him live on "Mountain Stage" show Oct. 16 here in Charleston). "Get Me Out of Jail" tells a tale of an Oxycontin user/loser, in classic jukebox cry-in-your-beer style, with that backbeat and voice reminiscent of John Anderson and some fine guitar playing:

"Well I got drunk this morning/and I went off to work/ by 9 or 10 I cashed it in/and threw up on my shirt/then I lost your house keys/so I broke in with a rock/I keep my Oxycontin baby/way down in my socks/well I think its gonna rain/and turn colder I'm a growing pain/that's growing older/if you don't know me all that well/baby please come get me out of jail"

Another, "Wasted Mind," paints a vivid picture of an aimless 17-year-old:

"You got headers on your Honda/you shoulda spent the money on a carburator overhaul/ so your rusty bucket won't stall at the courthouse/you're only 17 with a Detroit lean/and a baby that don't look like you/and you might be a little stupid too/and there's that smart mouth."

On the neo-traditional side, "Cumberland Gap" has a string quartet feel, with more solid banjo work and very honest playing from 16-year-old California fiddler Brittany Haas. Next up is the bluesy gospel of "Let Your Light Shine on Me" with more fine guitar work. Through it all, the warm production is closer to the bone than his previous CD, "Dirt on the Angel." Barnes is a walking garage sale of the recycled, the reinfused and the new. Where else can you find a CD with songs from Keith Richards and Mick Jagger, Willie Johnson and Bill Frisell?

Barnes keeps getting better.

WHERE: Available on the Web at www.terminusrecords.com

---By Paul Gartner

Lene Lovich: Shadows And Dust

2005-10-05T19:42:00.000-07:00

THE CD: "Shadows And Dust" (Stereo Society)
THE PERFORMER: Lene Lovich

The Grand Goth Duchess of punk rock's premier label, Stiff Records, Lene Lovich has returned with her first full length studio album in 15 years. In the interim, besides raising a family, she worked on film and theater projects, as well as recording the PETA anthem "Don't Kill The Animals" with fellow Bizarro Diva, Nina Hagen.

"Shadows And Dust" is shocking in that Lovich seems not to have missed a beat. She sounds just as wonderfully strange as ever. Generally, when an artist as eccentric and enigmatic as Lovich disappears for an extended period, their return is a disappointment. Not so with Lene Lovich. This new album is as delightfully odd as the best of her music from decades ago. This Czechoslovakian princess (actually from Detroit), wears her surrealistic influences on her sleeve. You can hear traces of Brecht, DEVO and Van Der Graaf Generator in her crisply composed songs about living life happily in the shadows. This CD is a primo slab of mutant cabaret music.

Recorded at her home studio, with her longtime collaborator, husband Les Chappell playing most of the instruments, "Shadows And Dust" sounds like a fresh blast from the new wave heyday of the early 1980s. They say that the best music in the world is whatever you're listening to when you're between the ages of fifteen and twenty, and for me this is it. I would have worn this album out on vinyl had it existed back in the dark ages of the Reagan regime. I guess the time is right for new music to inspire non-conformists.

With song titles like "Ghost Story," "Wicked Witch," "Gothica" and "Insect Eater," you can see that Lovich is still in tune with the Hot Topic crowd. "Wicked Witch," with its driving synthesizer and Lovich's patented operatic hiccup vocals is a standout track that recalls DEVO (at one point, her labelmates in the UK on Stiff Records). "Gothica" is a new anthem for creepy misfits everywhere. "Shape Shifter" manages to take a hip-hop beat and twist it into a perfect vehicle for Lovich's offbeat musical magic.

If you're a fan of Siouxsie and the Banshees, then you need to check out Lene Lovich, for the pure unadulterated sound of a woman on a wild musical mission. Siouxsie copped most of her vocal and musical style from Lovich, but she watered it down. On "Shadows And Dust" Lene Lovich has reclaimed her crown as the leading purveyor of love songs for the weird. The album can be ordered directly from The Stereo Society.

---By Rudy Panucci

Dar Williams: My Better Self

2005-10-04T11:07:00.000-07:00

THE CD: "My Better Self" (Domino) (Razor and Tie Records)
PERFORMER: Dar Williams

It's unfortunate that so many indie female singer/songwriters are compared with folk juggernaut Ani Difranco. Difranco puts out about a million albums a year, designs her own covers and tours so much that random strangers ask her for directions to the nearest gas station. All of this makes it difficult for other very talented independent female songwriters to get as much notice as they deserve.

Dar Williams is a startling songwriter and storyteller. Album after album, she has offered up catchy songs filled with wry and intelligent lyrics about everyday life that are never ordinary. Her latest, "My Better Self," is yet another fine collection that glides through the human experience with songs touching on everything from anger and longing to spiritual evolution and political disenfranchisement.

In what might be considered either a novelty or an instant classic, Williams tackles Pink Floyd's song of human disconnection "Comfortably Numb" and turns it into a tortured cry of political angst. The Righteous Babe herself rides shotgun on this one, sitting in the place of guitarist David Gilmour with a take on the song that is chillingly bleak and foreboding.

This may be Williams' most overtly political album to date.

"My Better Self" is a remarkable album by one of the best indie songwriters out there.

---By Bill Lynch

David Grisman's "Tone Poets"

2005-10-03T16:51:00.000-07:00

THE CD: "Tone Poets"
PERFORMER: various artists

David Grisman's latest project is another labor of love. The mandolinist/producer/record label owner has gathered 20 of today's top acoustic players for this two-CD set. But this is more than a super session. The musicians take turns playing two matchless instruments: a 1922 Gibson F-5 mandolin (which bears the signature of designer Lloyd Loar) and a 1933 Martin OM-45. Only 40 of this model of Martin were ever made, and Loar mandolins fetch upwards of $50,000 these days.

Disc one is solo tracks featuring either instrument; disc two is duos, pairing the Martin and Gibson. Sam Bush, Tim O'Brien, Chris Thile, Mike Compton, Mike Seeger and Grisman are among the featured mandolinists. Guitarists are David Bromberg, Bob Brozman, Jerry Douglass, Del McCoury and Tony Rice, to name a few.

On the "F-5 Riddle Blues," It is amazing how Seeger manages to make the F-5 sound like a $9 Sears catalog mandolin (and that is a compliment!) Leslie Riddle was a black man who was A.P. Carter's field-collecting guide back in the 1920s. Riddle taught it to Seeger.

Mexicali-flavored

Speaking of the Carter Family, Tim O'Brien offers "You Are My Flower." Bryan Sutton backs him up on the Martin, and supplies his own tasteful take on the Mexicali-flavored tune. These are two supple instruments in the hands of amazing players. And regarding that classic Martin, Bob Brozman brings a world of influences to "Ananas Africain." Then IBMA champion guitarist Jim Hurst unleashes a fiery "Reuben's Train."

The differences in tone and touch are something to hear. It is all in the fingers, folks. There are 31 selections, and musical is the operative word. This is a genre-spanning blend, tastefully thought out and arranged, and certain to please any music lover.

WHERE: Available on the Web at www.acousticdisc.com, or at P.O. Box 4143 San Rafael, Ca. 94913.

Franz Ferdinand: "You Could Have it So Much Better"

2005-10-03T10:56:00.000-07:00

THE CD: "You Could Have it So Much Better" (Domino) (To be released Oct. 4)
PERFORMER: Franz Ferdinand

Albums this good should be free.

"You Could Have it So Much Better" is an apt title for the follow-up to Franz Ferdinand's 2004 self-titled debut. As spectacular as that album was, the Scottish quartet's newest effort makes it seem cheap and uninspired. It was a fantastically rendered tribute to the band's '80s pop and dance club sensibilities, but their musical path seemed chosen.

Fie! We now know Franz can do anything. From the opening funky guitar slides on "The Fallen" to the discoed-out Steve Miller sorrow of the last track "Outsiders," this record plows through a tonal library as near perfect as is possible.

Talking Heads-style

The band's bouncy '80s roots are still very much evident, but the result is adventurous rather than nostalgic, thanks to some sound manipulation and exploration of other eras.

On songs like "Evil and a Heathen," the usually boyish riot voice of Alexander Kapranos is distorted to sound genuinely menacing over the deep pounding of a Radar Love-like beat. Guitarist Nicholas McCarthy again suppliments the lyrics seemingly by syllable; however, his sometimes tinny squeals from last year have evolved into a strong bellow.

Songs like "Do You Want To" are heavily disco. "Eleanor Put Your Boots On" and "Fade Together" resemble the same piano-driven, Brit-pop ballads the Beatles did so well. And yet, the band can in the next moment deliver a song like "You Could Have it So Much Better," a Talking Heads replica true to the style that made their first album so enjoyable, but done twice as well this time.

They said we could have it better and we do. But damn if there isn't only one way a band could make such strides in just one year.

Gladly see you in hell, Franz.

-- By Morgan Kelly

My Morning Jacket: "Z"

2005-10-03T10:39:00.000-07:00

THE CD: "Z" (ATO Records) (To be released Oct. 4)
PERFORMER: My Morning Jacket

Few things are better than an experiment gone beautifully to plan. On their fourth and newest album "Z," My Morning Jacket, armed with a new keyboardist, daringly gallivants across a range of styles from ska to prog rock. Every song on the way carries the sweet aroma of fresh territory yet exudes confident vigor.

As usual, the resonant voice of singer-songwriter Jim James guides the album's mood: jf he mourns lost love, we feel his misery; if he sings joyfully, we feel his joy; and so on. (Check out his wail-a-la-Marvin Gaye on the opening track, "Wordless Chorus.")

All keyed up
But the newly arrived musical weight of organist Bo Koster is clear from the very first syncopated chords of "Wordless Chorus." He plays the catalyst in achieving whatever sound the band aims for.

The ska-sounding “Off the Record” lacks a brass instrument of any sort, but Koster's calypso riff makes it on par with any diddy from Orange County. A second later, Koster escorts us deep into hypnosis via the carnival-like harpsichord waltz on "Into the Woods." Even when Koster is in the background he is seemingly indispensible: he underpins the mellow song "Gideon" with a dreamy high-octave shroud, like the subtle lift a church organ gives a choir.

The whole band clearly feels adventurous, particularly James, whose compositions range the tonal map. Songs like "What a Wonderful Man" and "Anytime" have a jubilant, Modest Mouse-esque bounciness, but adjoin teary country songs like "Knot Comes Loose" and "Lay Low," which could easily have been on Dylan's "Nashville Skyline" (with a little boiling down).

Tunes like the 7 1/2-minute "Dondante" revisit the prog rock themes of the Lousiville-based quintet's 2003 album "It Still Moves," but far more skillfully. Skill best describes "Z's" contribution to the band's catalog. All of their albums are 'good,' but through obvious hard work and innovation, this one clawed its way to 'great.'

Visiting so many genres on one album is easy for a talented band like MMJ. What's impressive is that they did it so damn well.

-- by Morgan Kelly

Dropkick Murphys: "Warrior's Code"

2005-09-28T15:51:00.001-07:00

THE CD: "Warrior's Code" (Hellcat)
PERFORMER: Dropkick Murphys

Boston-based Dropkick Murphys bring their Irish-influenced punk rock into full bloom with "The Warrior's Code". If you've had the pleasure to hear "Live on St. Patrick's Day" and "Blackout," you know what I mean.

Ken Casey is the leader of the gang, playing bass and sharing the vocals with Al Barr. They both may sound tough, but their words paint a different picture. "Warrior's Code" shows that these slap-boxing hooligans also have heart. Piano, cello, and even a viola make appearances on the record, joining the bagpipes of Scruffy Wallace, for an ambitious sound.

Goosebump rock

"Your Spirit's Alive" is the first track, dedicated to a friend who had recently passed away. The liner notes mention that the band played at the funeral, and the lyrics say as much: We are the ones who will never be broken/We are the ones who survive/This is the sound that brings us together/You are the one by our side.

You say you've heard the band's version of "Amazing Grace"? Then you know this band can give you goosebumps.

The Murphys take traditional songs and give them their own distinct flavor. In "Captain Kelly's Kitchen," Casey sings about a workplace romance gone terribly wrong: I said she did invite me/But she gave prompt denial/For assault she did indict me/and I was sent for trial. Yikes.

One of the best parts about DKM tunes are the anthem-like choruses, which will have you spinning and kicking like you're fresh out of Riverdance. This song is no exception, with the band chanting With me toora loora la, me toora loora laddie/Me toora loora la and me toora loora laddie over a driving beat. What are they saying? I don't know but it rocks.

Seriously sensitive dudes

"Sunshine Highway" is an example of the bands more approachable songwriting. While some bands with two singers can seem bi-polar at times, Casey and Barr work well together, telling tales of the good and bad times.

"Wicked Sensitive Crew" spells out the band's opinions on punk bands you may find on the Warped Tour. Casey croons: Well it's all gone to hell now, the wimps have gangs/Pop-punk tough guys with neck tattoos/Well if you guys are hard than I'd rather be soft/Man I gotta find me some seriously sensitive dudes.

"Citizen C.I.A" is a delightful thrash that takes a stab at American foreign policy. Barr shouts: You'll assemble puppet governments and play the hand of God/We're an equal opportunity crime fighting squad . . . We're knee deep in guerrillas, yeah the party never stops/United States of America . . . undercover cop.

Friendship, love, loss, death, and redemption are all on display in the lyrics. "The Auld Triangle" is no exception, with the theme being imprisonment, as it was on "Fields of Athenry".

The CD closes with the Official Anthem of the 2004 World Series Champion Boston Red Sox, "Tessie". It highlights the Murphys love of their city and its baseball team. It also includes backing vocals by semi-pro musicians and oh, they're also baseball players, too, Johnny Damon and Bronson Arroyo.

So, if you like hard drinking, hard-rocking, violent Irish-poet types, DKM is for you.

-- Nick Harrah

Nine Inch Nails: "With Teeth"

2005-09-28T15:51:00.000-07:00

THE CD: "With Teeth" (Universal)
PERFORMER: Nine Inch Nails

Trent Reznor proves on this record that he's just getting better with age. The solo force behind NIN has been putting out hit records for nearly 20 years (See Pretty Hate Machine), and continues to challenge assumptions and expectations.

At first I was a little disappointed with this CD, expecting more of the hyper-aggressive sound that seems now to have largely ended on "The Downward Spiral." It does, however, fit right in with where Trent left us on 1999's two-disc White Album "The Fragile". For every "Star****ers, Inc.", there is "A Warm Place" or a "La Mer" to bring balance to the sound.

Flashes of old

There are flashes of the older, harder NIN; one being "You Know What You Are?" Kick drum pounds relentlessly; clear piano contrasting distorted synth; space auhs that soar into the stratosphere. And, one of the things that I've always noticed others biting (pun?) off of Reznor: The digital slicer-type effect over his vocals. I can't say he started that, but he made it popular.

"The Hand That Feeds" is the first single, and it shows a more pop-oriented side of the composer. It's what he could easily put out and be successful with, but Trent has way too much vision for easy consumption. It includes one of the staples of Reznor's lyric imagery: Slavery (See Broken). He shouts: Will you bite the hand that feeds you/Will you stay down on your knees? over top of a crescendo of noise, synthesizers, and guitars.

"Every Day Is Exactly The Same" and "The Line Begins To Blur" are classic NIN. In addition to the digital feel the vocals (yes, the music, too) can have, there's another common NIN production technique: The schizophrenic layering of Trent's words. They are at once barely audible, saying one thing, over top of (or underneath) that are the screaming vocals we know and love.

Exercising demons

You may have already seen the video for "Only", an office-oriented hellscape that is reminiscent of Atari Teenage Riot's "Revolution Action." (I mention ATR also because of the cohesive relationship -- and tour -- Reznor and Alec Empire once shared.)

"Only" at first sounds like it's straight out of a generic techno DJ's beat library. That preliminary assumption is soon set aside with a funky bassline that drops in after the first couple of bars. In the song, Reznor seems to be in a therapy session, exercising demons that have been haunting him all these years, while, at the same time, making my CD collection even better. He seems to be cracking up: There is no you, there is only me, he shouts over and over again. And, telling himself over and over (it seems fruitlessly): I just made you up to hurt myself.

"With Teeth" closes with "Right Where It Belongs", a piano ballad (See "Hurt") that finds Trent questioning reality:

What if everything around you isn't quite as it seems/What if all the world you think you know is an elaborate dream/If you look at your reflection/Is that all you want to be?

However, he has one thing most wannabes don't: Millions of fans. Rare is the occasion for samples on a Nine Inch Nails record as Trent has little use for them.

But as "Right Where It Belongs" closes, as the filthy sound of one guitar or keyboard is beautifully contrasted with single, clear, piano notes, thousands of fans explode into cheers, seeming to keep Reznor grounded. This has been done by other bands, but most of the time it seems over the top, like they need to prove they have fans. Reznor doesn't need (or does he?) the adulation of the masses, as his music continues to prove.

-- By Nick Harrah

The Fray: "How to Save a Life"

2005-09-24T16:01:00.000-07:00

THE CD: "How to Save a Life" (Sony/Epic)
PERFORMER: The Fray

"How to Save a Life" was a safe first move for the Fray. Released this month, the Denver-based quartet's debut is a compilation of energized, yet soothing pop ballads about love and contemplation.

Songs like "She Is" and "Look After You" have the affectionate, semi-saccharine quality of radio hits, date-movie soundtracks and endless volumes of homemade Valentine albums.

At the same time, the Fray is something to admire. Vocalist Isaac Slade has a voice both gritty and smooth, like Beck if he had Bono's range. Combine that with the sonorous sadness of Slade's piano and the slightly-more-upbeat support of the other three members and the band can effectively transverse the entire realm of soft rock.

And they do. The high-octave, languid pining of songs like "Hundred" are in the same vein as Damien Rice. Yet they can garner such energy from this mellow style, one is reminded of Coldplay and the Counting Crows. The Fray even dips into more soulful pools with songs like "Over My Head," which has the same attractive loneliness as the best of Tracy Chapman.

And thus the fatal flaw. Nearly all the songs sound like a band trying to emulate bygone hit-makers to make a good first impression. The Fray -- Slade in particular -- is clearly talented enough to join these acts via their own sound if they would have just dared to let us hear it.

An overly safe first move can be dangerous.

-- By Morgan Kelly

David Jacobs-Strain: "Ocean Or A Tear Drop"

2005-09-21T12:06:00.000-07:00

THE CD: "Ocean Or A Teardrop" (NorthernBlues)
PERFORMER: David Jacobs-Strain

Blues and roots music singer-songwriter David Jacobs-Strain has spent years traveling the backroads and making music in places great and obscure. Between a crippling number of showdates and appearances, he has managed to cut five albums, but somehow avoid what might be termed 'big time' mainstream success.

But credit where credit is due, the kid is 22 and the road of a sincere blues man is a long, long haul. If he had wanted to be a mainstream success, he'd dress like a skater punk, sing songs about being an outsider, get some tattoos, and maybe date a girl who used to have her own TV show.

There's always room for one more cliche on top 40 radio.

David Jacob-Strain is no cliche, but an interesting and unexpected surprise. His youth is only evident by his babyface picture on his press photos, not by the finely crafted sounds he makes.

His 5th release, 'Ocean or a Teardrop' is a catchy fusion of modern roots-inspired jam and classic blues with something of an occasional nod to the sparse guitar sound of Johnny Cash. Strumming an accoustic guitar, accompanied by subdued African rhythms, he sounds earnest and honest. His songs are thoughtful, heartfelt and world-weary. He sings them with a maturity that seems well beyond his years, digging from a life of experience that he could not possibly have, but yet still seems to know something about.

Still, when the music is this good, nobody asks to see any ID.

--By Bill Lynch

Garbage: "Bleed Like Me"

2005-09-21T11:07:00.000-07:00

THE CD: "Bleed Like Me" (Geffen Records)
PERFORMER: Garbage

After something of a suspicious absense from the music scene, Shirley Manson and the lads from Garbage are back with an album that's as uplifting as having your car keyed by a really attractive hooker.

Bleed Like Me is familiar territory for a band whose home is the mudpit of dysfunction, disconnection and sexual obsession. All the relationships are unhealthy, obsessive or abusive. Everything is coming apart, but unlike any number of bland, sort-of-flavor-of the month progressive rock bands out there, Garbage does do it without resorting to feeling too sorry or apologizing for being weak.

Everybody needs therapy, but so what? You wanna dance?

Dancing is the easy part. Misery loves company. The music is driving alt rock: fuzzy, growling guitars, pulsing techno and club beats that are brazen, aggressive and suggestive.

"Bleed Like Me" is about about managing to function when probably you should just curl up into a ball and pull the covers over your head. It's enough to keep going and pretty cool when you don't have to brag about it.

--By Bill Lynch

Weezer: 'Make Believe'

2005-09-21T08:57:00.000-07:00

THE CD: "Make Believe"
PERFORMER: Weezer

Has it been 10 years already? With the release of their fifth studio album, "Make Believe," Weezer rightfully reclaims the throne in the pantheon of rock gods.

"Beverly Hills," the first single, is a tongue-in-cheek ode to Tinseltown and the stars that shine (or fade) there. For singer-songwriter Rivers Cuomo, however, no cheese or floss need apply.

The band has gone through a couple of bassists since it burst on the scene with "Undone, The Sweater Song." If you've had a chance to see the video for "Beverly Hills," original bassist (and Rentals frontman) Matt Sharp is likely kicking himself for splitting after "Pinkerton."

Cuomo's lyrics are insightful, humorous, and self-deprecating. "Perfect Situation" is a good example of this, with Cuomo taking stock of a relationship: Though I can't satisfy all the needs she has and so she starts to wonder/Can you blame her?

Classic.

Worth it

Musically, Rivers is apparently a dictator. Weezer is his band. The musical style has changed from the surf-rock style of their debut, but it's been a gradual thing.
Every Weezer CD I've ever bought has been worth the price. It's rare when you can look back at a CD you bought 10 years ago and say 'That was worth it.'

The songs have a timeless feel. Not only does Cuomo LOOK like he would fit in with Buddy Holly, his lyrics are in line with all the great troubadours, romantics, and assorted losers (his words) who decided to sing a love song.

From eyewitness accounts, Weezer was a fan favorite at that flag-flying freak-fest that is the Warped Tour. So many piercings, tattoos, and now, eye liner, can't be wrong. Their music precedes them; the lyrics are the message, and that, too is rare these days.

Oh, and contrary to what you may (I really doubt that you did) have read in other publications (I'm looking at you, Graffiti), the last two records were not "two strikes." I don't know what to say to the girl who wrote that. I know she's not deaf, so, ---- ?

God bless the Weez.

-- Nick Harrah

Paul McCartney: 'Chaos and Creation in the Backyard'

2005-09-21T05:46:00.000-07:00

The CD: "Chaos and Creation in the Backyard" (Capitol)
PERFORMER: Paul McCartney

Paul McCartney has a hard job these days. He has created some of the most beloved music in the world over the past four decades. Now, when he releases new music, it invariably gets put into competition against his legendary back catalog of music, both as a Beatle, and solo. That's the problem facing his new album, "Chaos and Creation in the Backyard." As good as it is in places, it will always recall his greater musical triumphs.

"Chaos" is a pretty good album, probably McCartney's strongest effort lyrically in years, but the music is a little underwhelming. Tempo-wise, Sir Paul doesn't seem to break a sweat on this album.

While McCartney is an acknowledged master of the ballad, you could always count on him to unleash the occasional blast of hard rock, like "Helter Skelter," "Spin It On," or "Angry." This new collection of songs doesn't really have a killer rock number. There are some up-tempo pop tunes, but maybe at age 63 McCartney has decided to leave the harder stuff to the younger fellows. It's a shame, because if this album had a little more an edge to it, it could rank with his best work.

Standout tracks

Recorded solo by McCartney (playing all the instruments himself), with outside production by Nigel Goodrich (Radiohead), this CD sounds beautiful. The production and arrangements are pure ear candy for Beatle fans. Unfortunately, the tunes aren't up to McCartney's usual standards.

Standout tracks are the first single (and Lexus commercial jingle) "Fine Line," which features the jumpiest music on the CD and some very clever wordplay; "Jenny Wren", a story song of a young woman, lyrically in the vein of "She's Leaving Home" and "Eleanor Rigby," but musically a descendant of "Blackbird": and "English Garden", which shares it's title with a song by his former bandmate Ringo Starr, from his "RingoRama" CD--perhaps a nod to the obsessive Beatles fans who are still looking for "clues" on every album. Ringo's song quotes the chorus from McCartney's "Let 'em In."

The rest of the album is pleasant enough, but very....'somber' isn't the word I'm looking for, but it does describe the tempo of most of the CD. You're not likely to come away from this CD humming anything. It's a shame, because even the musically boring tunes, sport very clever lyrics and great production. "Chaos and Creation in the Backyard" is a solid effort, but it has the unfair disadvantage of having to compete against so much legendary music from McCartney. I have feeling that this CD will age well, and perhaps grow on me as time goes by.

A special edition is available, featuring the CD, and a bonus DVD that includes a documentary on the recording of the album, instrumental versions of some of the tracks, animation, and more.

Son Volt: 'Okemah and the Melody of Riot'

2005-09-20T21:35:00.000-07:00

THE CD: "Okemah and the Melody of Riot" (Transmit Sound/Legacy)
PERFORMER: Son Volt

Fact No. 1: I bought this CD.
Fact No. 2: You can't kiss these guys off with a quick listen.

Son Volt frontman Jay Farrar has added a new chapter to the book of Unconcerned Songwriting. He obviously cares about an audience, but the songs are devoid of hooks and at times seem written for himself. Think Dylan, Mark Olsen or Jeff Tweedy of Wilco. When the process works, its great.

Take "Ipecac," for example. Happy Hair with fashion eye/climbed up the Ivory Tower/just forgot what the game was for/just forgot what the game was for.

OK, so maybe it doesn't matter. The song does have a great chord progression. Farrar's introspective voice, plaintive but never whining, backed by crunchy guitars, draws the listener in, not unlike the early recordings of Neil Young and Crazy Horse.

The "Okemah" in the title refers to Woody Guthrie's birthplace, and social and political awareness does wander through the songs, as on "Endless War": When the morning brings news of wasted life/when video brings footage of children dying/no moral face to the endless war/no moral face to the endless war.

Or on "Jet Pilot," where Farrar takes a poke at a famous Texan: Jet pilot for the day washed his sins away/ loves to see the rangers play/ his daddy has a job in Washington wants to raise a Harvard son.The song also references the great Gil Scott-Heron with "the revolution will be televised across living rooms of the great divide/robber baron ghettoes before us now/everybody needs a hunting pal."

Another slower number, "Medication," has a nice raga feel.

Repeated listening

Mind you, I am game for the repeated listening it takes (me, anyway) to 'get' Farrar's essence, but one wonders if the guy couldn't use a songwriting partner. Consider classic Lennon-McCartney (and, yeah boy, am I dating myself) -- depending on who originated the song, the other would take the middle eight bars. As a result, the tone of the tune would change mid-song, then back. This is not a suggestion that Farrar move to commercial pop, just mix it up a little.

So maybe it doesn't matter. These guys do bear repeat listening. Check with me at Christmas.

"Okemah and the Melody of Riot" also features a DVD side, with the album in enhanced stereo, and a documentary, "Break Through the Lens," plus live versions of three of the tunes, and one, "Joe Citizen Blues," not found on the CD. Good recording from a fine band, and worth the $18.

-- By Paul Gartner

NOTE: Son Volt comes to "Mountain Stage" for an Oct. 2 show in Athens, Ohio, along with Charlie Sexton, Eric Bibb, Over the Rhine and Adrienne Young and Little Sadie. Tickets only by calling 740-593-1780 or at box office.

The Coral: "The Invisible Invasion"

2005-09-20T18:14:00.000-07:00

THE CD: "Invisible Invasion"
PERFORMER: The Coral

The fourth album from British indie band, The Coral, finds them nearing full bloom as the psychedelic, acid-pop band they aspire to be. The first track, "She Sings the Mourning," sets this tone with rolling bass, vibrato guitar and the balmy voice of singer James Skelly wafting some strange tale.

From there it is a mind-twisting voyage through a world reminiscient of King Crimson, the Animals and the Velvet Underground. But "Invasion" is more than a nostalgic countercultural anthology. The Coral are far from shiftless copycats. They have worked hard to honor their roots and have us like the outcome.

Unlike songs on the band's grittier 2002 self-titled debut or on the longer, musically indulgent albums that followed, tunes like "A Warning to the Curious" from this latest effort are finely crafted minglings of organ, voice and strings constructed with an intense awareness of the pop values love, misery and brevity.

At times it seems they added a little to much crowd appeal. Tunes like "In the Morning" and "So Long Ago," while good songs, break the trance and uncomfortably skirt the bouncy fringes of '60s bubblegum pop.

I'm speculating here, but that may have something to do with the Zutons and their 2004 debut album, "Who Killed...The Zutons." It seems odd that the last three tracks of "Invisible Invasion" are fueled by the same soul/R-and-B/folk-rock infusion that the much younger band turned into commercial success. (Then again, the Zutons sounded so much like the Coral -- the bands are both from Liverpool and have the same producer and label -- that some thought them a manifestation of the same band.)

Who sounds more like who may not be clear, but we do know who came first. The Coral may not have killed the Zutons, but they certainly preceeded them in style, sound and pure enjoyment. "The Invisible Invasion," is perhaps the best reason yet to finally give them recognition.

-- By Morgan Kelly

Vanilla Ice: 'Platinum Underground'

2005-09-19T09:15:00.000-07:00

THE CD: "Platinum Underground" (Ultrax)
PERFORMER: Vanilla Ice

Okay, stop snickering and listen. Yes, Ice is back with a brand new album. The erstwhile superstar claims to be reinventing himself as an independent musician on "Platinum Underground." Yet the cultural references in Ice's lyrics and the album's blending of hip-hop and heavy metal seem about a half-decade behind.

Ice wants us to know this album is about his love of music and is not about recapturing the since-curdled glory of 1990s "To the Extreme." Yet he insists on reminding us of his past fame. He seems bitter. At one point he claims to have paved the way for Eminem and that -- much like Dre -- everyone forgot about the Ice Man. (To compare the two is like comparing Yanni to Mozart.)

Songs like "Survivor" and "Dunn Natt" show that Mr. Ice really wants us to know -- and care -- about his rise and fall, including a suicide attempt in 1994. More importantly, he says, he has completely rejected his 1990s image, which he blames for his despair, so he's safe to like, now.

To drive home the "reinvention" theme, VI not only revisits "Ice Ice Baby," but deigns to do a follow-up of 1991's "Ninja Rap" from the second Teenage Mutant Ninja Turtle movie. How fantastically crap. But for the most part, a blind sampling of ""Platinum Underground would have one mistake it for a mix of Ja Rule, Everlast, White Zombie, Limp Bizkit and a host of contemporary artists Ice emulates.

Ice is stuck in the '90s, as shown by his references to the Clinton-Lewinsky affair, the Hale-Bopp cometsuicides and Billy Ray Cyrus, who was popular around the same time as Ice yet has had the decency to fade away.

-- By Morgan Kelly

Blues Traveler: "Bastardos!"

2005-09-13T07:08:00.000-07:00

THE CD: "Bastardos!" (Vanguard Records)
PERFORMER: Blues Traveler

Blues Traveler claims that its eighth album, "Bastardos!" is only for them. We're welcome to listen to it, of course, but the point was to satisfy the band's innermost musical urges. For the most part, their selfishness is fruitful.

"Bastardos!" (excuse us, we can't get the computer to reproduce the upside-down exclamation point that goes in front of the Spanish epithet) is indeed a departure from the controlled-chaos pop the band progessively embraced following 1994's breakthrough album, "Four." In songs like "Amber Awaits," the band successfully revisits its jam-band origins with a hollow, bootleg-like sound and scale-climbing riffs.

They also explore an R&B side that suits them well. The funky ballad "She and I" is a trumpet and rock organ-fueled infusion of Otis Redding and Sly and the Family Stone. "That Which Doesn't Kill You" is clearly underpinned by the Isley Brothers, from the springy slap bass to singer John Popper's semi-breathy crooning.

But this song is also indicative of the album's shortcomings. Popper's drawn out and random harmonica solo, while illustrative of his superb talent, is a standard -- and thus worn -- feature of Blues Traveler songs. Moreover, Popper's lyrics are the same cliche and obscure rhyme-laden tales of love and woe they've always been, often to his detriment. I adore the name "Nefertiti," but it lacks the aural appeal to build a song around. Popper disagrees.

In fact, instrumental and stylistic exploration aside, the songs are largely built on the band's classic musical structure: snappy verses followed by a driving chorus, all centered around Popper's singing. Although enjoyable, "Bastardos!" is only slightly different from the band's other albums, leading one to wonder if they haven't been doing what they wanted to all along.

-- By Morgan Kelly

Bob Dylan: The Bootleg Series Vol. 7

2005-09-06T20:53:00.000-07:00

THE CD: "Bob Dylan -- The Bootleg Series Vol. 7"
PERFORMER: Bob Dylan

This double CD accompanies the Martin Scorcese film, "Bob Dylan No Direction Home: The Soundtrack." The first disc starts with home recordings made in 1959 and 1960, followed by songs that track his growth as a songwriter who merged folk music with a poet's sensibility. Included is a live version of the classic "Blowin' in the Wind."

All very interesting, but I keep coming back to the second CD. It opens with "Maggie's Farm," from the famed Newport electric appearance where Dylan (and most of Paul Butterfield's blues band) blew the folkies away. Mike Bloomfield's blistering guitar plays call-and-response with Dylan's biting lyrics. Dylan junkies have no doubt listened to these obscurities for years. Among the gems are alternate takes of "Tombstone Blues," "Desolation Row," "Highway 61 Revisited" and live versions of "Ballad of a Thin Man and "Like a Rolling Stone."

Again, on "It takes a Lot to Laugh, it Takes a Train to Cry," Bloomfield's guitar is timeless, bearing not a trace of nascent psychedelia or white-boy blues. He learned from Chicago's best bluesmen, and it shows. "I come from B.B. King, man," he once said. (Bloomfield died of a drug overdose in 1981.) Dylan cracks up at Bloomfield's simply amazing, smoking, imaginative guitar leads, on "Just Like Tom Thumb's Blues,” which also features The Chambers Brothers on backup.

These recordings lead me to recall one of my earlist encounters with Dylan's music. I was 13 years old and my older brother was working midnights at an aluminum fabrication factory in Girard, Ohio. He would come home around 6 a.m. every morning and immediately play "Highway 61 Revisited," which was brand new back then. It made no sense to my sleepy young mind, yet 10 years later I was growing sweet potatoes in Lincoln County -- so who knows?

For the truly obsessed, there are lyric variants here. For example, Dylan's "They're spoon-feeding Casanova to get him to feel more self-assured" becomes "They're spoon-feeding Casanova the boiled guts of birds."

On the one hand, any of the original albums would do just fine -- Dylan is definitely required listening. But on the third hand, on songs like "Desolation Row" he sure does go on and on, which is why I never became a Dylan fan in the first place. Sure loved his backup bands, though.

"100 Years of Jazz Guitar"

2005-09-06T10:52:00.000-07:00

THE CD: "100 Years of Jazz Guitar' (Columbia/Legacy)

This four-CD set is a superb collection of recordings that spans the years 1906-1998, starting with the legendary Vess Ossman, and "St. Louis Tickle." To dispense with my obligatory Kanawha Valley fiddling content, Ossman was a favorite of fiddler Clark Kessinger. One listen to Oscar Aleman's "Whispering' and you will be hooked.

"Clowin' the Frets" (from Eddie Bush and The Los Angeles Biltmore Trio) could have come from a Dan Hicks recording, and answers something I have always wondered – just where did he get those hot licks?

All the giants are here to enjoy: Carl Kress, Charlie Christian, Freddie Green, Oscar Moore, Barney Kessell, Wes Montgomery, Herb Ellis, John McLaughlin, Lee Ritenour, John Scofield Larry Coryell, John Abercrombie, James Blood Ulmer (just featured at the Sternwheel Regatta "Mountain Stage" show ni Charleston) and many more.

Even Jimi Hendrix. Which surprises me. I never thought of his playing -- as great and imrovisitional as it was -- as jazz. Whatever. This is a great collection.

-- By Paul Gartner

Will Hoge

2005-09-06T10:38:00.000-07:00

The CD:"During the before and after"
Performer: Will Hoge
Note: Only available at www.willhoge.com

While grunge, however briefly, was king there was also a collection of bands that mixed a soulful, bluesy sound with intelligent pop sensibilities. Bands like the Black Crows, Counting Crows and the Gin Blossoms played a brand of straightforward American music that seemed to have been retired to the Rock and Roll Hall of Fame. Like grunge, they had their season, then they were just gone... put away on a shelf somewhere and forgotten about.

Will Hoge brings it all back with a driving rock sound and a voice that is somewhere between Chris Robinson and Van Morrison. Recorded in concert at the Workplay Theatre in Birmingham, Alabama, 'During the before and after', is an impressive live album. Hoge and company run through a string of catchy songs about love and love lost. They rock from the start with "better off now (that you're gone)" and "secondhand heart," but by the end, they tread gingerly into the briar patch of national politics. Through "bible vs gun" and "america," Hoge tries to return humanity to the people serving in the conflict without glamor or flag worship.

"During the Before and After" is straightforward American music with heart, brains and a genuine soul.

--By Bill Lynch

The Slow Poisoner

2005-09-02T12:49:00.000-07:00

THE CD: "Fata Floral Phonograph"
PERFORMER: The Slow Poisoner
ON THE WEB: www.slowpoisoner.com

The Slow Poisoner, a one-man band from the distant galaxy of California, has been described as a collision between Johnny Cash and David Bowie, according to himself. I'm sad to report there were no survivors of that crash.

TSP's music, as featured on his one-song EP, "Fatal Floral Phonograph," is little more than a man beating on a bass drum while playing over-distorted blues riffs and shreiking into a microphone. Also known as Andrew Goldfarb, he is a self-titled "one-man surrealistic rock and roll band." Just in case you didn't believe him, he has plenty of artificially weird lyrics to hammer home the point. Lyrics such as "I am connected to the great cancer in the sky/In the fields next door there grew an eye" are so contrived one can almost see Goldfarb sitting in some West Coast café dutifully erasing and rewriting his lyrics until he felt they were bizarre enough to raise eyebrows and perhaps be confused with poetry.

Then there's that voice. It is a high-pitched demon whine completely incongruous with his faux-psychedelic style. You would at least expect a phony Lou Reed, but instead we get a genuine dental drill.

It is strange, then, that Goldfarb has such an odd appeal. Perhaps there is something subconsciously impressive about a man who defies the usual demands of talent and decides to have fun acting strange. A really weird person can be creepy; what Goldfarb offers is just a pretty damn good time, even if it is garrish and hollow. Besides the album -- it's a sampler, really -- is about 10 minutes long, so it's all over pretty quickly.

TSP will be playing Oct. 4 at 9 p.m. at Marley's Doghouse (2050 3rd Avenue) in Huntington. The cover is five bucks, but if you're in the area, it might be worth seeing such a self-conciously surrealistic fellow.

-- By Morgan Kelly

The Plimsouls

2005-09-02T09:33:00.000-07:00

THE CD: "One Night in America" (Oglio Records)
PERFORMER: The Plimsouls

This Los Angeles-based quartet had its relatively modest peak during the post-disco, pre-New Wave era that lasted from 1978 to 1983. In this period, artists like the Violent Femmes and Joan Jett and the Blackhearts espoused the anti-social ethos of punk, but incorporated (for the most part) the more refined musical stylings of late-70s rock and metal.

While rejecting disco's superficiality, bands of this time, like the Police, retained more insightful themes (again, for the most part) while also moving music in a lighter direction.

Despite their somewhat obscure status in music history, the Plimsouls -- as far as the music on this album goes -- display those transitional themes in their music like a musical evolutionary map. (It's fitting that 1978 and 1983 mark precisely the Plimsouls formation and dissolution.)

Recorded live in 1981, "One Night in America" includes unobtrusive, yet simplistic punk-pop fusions like "Hush Hush" and "Now." (For a modern equivalent, think Blink 182.) The more morose "I Want What You Got" features sound manipulation that is almost like a prelude to the angst-ridden syth-ballads of "Flock of Seagulls" and Cory Hart. Tunes like "One More Heartache" and "Help Yourself" are distorted, bluesy throwbacks to the early and mid-1970s.

--By Morgan Kelly

The Fabulous Thunderbirds

2005-08-31T11:04:00.000-07:00

The CD: "Painted On" (Tone-Cool Records)
PERFORMER: The Fabulous Thunderbirds

Like colorful old friends, who are seldom up to much good but always welcome, the Fabulous Thunderbirds return with another new incarnation and another new album, but a lot of the old flavor.

The old Thunderbirds are mostly just a memory, split their separate ways years ago. Only the band's founder/frontman Kim Wilson still holds strong and with his assembled coconspirators, they do the spirit of roadhouse rock proud.

This latest incarnation of the Fabulous Thunderbirds features much of the brassy sound that landed hits for them back in the eighties, supplemented with an early Motown influence. With songs like "Love Speaks Louder Than Words," "Feeling My Way Around" and "Wild Cherry," they're not so much reinventing as updating a little. But they don't stray far from their raucous, rockin' Texas roots. The new stuff is catchy, fun and a perfect compliment to hot weather and cold beer,

--By Bill Lynch