Review: Chad Smith's Bombastic Meatbats - Meet the Meatbats

Label: Warrior Records

Released: September 15, 2009

Fans of Chad Smith's other endeavors, the funk/punk of Red Hot Chili Peppers and the generic hard rock of Chickenfoot, will find his Bombastic Meatbats project to be a surprise to say the least. It owes more to 70s fusion artists John McLaughlin and Herbie Hancock and jazz-oriented prog than it does to any mainstream rock influence.

At times, it really nails things. "Oh! I Spilled My Beer" builds on its funky groove, really freeing a wild, fun madness by the end. The mellow melding of soul and prog on "Tops Off" moves nicely, giving both sides of its nature space to breathe. The trouble is, though, that there are also tracks, like "The Battle for Ventura Blvd" and, to lesser extent, "Night Sweats," which wander too far into smooth jazz and light fusion to feel much better than cheap. In fact, much of the album has at least small bits of real badness, but as on "Death Match," it is saved by a combination of both fire and fun, often in the form of Smith's drumming and Jeff Kollman's guitar licks. Smith's group isn't going through an exercise in soul by any means, but they do manage to find enough life to keep things from becoming stagnant or completely self-indulgent.

By its nature, an album like Meet the Meatbats will suffer from too much noodling and too little soul and in some ways it's no exception to that rule. It does, at times, devolve into session-band-like fluff. However, despite playing an awful lot of notes, this one remains fun overall and that makes all the difference. The Meatbats also have the distinct advantage of not involving the ridiculously overindulgent and soulless Joe Satriani, so this is a much better diversion from the Chili Peppers for Chad Smith than Chickenfoot.

Ratings
Satriani: 9/10
Zappa: 6/10
Dylan: 5/10
Aretha: 5/10
Overall: 6/10

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Review: Ace Frehley - Anomaly

Label: Bronx Born Records

Released: September 15, 2009

Anomaly is the latest release from Ace Frehley, but it's also a good description of Space Ace himself in a sense. After all, he's the only member of Kiss to make any good records on his own. So, score one for Ace. On the other hand, it's been 20 years since he's released a studio album. A long layoff from recording alone raises questions, so it's hard to predict what we'll get.

Early on, the album is a much heavier hard rock offering than I expected. If anything, Ace has developed a chunkier, meatier and somewhat darker sound over the last two decades. It's not until his cover of Sweet's pop-glam classic, "Fox on the Run," that things lighten up a bit. At that point the album becomes a bit of a mixed bag. "Genghis Khan" dabbles in mild trippiness with some success. At the same time, the well-meaning "Change the World" is lyrically and musically inarticulate (even by the standards of Kiss alumni). The instumental "Space Bear" has some solid parts that would have worked well in regular songs, but is inconsistent at best on its own. Even so, there are enough songs here like "Foxy & Free," "Pain in the Neck" and "Sister" that mix a heavier approach with the glammy swagger that always influenced Ace's playing. Heavy-handed production does rob the guitar of some of that sound that always made Ace fun to hear even though he wasn't techincally a great guitar player, but it's not entirely absent.

As it stands, the album is better than expected (and better than his former band mates' latest). There's enough solid hard rock here to satisfy fans, but probably not enough songwriting to win over anyone new. At this point though, I doubt expanding his fan base was at the front of his mind anyway. The lyrical references in "Outer Space" make it quite clear that he's in no mood to break with his past. It's not a great offering, but also doesn't leave the door open for any current or former Kiss members to usurp him as that band's best solo artist. To be fair, Ace plays with some heart in a genre that is often sorely short of it and, in the end, delivers well on his past promise.

On rare occasions, CD packaging is actually pretty cool. This is one of them. While I would never steer anyone away from buying vinyl, I will say that the pyramid foldout on the CD is very cool and packaging does matter. It isn't a substitute for crappy tunes, but here it doesn't have to be, because the album wouldn't disappoint Ace's fans even if it came in a jewel case.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: The Treat - Audio Verité/Deceptive Blends

Label: Rockular Recordings, Ltd.

Released: June 15, 2009

One of the best things about the Treat's last album, 2007's Phonography, was its ability to really move around through rock's past. It was the movement from influence to influence that gave the album a lot of its life and that's why their new approach is a little bit disappointing. The double CD Audio Verité/Deceptive Blends is organized more like a double LP with four sides, each with its own direction, and that makes the whole affair more of a sterile exercise than a celebration. While it's a significant hit to the album's overall energy, there are still some good fine songs here even if not displayed as well as in the past.

The first "side," Side Rock, takes a straightforward approach, dealing mostly in 70s hard rock (with the exception of the rather pop-oriented "On the Waterfront"). I could have done without the opener's bow to AC/DC, but things kick into gear with the bombastic "Showtime." Whether tapping blues rock or glam or something in between, the Treat show clearly that they can rock in a way that brings the past alive.

Side Acoustic is broader than the name suggests, dabbling in acoustic psychedelia as much as folk or blues. Syd Barrett and Led Zeppelin make their mark on the side's best cuts, which far outshine the weak, meandering "Sweet Jasmine."

On Side Electric, they take another stab at hard rock with the heavier "Massive Attack" and the edgier, bluesier "Anger Management." With the exception of the psyche trippiness of "Silent Voices," this is ground largely covered by Side Rock, only amped up a bit.

Side Experiment is a bit of a misnomer as experiemntation isn't really what the Treat is about. These "experiments" are more about reliving the experimental music of the late 60s rather than reliving its experimental spirit. Still, there are some fine detours into psyche, funk and early prog even if nothing really goes out on a limb.

The Treat essentially attack their music in detail on Audio Verité/Deceptive Blends and that does a better job of illustrating their skill than it does of making a great album. Even if they prove their point on all four counts, which is questionable at times, my head understands it better than my heart...and that is the album's principle flaw.

Ratings
Satriani: 8/10
Zappa: 6/10
Dylan: 7/10
Aretha: 5/10
Overall: 6/10

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Review: George Thorogood and the Destroyers - The Dirty Dozen

Label: Capitol/EMI

Released: July 28, 2009

George Thorogood's principle charm is that he plays the blues for people who aren't really all that blue. In many ways, he's a classic blues artist from his shuffling riffs to his beer-soaked voice, except, at his best...well, he's kinda fun. Thorogood's latest release, The Dirty Dozen, is at least sporadically successful in that way.

The album is grouped into sides as if it were on vinyl (and it is through his website). The first side is all new material. While it's mostly made up of run-of-the-mill blues and rockabilly, two tracks, "Born Lover" and "Let Me Pass," find Thorogood at his tongue-in-cheek, good-time best, making this a welcome addition for his diehard fans. The second "side" is made up of fan favorites, three of which were out-of-print in the US, but none of which is as exciting as one would expect of a "favorite." Like the first side, these tracks may be of great interest to his serious fans, but offer little for the rest of us.

While the album does have a couple of standouts and no real bombs, it lacks the excitement of his best work. George Thorogood is still more of "greatest hits" artist and The Dirty Dozen merely contains a few more contenders for that kind of release.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: Bob Dylan - Together Through Life

Label: Columbia Records

Released: April 28, 2009

When Bob Dylan released Love and Theft back in 2001, it seemed that he had more good music left in him than anyone expected. Five years later, Modern Times said otherwise (though many surely disagree). It was tired and old and adult. Now, in 2009, Dylan offers up yet another late career album that will perhaps give a clue as to which of the previous two albums reflects his true state.

One thing that's been interesting about Dylan is that his voice, far from technically pristine, has always been, in a sense, an act of rebellion in and of itself. Even as it's changed a bit over time, it has always been something that makes his music happen on his terms. At times on Together Through Life though, Dylan's voice loses its personality and devolves into kind of a Tom Waits shtick. That's a shame, because Waits as a performer is almost pure novelty. This isn't the nod of master to student, but more the master caving in to a caricature of himself.

Still, Together Through Life is a loose, old-timey album. It doesn't quite have the urgency or poetry that marks his best work, but there is a certain spontaneity that refreshes the album whenever it's on the verge of really dragging. What really made this album interesting though was David Hidalgo's presence on accordion. It seems odd that a background instrument used sparingly would have such an impact on a record, but it's perfect in the arrangement and Hidalgo's playing is incredibly emotive, supporting the songs where Dylan fails to do so. It would be noticeable even on a great album, but really stands out on something more middling like Together Through Life.

This latest offering from Dylan falls somewhere in the middle of his catalog quality-wise. There were times when it reminded me of his mid-80s output (Empire Burlesque rang in my ears at times) and that's good stuff, just not on par with his prime (or with Love and Theft for that matter). Unfortunately, falling right smack in the middle, it gives little indication whether Love and Theft or Modern Times was the anomaly.

The vinyl release is particularly nice. Despite being a standard length album at around 45 minutes, it's issued on two slabs of 180 gram vinyl in heavy stock inner sleeves. The artwork isn't quite amazing, but well worth seeing in the larger format. For convenience, a copy of the CD is thrown in as well.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 7/10
Aretha: 6/10
Overall: 6/10

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Review: Anarbor - Free Your Mind and The Bigger Lights - Fiction Fever

Label: Hopeless Records

Released: March 10, 2009


Label: Doghouse Records

Released: April 7, 2009

Thirty years ago, a subgenre of rock that had been building for a few years was just about ready to explode. AOR took the best elements of 70s rock, dummied it down, made it safe and sold millions of records whose broad appeal was based on the least common denominator. While what they did was generally meaningless, a few bands did it well, but for every Journey or Foreigner, there were a slew of Loverboys and Survivors (and don't even make me count the Honeymoon Suites). Just about every subsequent generation has turned its primal voice into a slicked up, safe facsimile of itself that embodies the spirit, if not the sound, of AOR.

Both Anarbor and The Bigger Lights embody that spirit, but the results aren't quite the same. On their Free Your Mind EP, Anarbor take a step forward in songwriting. While they still won't be remembered years from now, their songs are catchy and draw from influences that expand their basic power pop sound. Each song is catchy enough to be memorable and "The Brightest Green" and "Halfway Sober" both have clear single potential, with the latter tapping into power ballad territory worthy of Aerosmith. All in all, not bad for today's version of AOR. It may not have staying power, but it's a good listen in the moment.

The Bigger Lights have bigger problems. While Anarbor have trouble creating a consistent, distinctive sound, their songs do manage to maintain some personality in their own right, but The Bigger Lights can't even establish that on a song by song basis. Not only could their Fiction Fever EP be played by any number of bands, but the songs themselves could be interchanged with literally thousands of others glutting the current rock market. Where Anarbor struggles to find a voice of their own, The Bigger Lights struggle to find something worth saying.

Anarbor - Free Your Mind

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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The Bigger Lights - Fiction Fever

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 4/10
Aretha: 4/10
Overall: 4/10

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Review: Motorik - Klang!

Label: self-released (CD Baby)

Released: April 28, 2009

In the waning days of the first wave of punk, several bands took the groundwork it had laid and mixed it up with a frantic sense of dancability. For lack of a better desciption, we called it post-punk. Three decades later, it seems like everyone wants to "rediscover" Joy Division, the Fall, Pil and their peers. Motorik, despite their name's nod to Krautrock, is one such devotee, but unlike most, they paid close attention, demonstrating a deep understanding of what made the best post-punk bands so good.

Just like those of their mentors, Motorik's songs are driven more by sharp, angular rhythms than by overt melodies. Their agitated beats, a la early Joy Division, stir the music and provide the perfect force for the snearing artiness that dominates the record, though they do occasionally stray into the darker, harder world of Killing Joke. While Klang! struggles to find a reasonably original moment, it is nonetheless very genuine in its homage to the past.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: Guns on the Roof - "Shattered Feeling"

Label: Glory Glory

Released: March 2, 2009

Guns on the Roof have spent the last two years playing with the likes of Rancid, the Misfits, Stiff Little Fingers, UK Subs, the Briggs and others, all bands that mix their punk rock sneers with unbeatable hooks. Their touring company along with the band from who they lifted their moniker have all left a mark on Guns on the Roof, but none to the point that it makes these guys a knock off. Strong production gives a hard rock punch to "Shattered Feeling" that mixes nicely with all those infectious whoa-ohs.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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DVD: Vans Warped Tour '07

Label: Image Entertainment

Released: December 2, 2008

For years, the Warped Tour has managed to find a healthy balance between DIY punk ethics and corporate involvement. Granted, the corporate presence has increased quite a bit over the last decade, but Kevin Lyman and company still put on a great show while keeping tickets and merchandise cheap and leaving at least some of the barriers down between bands and fans.

This DVD from the 2007 tour also finds a happy medium between punk and professional. The sound quality and editing is anything but amateur. On the other hand, the camera angles have more of a by-the-seat-of-the-pants quality, with many shots from the crowd perspective and of the crowd itself. With everything from the old school punk of Bad Religion and Pennywise to the emo/screamo of Chiodos to the funk and reggae of Fishbone, the DVD contains performances that capture both the energy and eclecticism of the Warped Tour. The one big fault here is the absence of one of the coolest things about the Warped Tour, the smaller, little known bands. The interview portion is mildly insightful at best, but may be worth sifting through for a few words from some favorites.

For the most part, this is as good a representation of the Warped Tour as you can get without going. However, just a song from each band (and no summer sun) isn't enough to get the real feel. The Vans Warped Tour '07 DVD isn't for anyone who wouldn't typically attend the tour (obviously), but it's a decent artifact if the Warped Tour is up your alley.

Rating: 6/10

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Review: Sammy Hagar - Cosmic Universal Fashion

Label: Roadrunner Records

Released: November 18, 2008

There are artists who push the boundaries, who set new standards, who break rules. Sammy Hagar isn't one of them. Anyone acquainted with his career knows this and anyone expecting him to do any of these things is surely setting himself up for disappointment. Sammy Hagar has a formula and he sticks to it with only superficial changes over the years. That being said though, Hagar is one of the best hard rock voices out there and he simply exudes fun. Actually, in a sense, he's one of rock's most honest artists. No pretenses, he is what he is, so to speak.

Cosmic Universal Fashion's title track, a collaboration between Hagar and an Iraqi band, isn't the best start, as it stumbles around in funk-laden hard rock, but the ship soon rights itself with the kind of generic rock songs that have been the staple of both Hagar's solo career and his days in Van Halen. Lyrically, Sammy Hagar, even at his well-meaning best, is just plain stupid. Frankly, a guy his age should be able to come up with something better than keggers to write about. Of course, if you're listening to Hagar's music for enlightenment, you're probably dumber than he is. A cover of the Beastie Boys' "(You Gotta) Fight for Your Right (to Party)" cashes in on neither the original's novelty appeal nor its unabashed fun, but it is the album's only complete miscue. Everything else plays out just as expected, for better or worse.

Sammy Hagar's same old, same old won't win over any new fans, nor will it change the face of rock n roll. However, Hagar is among the best at what he does and he isn't hesitant about the album he wants to make and people have come to expect. It's true that there are probably few artists less creative than Sammy Hagar, but at least he wears that on his sleeve and puts a lot of energy into delivering his dummied-down (and somewhat fun) rock n roll.

Ratings
Satriani: 7/10
Zappa: 5/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: Master Slash Slave - Scandal

Label: Free News Projects

Released: November 18, 2008

Having grown up in the 80s, the current indie pop obsession with Casiotone pop is more annoying than charming. Of course, some bands pull it off and some don't. Master Slash Slave is, overall, the former, but not without keeping at least a foot in the latter. The 80s pop-tronics of the opening track get off on the wrong foot and Scandal suffers a bit each time the band returns to those tricks. However, its quirky twists and turns and its ability to layer shallow pop with both crunchy and ambient passages makes it easy to get past the nods to the lesser qualities of the music of my own youth. The hipster snobbishness of Matt Jones' voice finds its perfect hipper-than-thou vehicle. At his best (particularly on "Nastasya") he manages to pull off dramatic storytelling approaching the likes of the Decemberists, but at other times he devolves into Conor Obesrt's not-so-believable lo-fi whine. Drug references in "High Heels" are too affected to take seriously, but on the aforementioned "Nastasya" and the album's closer, "Wouldn't Hafta," the lyrics have as much pull as the music. Scandal is erratic, but the annoyances are minor next to times when everything comes together. It's not a perfect album, but in some ways it is on the right road.

The album art is pretty cool, making this a great one to pick up on vinyl.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 5/10
Overall: 6/10

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Review: Punchline - Just Say Yes

Label: Velvet Ear Records

Released: September 16, 2008

I saw Punchline a couple years ago and they really stood out. Maybe it was just that they were on a bill full of horribly sappy emo or maybe they were just better live than in the studio, but their albums never lived up to that show. Until now.

Just Say Yes doesn't make big changes to Punchline's sound so much as expands it. They still play pop-punk that has a tendency to err on the side whiny emo and they still nail their hooks. The difference now is bigger riffs and more dynamic songs. Instead of only drawing from within their narrow scope, they soak in Foo Fighter-ish pop rock ("Punish or Privilege" is undeniably close to "Big Me"), rock-ified cabaret ("Somewhere in the Dark") and angular neo-new wave ("Just Say Yes"). "Maybe I'm Wrong" crosses over that line that separates good ballads from bad, but redeems itself in a feedback-laden, chaotic end. The two closing tracks mark Punchline's increased musical breadth. "The Other Piano Man" finds them big, bold and more than a little flamboyant while "Castaway" is masterful mellow pop. Overall, the broader palette is fueled by increased confidence and more muscular, arena-sized riffs that will serve Punchline well at the next level even if it doesn't make them entirely memorable over the long haul.

At its worst, Just Say Yes is better than its predecessors. At its best, it is knocking at the door of the best commercial rock out there. Punchline's game is still pretty much the AOR of today, but they're now near the top of that game. The music is pleasant and easy, but in the best way that it can be. If you need a record to challenge you, just say no, but if you enjoy a smooth, easy ride from time to time, Just Say Yes is as good an answer as any.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 7/10
Aretha: 5/10
Overall: 6/10

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Review: Jonas Reinhardt - s/t

Label: Kranky

Released: November 10, 2008

This CD took me back to a sunny spring afternoon in high school, when the promise of summer vacation filled the air with excitement. I was driving down a little side street in Albuquerque when my friend Dave put on Poland by Tangerine Dream. I immediately made fun of Dave and his pretentious music, but even as I laughed, I got sucked into the hypnotic sounds. The music was uneventful on the surface, but if I paid close attention, I could hear every facet of the sound continually evolve into something completely new yet completely the same.

That Tangerine Dream CD opened a musical door I've never closed. I fell out of love with electronic music as it evolved into the vapid new age of the late '80s, but as club culture blossomed from the ashes of disco and the roots of house, I discovered the same layers of subtle excitement in virtually every stripe of electronic dance music.

It's neat to hear Jonas Reinhardt and be taken back to some of the deepest parts of my musical roots. Reinhardt understands what made the electronic music of the '70s and early '80s special. His compositions are subtle enough to fade into the background, but interesting enough to hold your focus if you choose to pay attention. Best of all, he knows the value of letting sound constantly evolve.

Unfortunately, he's not doing anything new. After hearing his debut, I went back and listened to Tangerine Dream's Phaedra and Klaus Schulze's Mirage; Reinhardt fits so seamlessly among them that it's difficult to tell where they end and he begins. Rather than using the past as a launching point for something new, Reinhardt merely imitates his musical forefathers.

There's nothing wrong with imitation, but unless it's combined with innovation, it's nothing more than nostalgia. When you consider how many great contributions have been made to electronic and/or experimental music over the past few decades by artists as diverse as Godspeed You! Black Emperor, Paul Oakenfold, Einsturzende Neubauten, and Tim Hecker, it's hard to find time for someone who simply recreates the past. Even if he recreates it incredibly well.

Ratings
Satriani: 8/10
Zappa: 5/10
Dylan: 7/10
Aretha: 4/10
Overall: 6/10

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Review: Carrie Rodriguez - She Ain't Me

Label: Manhattan Records

Released: August 5, 2008

Carrie Rodriguez's voice is beautiful. It's dynamic and full and she can be sultry, powerful and breathy at will. It is, as it should be, the centerpiece and strength of this album. She has the kind of voice that could lead her down any musical road she might choose and it seems more often than not, the technically talented stick to refined, methodical styles. Rodriguez doesn't though. She Ain't Me is a rootsy, country-tinged affair that allows her to exercise her voice in a very natural way. Rodriguez shares vocals with Lucinda Williams on "Mask of Moses" and they sound great together. Likewise, her songs aren't the silly fluff that runs through so much popular music. She's written songs that deal with humanity and faith and discontent and yearning.

The trouble that She Ain't Me runs into is that it never quite seems to break out. The overall feel is just too much like the studio and the band is very good, but, with few exceptions, uneventful. Without the innate sense that comes from a band really being together, the performance becomes a cage that prevents anyone, most notably Rodriguez, from really breaking free and taking flight. Throughout, I waited to hear her let go and it just never quite happened.

All in all, Rodriguez is way too good to be dismissed. Her voice, even restrained, has so much to offer and that strength makes the restraint even more pronounced. She Ain't Me is a rewarding listen that nonetheless leaves you feeling a little bit short of full, but hungry for the next album.

Ratings
Satriani: 8/10
Zappa: 6/10
Dylan: 7/10
Aretha: 6/10
Overall: 6/10

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Review: Matthew Sweet - Sunshine Lies

Label: Shout! Factory

Released: August 26, 2008

Matthew Sweet had a good run in the early to mid 90s, releasing three very good albums in a row. Since that time, he's been erratic at best, including the appropriate but lackluster covers collaboration with Susanna Hoffs. Granted, Sweet's music has been lite, but his best efforts manage to meld sweet pop with a confidence in his own pleasantly bizarre perspective.

Sunshine Lies starts off with a series of 60s-drenched psych pop tunes that are among his best. The jangle is there, the hooks are abundant and the music, even when melancholy, feels awfully good. Heading into the second half though, Sweet stumbles into the Carpenters-esque saccharine pop of "Pleasure is Mine." But two songs later, Sweet is on track again with fuzzy garage rocker "Sunrise Eyes" and he puts together a strong finish with catchy songs that have Sweet's peculiar identity.

Sweet may never make another album on par with Girlfriend or 100% Fun, but that doesn't he won't make albums worth hearing. Sunshine Lies isn't without its sketchy spots to be sure, but in its best moments he at least knocks on the door of his past success.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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Review: Omni - Ghosts

Label: Faux Pas Records (buy it at the band's site)

Released: May 2008

If you have any doubt that Radiohead has been tremendously influential on today's rock scene, take a look at all the bands that have inherited Thom, Johnny and company's particular take on Brian Eno. It's everywhere from indie rock to post-metal and Omni is no exception.

While the Radiohead influence is easy to put your finger on, to Omni's credit, their overall sound is not. They take ambient rock in many directions. Rhythmic change-ups give them a mathiness that runs throughout. They also mix in alt rock and emo tendencies and the experimental boldness of prog rock. Dabblings in funk and electronica also work within the context of Ghosts. Occasionally devolving into lite jazz doesn't undermine the record, but it does point out its biggest weakness: there too much head and too little heart here. Omni really only seems to hit their emotional stride once and that's on the minute and a half long "A Ghost." Otherwise, if they're feeling what they're doing, it just never quite comes across.

Omni certainly has creativity on their side. They've taken an increasingly overused influence and managed to do some very interesting things musically. Now the only trick is fill out that creative spirit with a sense of wildness to match, something that makes their music fly in fact rather than just theory.

Ratings
Satriani: 9/10
Zappa: 7/10
Dylan: 6/10
Aretha: 5/10
Overall: 6/10

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Review: Demolition String Band - Different Kinds of Love

Label: Breaking Records

Released: November 20, 2007

With a name like Demolition String Band, there's bound to be some preconceptions. The mention of "string band" certainly creates an expectation of a 30s/40s pre-electric country and bluegrass revival. "Demolition," on the other hand, implies breaking down barriers or rejecting rules. In the end though, Demolition String Band isn't really what their name implies.

Their brand of alt-country really stems from country's electric era, from 50s rockabilly to the slicker sounds of the 60s and 70s. There's no question that they're a technically capable group and that has them poised to make an amazing record. The part that's missing most of the way through though is that certain sense of self that gives a band its identity. "Wisteria," for instance, is a great tune, but DSB fails to really project it. Boo Reiners' vocals tend to give the music a quirky boost next to the technically superior though often under-powered voice of Elena Skye, but it's not until the last few tracks that things really come alive. Skye really finds herself in the dark melancholy of "Thank You Claudia." Oddly enough, the band really gets into full swing on a garage rocker, "Undone in Sorrow," and then accelerates into the instrumental "Boonanza" (which seems to be in that race with a certain hot rod Lincoln). Different Kinds of Love finishes strong with the psychobilly rumble of "Drinkin' Whiskey," leaving one to wonder what happened over the first two-thirds of the album.

DSB really comes alive over the last four tracks and more than anything, that just makes me wish that same fire had been lit under the earlier tracks, because there are some really strong songs in there that didn't quite get the treatment that they deserve (and that DSB is clearly capable of giving them). The "string band" misnomer is no big deal, but, the last few songs aside, I could use a little more "demolition."

Ratings
Satriani: 7/10
Zappa: 5/10
Dylan: 7/10
Aretha: 6/10
Overall: 6/10

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Review: Billy Joel - The Stranger (30th Anniversary Deluxe Edition)

Label: Sony Legacy

Released: July 8, 2008

Billy Joel is a top-notch songwriter, but there's always been something that I just didn't like. Maybe it's the showtune quality of many of his songs, maybe it's that many are geared toward adults, maybe it's because he often tells the stories of characters I just can't bring myself to care about. Anyway I look at it, I can appreciate him, but I can't get into him.

That being said, I don't think I need to go into the details of The Stranger. If you don't know these songs, you must have spent the last 30 years in a fallout shelter or something. They're practically anthems of the post-60s Baby Boomers who had cut their hair, forgotten their protests and were gearing up to vote for Reagan in a few years. The Stranger is, as it always has been, a great album...if you like that kind of thing.

So, the question with this Deluxe 30th Anniversary Edition is, "Does this re-packaging make it worth buying again?" Well, if you have a thing for nice vinyl, this is your opportunity to get The Stranger in all of its 180 gram glory. The LP only includes the original tracks, but it does come with a download code for the album as well as the bonus disc, a show recorded at Carnegie Hall in 1977. It is always nice to get a live recording that comprises a single show, but it's also nice to get one that shows an artist freed from the studio and firing on all cylinders. While the Carnegie Hall show does occasionally find Joel in fine form, it is largely no more spontaneous that his studio records. None of the banter gives any insight into Joel himself or the songs. It's a good bonus for serious Billy Joel fans, but non-essential for the rest of us. The CD version also comes with a live DVD of Joel's 1978 appearance on the BBC's Old Grey Whistle Test. Because I have the LP, I can't comment on the DVD, but I suspect the high-quality vinyl is a bigger attraction than his BBC appearance. Either way, Billy Joel fans get something good, but most of us can probably live with our old copy of The Stranger.

Original Album:
Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 8/10
Aretha: 5/10
Overall: 7/10

Carnegie Hall Bonus Material:
Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 8/10
Aretha: 3/10
Overall: 6/10

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Review: Ride the Boogie - s/t

Label: Longhair Illuminati

Released: June 17, 2008

Ride the Boogie's self-titled debut is a dark, trippy album. It dabbles in stoner elements, but often avoids that genre's heaviness, giving the music a core, but also the freedom to move around that core and not get stuck in the usual ruts.

From the Baroque pop psych of the opening track, it's clear that Ride the Boogie have a few unexpected tricks up their sleeve. Whether it's the butchered and re-assembled pop of "All Night" or the psychobilly leanings of "Mexico," Ride the Boogie don't settle on a single approach to conveying the central feel of the album. Even on the more stoner-oriented tracks, like their loose, dark bluesiness on "Big Ass Bass" or their nod to Fu Manchu's appreciation for Nugent over Sabbath on "Flat Out First Gear," they manage to be dynamic. The album finds a fitting ending with the dark cabaret of "Catch Phrase" followed by the ambling collision of indie rock and Americana on "Skipped Through a Towne."

The album is enriched by a live sound that furthers its living, breathing experience. That life is really what gets to the point of the album's strength. Ride the Boogie approached the music without any fear of missing expectations. It's alive with the life that the band gave it freely, under no duress to impress. It isn't always on, but even when it misses, it still feels good.

Ratings
Satriani: 5/10
Zappa: 6/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: John Mellencamp - Life Death Love and Freedom

Label: Hear Music

Released: July 15, 2008

By many, John Mellencamp has long been thought of as kind of a heartland Springsteen and Life Death Love and Freedom won't do much to dispel that notion. However, Mellencamp exercises a grittiness that has long been absent from Springsteen's work. Where the Boss has more than once attempted to recreated the raw honesty of Nebraska and failed, Mellencamp actually succeeds, in his poor man's Springsteen way at least.

Life Death Love and Freedom has the human connections that Mellencamp's best work has thrived on. This time, however, it seems more personal. At 56, he seems too young to be contemplating his own death, but much of the album seems that way. Recurring themes of religion, the afterlife and the passage of time permeate this rootsy, bluesy album. Only "My Sweet Love" is upbeat. The rest of the album ranges from dark rock dirges to melancholy folk.

While Mellencamp isn't as good at introspection as he is at observation, Life Death Love and Freedom is still among his better albums. He doesn't shake his principal influence, but embraces it, so this record doesn't make a case for greatness. But it is honest and easy to connect with.

Here's the video for "My Sweet Love":


My Sweet Love (official) from Concord Music Group on Vimeo.

Ratings
Satriani: 6/10
Zappa: 5/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: Billy Idol - Idolize Yourself: The Very Best of Billy Idol

Label: Capitol Records

Released: June 24, 2008

Billy Idol's early career in Generation X is of questionable importance, even in the UK where they had a handful of charting singles. If you like early British punk, Generation X put out a couple records worth hearing, but neither is a definitive album in any way. It was as a solo artist however, that Idol found his niche by melding his punk roots with two burgeoning sounds of the early 80s: guitar-driven hard rock and danceable synth pop.

The best material on Idolize Yourself is really in the first seven tracks, culled from his self-titled album and Rebel Yell. Whiplash Smile gives old rock n roll an 80s production treatment which in retrospect does it no favors. It's listenable, but also forgettable. Things things go downhill from there until Idol sinks to his lowest with his butchering of "LA Woman" and the title track to the Speed soundtrack. However, "World Comin' Down," from 2005's quickly forgotten Devil's Playground and two new tracks are pleasant surprises (at least relatively speaking) to close the album.

One thing that often gets lost in the overly commercial legacy of Billy Idol is that he had a pretty good guitarist with him through it all. Someone once said to me that Steve Stevens was doing for electronic effects what Hendrix did for distortion. That's an overstatement, but not an overly dramatic one. Stevens was more than just another flashy guitarist from a period that churned them out as fast as their ridiculous runs up and down the fretboard. He did a lot with effects to give himself a distinctive sound and his playing is perhaps the music's most valuable element.

To really put Idol's career into perspective, Idolize Yourself comes with a DVD collection of his music videos. From the low-budget charm of "Dancing with Myself" to the high-end production of "Cradle of Love" an "LA Woman," the DVD shows both why Idol was such a big hit in the early days of music videos as well as the quick progression of those videos from inexpensive promotional material to big-budget mini-movies. He simply wasn't timid about making silly videos with not just a straight face, but a believable commitment that prouder artists would have balked at. "White Wedding" for instance is pleasantly goofy now, but 25 years ago (when I was 12 mind you), it was cool and it remains a classic of the golden age of music video. Billy Idol was one of the first rock artists to fully embrace the video age and he's continued to reap the benefits of that early foresight. In fact, Idol's image was so ubiquitous at the time, that we all forgot he stole that sneering lip from Elvis. Without the DVD, this hits retrospective would only give a small, very limited picture of Billy Idol. With it, however, the package is really all the Billy Idol you need (and then some).

Whether Billy Idol was a commercial visionary or just a major label tool, he remains an icon of 80s rock. Not one of his albums is essential, but his continued presence in my generation's collective conscience makes a collection like this convenient and worthwhile, particularly with the DVD.

Ratings
Satriani: 7/10
Zappa: 7/10
Dylan: 6/10
Aretha: 4/10
Overall: 6/10

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Review: Catfight - In Stereo

Label: self-released

Released: September 30, 2008

While the album art for Catfight's In Stereo is totally 80s (like, totally), their music spends an awful lot of time in the sixties as well. Eschewing all that is delicate, everything about their songs is based on their simple deliberate rhythms. They don't waste time with frivolities like riffs or solos.

The album starts off with two flat out garage rockers, but takes an angular turn into neo-new wave on "Ready Steady Go" (despite the name, intentionally or not, referencing the British pop music program from the 60s). The album finishes up with "Sheila," a dark, slightly more ethereal new wave tune that is easily their broadest song. Despite being a duo with only guitar and drums to accompany their voices, they sound nothing like the White Stripes or Black Keys who share that odd configuration.

Catfight doesn't cover any ground that hasn't already been remade by the likes of the Strokes and Franz Ferdinand earlier in the decade. They are however intimately involved in their music, writing, performing and producing. Plus, the angles they take are interesting and that makes In Stereo more fun than many of the other bands crowding the field.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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Review: Grave Robber - Be Afraid

Label: Retroactive Records

Released: June 9, 2008

I've liked the Misfits (a lot) since I was about 15, even if the themes never quite sat well with me since I'm not a big horror fan and I have little tolerance for the celebration of evil. But the Misfits weren't that serious and the B-movie quality of their music always made it more fun than truly dark. Now Grave Robber provide an even healthier alternative though. They capture a lot of the Ed Wood low budget horror fun of the Misfits, but it's for those of us who don't want to bathe in the devil's rain.

Musically, Grave Robber largely stick to Danzig and company's formula of writing simple rock n roll that is both catchy and dark. Lyrically, their angle is best described as "horror for Jesus," the idea being that these horror themes will reach out to a subset of society abandoned by traditional Christianity. That's what really makes them unique. The music has been done before for the most part, but they're turning the focus of that music onto a new audience.

It's a great idea, but their black and white approach (Hey, I'm a pro-lifer too, but making women the scapegoat for abortion won't gain any ground with those on the fence and it lets guys off way too easy) may drive off those who are skeptical of Christians' ability to put that "judge not, lest ye be judged" thing into practice. Still, for the most part, Grave Robber really is reaching out, much like Christ did, to society's outcasts and that's commendable. On top of that, they make it fun. The masks might be a bit much, but how can you argue with a band that features the likes of Dr Cadaver, Wretched, Lamentor and Plague? That has to be a good time, right?

All in all, Be Afraid is a welcome addition. They're almost as fun as the Misfits and their hearts are in the right place to boot.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: Microtia - Distance is Oval

Label: Exigent Records (available through CDBaby.com)

Released: July 15, 2008

Microtia clearly loves the Mars Volta, but the Mars Volta they are not. Of course, that's not the worst knock in the world. Trying to play TMV's game and not fully succeeding is kind of like being a guitarist that isn't as good as Hendrix or a sax player that isn't as good as Coltrane. There's still plenty of room to be awfully good without reaching the pinnacle of your craft. The question isn't whether Microtia is as good as TMV so much as how they fill that area just below the very top of the prog genre.

Microtia have a clear love for all things prog. Their arrangements are complex and avoid simple verse-chorus-verse structures, yet they maintain some of the ferocity of hardcore. They don't exhibit the amazing technical skill that is a prog hallmark and that may be a strike against them among the more serious prog-heads, but for the rest of us, the music is more grounded and dabbling in grunge (check out "Organ Harvest" in particular) makes it more organic. They also aren't afraid of at least a few pop touches and that coupled with a desire to be bigger than just rock gives them moments that hint at Faith No More's genre-bending assault on the conventions of their day.

The biggest problem Microtia faces on Distance is Oval is simply keeping the intensity up, partly because they stretch too far and partly because the production doesn't afford them the crisp sound they need. Often enough though, they do find a fair balance between their chops and their hooks. The problem is not, as their name suggests, a problem with their ears, but a problem of getting their hearts in sync with some of the rather cool things their ears seem to want to hear.

Ratings
Satriani: 7/10
Zappa: 6/10
Dylan: 6/10
Aretha: 5/10
Overall: 6/10

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The Monocles - Out of Your Mind

Label: Loose Recs

Released: 2008

The Monocles tap into punk circa 1977 or so. Their songs consist of a single driving layer of frenetic energy, each of the three musicians moving in a single and deliberate direction at the same quick pace. Hey, it worked for the Adverts, right? And it works for the Monocles too, 30 plus years later. While none of the songs on Out of Your Mind blaze a new trail in punk rock, each effectively conveys the dissatisfied state of disaffected youth for which punk has long been known. And it's fun to boot!

Ratings
Satriani: 5/10
Zappa: 5/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: The Eruptors - Bad Time to Be Having a Good Time

Label: Maniac Squat Records

Released: March 3, 2008

There are plenty of bands revisiting the 80s, but most stick to post-punk and new wave rather than punk and hardcore. The Eruptors are certainly an exception. They avoid anything refined and go straight for the throat with noisy punk that sounds about as DIY as it can be. The downside is that they borrow from so many bands yet don't seem to find some synthesis of all of these influences. Instead, they flip back and forth, sounding like AOD on one song, Government Issue on another, the Butthole Surfers somewhere else, then Cocksparrer, early Black Flag, the Cramps and so on. The upside is that this erratic ride is about as much fun as can be had on an album. While it's coming apart at the seems, it is that very fact, along with a healthy dose of bratty irreverence, that holds Bad Time to Be Having a Good Time together. Just as the music comes from a school that disowns precision and proficiency, so too does the production. While some of the subtle nuances may be lost (yeah, right), the hands off production allows the energy to flow freely and as the name implies, that's exactly what the Eruptors are about.

Ratings
Satriani: 4/10
Zappa: 6/10
Dylan: 5/10
Aretha: 8/10
Overall: 6/10

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DVD: The Tomorrow Show with Tom Snyder: John, Paul, Tom & Ringo

Label: Shout! Factory

Released: April 1, 2008

I've had a bit of a stormy relationship with John Lennon, not that it would matter to John. His greatest public achievement was the band that made rock n roll matter and mine is...well...this website. Besides, John was dead by the time my relationship with him began. I was nine (almost 10) when John was shot. I remember it in the news, but mine was not a musical household and I really wasn't interested in much other than Kiss. However, throughout my teenage years, the Beatles (and John in particular) became increasingly important, transcending my journey from pop to metal to punk. I've never been one for idol worship...except John. He is the only celebrity I've ever wished I could meet. Through those years, I made excuses for John's treatment of Cynthia and Julian. I made excuses for his excesses, for his "Lost Weekend" and for his grandstanding as an "activist" (what did the Bed In do for peace anyway?).

Later, I became increasingly disenchanted with John Lennon. I put more weight on the rotten man that I suspected he really was and less on the public persona under whose spell I'd fallen. The Beatles remain to this day my favorite band and Lennon is the biggest difference between their work and the sappy nonsense that has made up so much of McCartney's career. Still, I believe I'd rather live without all of that if it had meant that one particular kid had had an actual father rather than a sperm donor who claimed his son had come from a whiskey bottle.

All that being said, the truth probably falls somewhere in between the two very different John Lennon's I had built in my head and Tom Snyder's interview with Lennon shows that. John is hardly at his wittiest, but he seems to be as frank and honest as he was capable of being. It's no wonder the interview was replayed, by overwhelming request, just after his death. Unlike other interviews where John is more clever or scathing or jovial, this is an intimate self-portrait at a time when he was regaining control over himself. The additional interviews with Lennon insiders about his passing also give a glimpse into what may have been the true John Lennon.

What wasn't clear to me when I was 9 was that John Lennon's death had a big impact on people. I knew this in reading about it later, but these interviews with John and with his friends just after his death bring a clarity that escapes historical knowledge. None of this completely changed my opinion of John Lennon. I still think I'm a lot closer than all the people who think "Imagine" is a great mantra for peace, but it does show that I am now, just as I was before, only judging part of the man. The strength of Snyder's interview is that it neither glorifies nor disparages John Lennon. It just shows him as he is.

The second disc contains interviews with Paul and Linda McCartney and Ringo Starr that are less exciting than being in a coma.

Rating: 6/10

Review: MySon - Another Shitty Band's First Demo

Label: self-released

Released: 2008

"Warning! The recordings contained on this disc are raw and far from perfect. Just how we like it!" That's the warning on the CD, but it's more like a mission statement and they back it up with the tunes. Another Shitty Band's First Demo is raw beyond belief. Thick, sludgy guitar and bass are essentials in MySon's no-groove approach augmented by wild, erratic drumming. The leads often don't even sound repeatable which might be amateur, but it's also constantly improvisational. At times they are able to even things out like on the spacey "Copenhagen Blues" and the art-punk-ish "The Middle of Everywhere," but a pair of Nirvana covers, including Sub Pop 200 obscurity "Spank Thru," make even Cobain's earliest rumblings seem glossy.

On one hand, this is awful, but it also has the heart, the abandon and the freedom of great rock n roll. It worked for Flipper and, though to lesser extent, it works for MySon. This is art for art's sake punk rock, more interested in dissonance than harmony. The music is plodding and chaotic, but it survives on mad energy. This probably has a very limited audience, but that small group of people can probably sing along with the chaos.

Ratings
Satriani: 3/10
Zappa: 6/10
Dylan: 4/10
Aretha: 8/10
Overall: 6/10

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Review: Niki Barr Band - Bloom

Label: self-released

Released: May 24, 2008

I had the chance to catch the Niki Barr Band open for the Cult a few months back and they were an outstanding live band. They played with the confidence and intensity of a headliner, not the caution and tentativeness of a local band opening for an international act. However, when I heard their previous releases, Lush and Go, I was disappointed. Don't get me wrong, it wasn't bad, but it lacked so much of what made their live set so good.

A lot has changed since those releases though and their new EP, Bloom finds the emphasis move from Niki Barr to band. This is the first time that all four members have contributed in all stages of the process and it shows. They've taken a harder approach this time and while songs like "Undivided" and "Alone" can tread a little too heavily in alt metal territory, they also have more edge and texture and that brings this album a little bit closer to their live show. On these first two tracks, they've tried to solidify their sound within the boundaries of rock music, making execution their strength rather than pushing the boundaries.

Things get a little more interesting after that though. "So Cruel" deals more in dissonance and sees the band stretching out a bit. "Burn" has a vaudeville feel that builds in intensity (and weird, creepy energy) until it begins to break apart, but it never does and that's the mark of a band that's onto something good. In a vague way, it reminds me of the trial sequence for The Wall (which is one of the few things Roger Waters did right on that album). "Drowsy" splits the difference between the more straightforward tracks and the tangents of the experiments, ending on a strong note. The doors are now open to experimentation and, despite not stepping all the way through them, the band is clearly on the right path to the Niki Barr Band sound.

Bloom is a solid set of songs. The vocals are richer, the music sharper and the band is more cohesive and focused. They sound better as individual musicians and better as a unit and strong production gives them a bigger, crunchier sound. As good as they were live a few months ago, I have even higher hopes now.

Catch the Niki Barr Band performing the new material at their CD release show on May 24th at the 8X10 in Baltimore.

Ratings
Satriani: 7/10
Zappa: 5/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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Review: Cavalar - As a Metal of Fact

Label: Voice Music

Released: 2007

The 70s seem to be a bottomless well of influence, particularly in the realm of hard rock and metal. Cavalar don't break any barriers on As a Metal of Fact, but they do a good job rehashing a slightly different past. Twitch nails his take on Ozzy, but unlike so many bands, the primary influence isn't the same sludgey Sabbath riffs. Sure, Sabbath is present, but you'd be hard pressed to find a good metal album where there isn't true. Instead, Cavalar deals more in Ozzy's solo material which gives them a decidedly different energy than many of their peers. Sure, they cover "Hole in the Sky," but that's a decidedly peppy song compared to the most oft-copied Sabbath material.

As a Metal of Fact does draw a bit on 70s hard rock, but also taps some of the 80s metal that got lost between glam and thrash. There is perhaps a hint of the effects of grunge here, but by and large Cavalar sticks to the pre-90s hard rock/heavy metal world. It's nothing new, but at least it's influences aren't quite the typical metal party line. Oh yeah, that heavy groove is hard to beat.

Ratings
Satriani: 7/10
Zappa: 5/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: Always April - Seven Singles

Label: self-released (only available at shows)

Released: 2007

Seven Singles seethes with insanity. It reaches the outer limits of craziness without completely losing control. As such, it isn't for everyone, but if you can get past poor production and near chaos, there's something here in which to lose yourself. The drums are so loose that they're all over the place. When they're audible, the bass lines have good movement. The guitar is just contained enough to keep some sense of structure, barley keeping complete mania from ensuing. The real gem on the album is Charmaine's voice. It's bold, strong and darkly sensual. Adding a bit of phaser at times gives it a trippiness that fits right in with the overall sense of crazy.

The recordings are very live, visceral, in the moment and on one level that acts as a strength. Nonetheless, Always April needs to find a way to harness their energy into a more recordable insanity. They hint at this on "Th1rt3en," but they aren't quite there. "Elvira," the album's noisiest, remains the strongest track. Whatever they manage to put down in the studio, I'd bet money that they're practically a nervous breakdown live and that has to be worth hearing.

Watch for a full-length release this summer!

Ratings
Satriani: 5/10
Zappa: 6/10
Dylan: 5/10
Aretha: 8/10
Overall: 6/10

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Review: Ride Your Bike - Bad News from the Bar

Label: Deep Elm Records

Released: December 10, 2007

Ride Your Own Bike's debut, Bad News from the Bar, gets off on the right foot with "We All Have Our Own Shoes," whose strings slowly give way, but never completely, to a more traditional rock arrangement. After that, the creativity is pretty hit or miss though. For every clever or catchy moment, there's also some standard issue indie rock like "Sticks and Stones." Of course, some of the more original moments also struggle to work such as the horns on "Knack for Faith" (which are somewhat reminiscent of mid-70s McCartney). Likewise, some of the straightforward moments work simply on a good hook. At times their creativity shines, but just as often, it fizzles and their playing never really soars enough to compensate.

"Bad News from the Bar" is a concept album, but to its credit, it doesn't have to be taken as such. The narrative is there, but the songs, even the weakest among them, can all stand on their own, so nothing gets consumed by the concept. That extra dimension helps, but still doesn't push Bad News from the Bar over the top.

I first listened to this album while talking a walk in the snow and, to its credit, it made a real connection with me. It's the kind of record that has its time and place. The trouble is it doesn't snow that much here.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 5/10
Aretha: 5/10
Overall: 6/10

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Review: Mechanical Bull - A Million Yesterdays

Label: Woodstock Musicworks

Released: November 1, 2007

A Million Yesterdays's brand of Americana generally alternates between country and country rock, finding the most consistency with the former, but perhaps their best moments with the latter. Their more traditional songs show clear command of the genre. Avalon Peacock's voice might get a little shaky in her vibrato, but that along with rough male/female harmonies give the songs color more often than hindering them. Their upbeat country tunes are their best, because they find that irony between the bright surface and the sad undercurrent.

When Mechanical Bull throws more rock into the mix, they don't reach the heights of the bands like the Allmans, at least partially because they're too low-key for that kind of energy. However, they do at times approach the Eagles (if only the Eagles had soul), managing to be catchy without too much pop. The result is sometimes generic, but at other times they mix things up with odd instrumentation (see the sax part on "Desert Air") that shows they have personality and that they should show it more, because it works.

All in all, A Million Yesterdays has some very bright moments, but doesn't consistently let itself shine. When they're a typical Americana band, Mechanical Bull isn't bad. It's when they aren't typical though that they approach something really special.

Ratings
Satriani: 6/10
Zappa: 7/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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Review: Dirty Penny - Take It Sleezy

Label: self-released

Released: 2007

Dirty Penny's clear love of Mötley Crüe might be hard to take had the Crüe not stopped making good records way too early (two records, good as they were, is a short legacy), but under the circumstances, it turns out to be a lot of fun. I'm not exactly the world's biggest hair metal fan. Sure I like early glam, but too few bands from the 80s tap into the New York Dolls or Sweet or T Rex. Dirty Penny manages to touch on that though, albeit via Crüe. Still, if you're going borrow heavily, do it from a good band, particularly one who either quit or got sidetracked before their time.

While Dirty Penny won't get any award for originality, they get plenty of points for enthusiasm. Particularly early and late in the album, they really have a great ability find that perfect line between heavy and hooky. The first few tracks are in a sense what I expected to follow Shout at the Devil and even 25 years later and from a different band, I'm happy to hear it. Oddly enough, Take It Sleazy trades its punch for slickness for a few tracks in the middle (beginning with "Take a Bite"), sounding more like later, lighter Crüe. The album regains both its energy and swagger (and just a bit of Judas Priest crunch maybe) on "Vendetta" which leads to a strong finish...except for the acoustic redux of "Sleaze Disease," whose grandiose strings and overly clean, cold playing are overbearing and underwhelming. That last track, even viewed as a bonus track of sorts, is a shame, because it taints an otherwise really good album.

While Dirty Penny's metally riffs are refreshing, the solos tend, as most solos do, to be mundane. The mandatory guitar solo is really a fault of the genre's formula, but Dirty Penny keep theirs thankfully short and to the point. Solos aside, they have a true band sound where the whole is greater than the individuals that comprise it. Considering the genre, I didn't expect poetry in the lyrics and lines like, "Pedal to the metal, I'm gonna go the extra mile; Whoa-oh, I'm runnin' wild" came as no surprise. Still, their clever play on Elvis' "Love Me Tender" in "Black n Blue" brought a chuckle and I got more than I'd hoped right there. Another source of the album's strength is solid production. Dirty Penny, even on this studio recording, has a lot of live energy and that's captured here without sacrificing quality.

At this point, hair metal is a niche market (albeit a growing niche). While it will never reach it's commercial heyday again and it has more than a few lackluster practitioners, there are a handful of bands that actually breathe some life into it. There's nothing new on Take It Sleazy, but in this case that's not the end of the world. Had this come out 25 years ago, it would have been outstanding. Now, it's just very good...and very fun.

Ratings
Satriani: 6/10
Zappa: 4/10
Dylan: 5/10
Aretha: 6/10
Overall: 6/10

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Review: Crash Street Kids - Chemical Dogs

Label: Hot City Records

Released: 2007

As their name implies, Crash Street Kids are big fans of Mott the Hoople. Even without that reference though, it would still be pretty clear. Their ability mix sugary pop with hard rock edge also raises the specter of early Sweet, but some of those guitar lines are unmistakable homages to Mick Ralphs. Throw in some of Thin Lizzy's grit, a healthy (though not compared to Queen themselves) dose of Queen's theatrics and a (surprise) rock star storyline and you have Chemical Dogs.

Does it sound derivative? In a sense, it does, but it also breathes some life into the original glam sound that often stands in the shadow of its inferior bastard child from the 80s. The vocals are down-to-earth, but lack power and range. The guitars are gritty and the rhythms straightforward. Sometimes, the Kids drift into a bit of AOR territory, but more often they're just enough over the top with grandiose string arrangements and flamboyant vaudeville piano parts. Sure, they aren't great technicians, but they play with heart and swagger...and it works! Crash Street Kids might not live up to their influences, but hearing them try is a good time nonetheless.

Ratings
Satriani: 5/10
Zappa: 4/10
Dylan: 6/10
Aretha: 7/10
Overall: 6/10

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Review: Vendetta Valentine - There's Nothing Safe

Label: self-released

Released: March 4, 2008

The opening track of There's Nothing Safe sounds like a cross between 80s synth pop and the Runaways. Over the course of the album, they throw in alt rock, new wave and post-punk. It may sound like a pretty bland stew that they've cooked up here, but they've largely taken the strengths of these genres and turned them into a sound that, while not entirely unique, does give them a voice. In a sense, they've found the danceability in everything they bring into the mix and that's what gives it cohesion. There's also a definite coldness in the music that is at odds with its more human elements. Their ability to sit on both sides of that emotional fence keeps the sound big, especially for a three piece. With a good sense of catchiness, some punk rock urgency and a touch of soul for good measure, Vendetta Valentine has a pretty good album on their hands.

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 6/10
Aretha: 6/10
Overall: 6/10

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Review: Desoto Jones - Aurora

Label: Deep Elm Records

Released: February 18, 2008

At this point, emo is pretty played out, so even the genre's best bands struggle to be interesting. Desoto Jones is certainly among emo's best, but the real question is, do they transcend its confines. Oddly enough, emo has become a genre more concerned with technical skill than emotional release and Aurora is generally a good example of that. The band is tight and both rhythms and riffs are complex without being overbearing. At times, the guitar even soars. Where most emo bands look to the maudlin moodiness of the Smiths, Desoto Jones ties into 80s pop music (was that shades of A-Ha I heard in "Don't Fail Me?"). They use intricate layers that create real movement in the songs. Along with solid songwriting, these traits make Desoto Jones rise to the top of the emo game, but they still fail to break its confines until "Courtesy Call," the album's second to last track, where they go back and draw a bit of Pink Floyd's crisp psychedelia into their sound. If only they could do this throughout the album, it would be bigger than emo (much in the way My Chemical Romance were on their last album). As it stands, Aurora is just a very good album in a genre that's not very good anymore.

Rating: 6/10

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Review: The Out_Circuit - Pierce the Empire with a Sound

Label: Lujo Records

Released: February 12, 2008

For this review, Chuck and I decided to collaborate. We both queued up the album at the same time and had a conversation about our thoughts. It came out more as the anatomy of a review, but the result was at least interesting. We'll be trying this again (maybe every other week) to see how it goes.

The Out_Circuit is the work of Nathan Burke (ex-Frodus). The album includes guest appearances by a variety of artists, including Sean Ingram (Coalesce) and Dustin Kensrue (Thrice). If you don't have the patience to read the whole back-and-forth of our discovery process, skip to the summary. And now, here's what we had to say about The Out_Circuit's Pierce the Empire with a Sound:


taotechuck: The thing I like about these guys is they seem to have a very unusual set of influences.

bob_vinyl: Yes… Fugazi and Eno. That's eNo, not eMo.

taotechuck: The first track reminds me of Skinny Puppy, but then he goes into this Linkin Park part in the chorus. Linkin Park is a good band, as commercial pop-metal bands go, but the whole scream/sing thing was played out when Taking Back Sunday's first album came out, and that's been what... almost 10 years?

bob_vinyl: The Linkin Park sound doesn't bother me, because it's part of a larger whole. This is just one piece here, but it's a whole album for Linkin Park. Out_Circuit has a lot going on. Like at the beginning of “Passchendaele” with the throbbing ambiance. I like the whisper vocals...it's a nice contrast to “Come Out Shooting.”

taotechuck: I agree. The first four tracks show many different sides of Burke's personality, yet they all sound like the same band. I'm torn on the vocals, though. He's not a great singer, and drowning his vocals in reverb then burying them in the mix was annoying when all the crappy indie bands were doing it 15 years ago, and it's still annoying.

bob_vinyl: I think he makes it work well, because at times it fits with the fluid nature and other times, it cuts through it.

taotechuck: The transitions between songs work well.

bob_vinyl: I agree and I think the album is better than individual songs.

taotechuck: The problem with the album, though, is the same problem that bands like Tool have. By the fourth or fifth song, you've pretty much heard all of the band's tricks, and the songs become redundant.

bob_vinyl: There aren’t many bands that that isn't true of, but if the tricks are good, I'm fine with a second and third look at them.

taotechuck: Sure, but a ninth or tenth look?

bob_vinyl: I didn't feel like it was that redundant. The songs themselves move very subtly with layers moving in and out. You should like that, because it's what good dance music does.

taotechuck: Good point. But good dance music does more than shift layers of sound. The tempos change, the keys change, the energy changes. The beauty of a good DJ set is that the DJ takes you on a journey. You build up, you climax, you recover, you chill out, and you start over.

bob_vinyl: The whole album is mellow, but it also finds ways to cut through that mellowness and it's interesting to wait and listen for those things. I found it to be a very cool ride, but not like a roller coaster. “The Contender” has more ability to stand on its own than most of the others.

taotechuck: Dude, that's totally some comment that you recorded on your little voice recorder. "This is bob_vinyl, today is February 6, I'm listening to out_circuit, and I find that it's a good ride but not like a roller coaster. That's a roger, Roger. We have clearance, Clarence."

bob_vinyl: Actually, it's not, but I understand why you suspect that. I haven't been referring to my notes.

taotechuck: Wow. Spontaneous thinking. Look at the big brain on Bob.

bob_vinyl: I like how “The Contender” was harsh in and harsh out, but “The Hexagon” eased in, got a little uppity and then eased back out.

taotechuck: “The Hexagon” does stand on its own, which is especially surprising since it's an instrumental.

bob_vinyl: Holy crap, it didn't even occur to me that there were no lyrics. “The Fall of Las Vegas” has the alternating harsh and melodic vocals, but at least the melodic side isn't whiny.

taotechuck: Do you have some kind of magic equalizer that lets you turn down the whiny?

bob_vinyl: I don't think the vocals are whiny. Mopey perhaps, but not whiny.

taotechuck: No. I mope. Morrissey mopes. This is whiny.

bob_vinyl: The strings at the end seem a little disjointed.

taotechuck: Yes, they are a little disjointed. And now, with “We,” we're back to the same sound as on “Passchendaele.”

bob_vinyl: I don't know what you expect. Is he short on ideas or did he show his hand too soon? I have yet to get bored.

taotechuck: The guitar in “We” is another one of those little surprises you were talking about earlier, how if you are patient and listen, you hear something really nice.

bob_vinyl: Patience, young Skywalker. Or dogwalker, as the case may be.

taotechuck: This is definitely an album that requires patience.

bob_vinyl: But it rewards you for your patience.

taotechuck: It does. But do you know what I'm missing? This sounds like an album that was recorded by one guy, with help from some friends. And frankly, he’s not Eno. I don't think his imagination or talent runs that deep. I'm missing the rewards that come when two or three people put their ideas together, and the cream rises to the top. This sounds like one guy's ideas, with no checks or balances.

bob_vinyl: Well, not being Eno isn't a very harsh dig, because Eno is the gold standard for this stuff, but I have come across the same thing before where it's a one man show and I agree that it usually comes up short. It also has a tendency to not feel very organic, because there's no life and no interaction, but this album does not suffer from that latter flaw at all.

taotechuck: No, it doesn't. It feels very organic and alive. And I don't expect him to be Eno. He has good ideas, but if he were more involved with someone else who has compatible but different good ideas, he could conjure up some magic. Like the vocal collaboration on “Across the Light.” That's the strongest vocal performance on the album, and it's where he had someone else to complement him.

bob_vinyl: I'd rephrase to say more magic, because I think there's definitely magic. There were a lot of people involved here, but I don't know how deeply. I think it was performances, but it sounds as if you're looking for collaboration in the writing?

taotechuck: Yes. I think the collaborative performances are why the album doesn't feel lifeless and synthetic. But the writing is very monotonous. The chord progressions are all very similar, the key signatures are all similar, the tempos feel very close... his songwriting is decent, but it's not strong enough to carry an entire album.

bob_vinyl: I'm not with you. I think the songs are strong enough that I stay interested and want to return. That doesn't mean that more collaboration wouldn't help, but I don't think it's as necessary as you seem to.

taotechuck: The child's voice on “Scarlet” gave me chills the first time I heard it.

bob_vinyl: Wow. That's cool. That's a big deal.

taotechuck: I wonder if this is his kid.

bob_vinyl: That's interesting. Maybe. It's well done if you even ask that.

taotechuck: If this had been an EP that went “Come Out Shooting,” “We,” “Across the Light,” “The Contender,” and “Scarlet,” I think it would've been bordering on great, maybe a 9/10. As it is, I'd probably give it a 6. There are some weak points, and “The Fall of Las Vegas” should've been cut completely, but the strong songs make up for the weak ones.

bob_vinyl: I loved it and I don't share your reservations. I'm giving it an 8/10.

taotechuck: One other thing. I hate what they did on the packaging, with the lyrics printed in a blue/gray text on a black background.

bob_vinyl: I agree. I tried to look at the lyrics and just gave up.

taotechuck: If you're going to put lyrics in the notes, especially for an album where the lyrics are treated more as part of the overall sound than they are words to be understood, at least make them legible. If you want form over function, then don't include the words. This is the kind of graphic design that really irritates me.

bob_vinyl: The cover itself is well done, so the lyrics thing is a surprise.

Summary: Overall, I think we both thought Pierce the Empire with a Sound had a good bit to offer. If there was a weakness we could agree on, it's that the album may have benefited from more collaboration in the early stages of its development. Nonetheless, I found it to be a compelling ride through an ambient, post-hardcore soundscape. Chuck felt there was too much repetition down the stretch that distracted him from the album's truly great moments. Chuck found the vocals to be grating at times whereas I saw them as one of the many ways Burke found to create harshness in an overall fluid album. We both agreed that the album, being largely the work of one person, was still able to be very organic and while it took patience, it did provide a return on that investment.

Rating: 8/10 (Bob); 6/10 (Chuck)

Virb

Review: Zolof the Rock and Roll Destroyer - Schematics

Label: Flight Plan/Reignition Records

Released: September 25, 2007

Zolof the Rock and Roll Destroyer is yet another power-pop band among what seems like an endless stream coming out these days. So, what sets this female-fronted hook-fest apart from the others? For one thing, energy. In a genre that seems to go through the motions, Zolof is engaged in what they're doing. Straightforward rhythms are augmented by solid hooks, sometimes in the vocals and sometimes on the organ. Unlike so many power-pop and pop-punk bands, the vocals have a bit of edge, just enough to keep the songs out of that sappy territory in which most of their peers tread, but not enough to suck the pop out of the power. Zolof is a band in every sense of the word. From the rhythms and the the power chords to the sweet edgy vocals backed by plenty of "whoa-oh-ohs," nothing gets all that complex and piece steps on another. The result is both a raw energy and a refined catchiness that is tough not to like.

Rating: 6/10

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Review: Steve E. Nix and the Cute Lepers - Terminal Boredom b/w Prove It

Label: 1-2-3-4 Go! Records

Released: July 3, 2007

Steve E Nix and the Cute Lepers serve up a fun little slab of old-school punk and new wave on this EP. "Terminal Boredom" is '77-style punk rock that borrows heavily from the Clash and Ramones, while "Prove It" could almost be a outtake from Elvis Costello's "Armed Forces." If you're gonna borrow, borrow from the best and Steve E and company certainly do that with just the right amount of snotty punk rock swagger.

Rating: 6/10

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Review: Steel Train - Trampoline

Label: Drive-Thru Records

Released: October 16, 2007

Trampoline is aptly titled, because the album has a lot of bounce and not the teeny-bopper kind of bounce either. This bounce is the combined force of Steel Train's energy and elasticity. The band's biggest influence is perhaps the Beatles (and who would complain?) and they draw on everything from early jangly pop ("Dakota") to psychedelic experimentation ("A Magazine") to the soulful leanings in the Fab Four's later recordings ("I've Let You Go"). They also hit up U2 and the Clash ("Firecracker" might be a little too close to "Hitsville UK") at times as well. Steel Train even draws just a bit out of arena rock and 90s alt rock to fill their sound out, but not so much as to become generic themselves. Despite clear influences, each song takes off and soars in its own way. Steel Train knows the formula for a very good pop song, but they also know how to tweak the formula just enough to make it their own.

Rating: 6/10

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Review: Loom - Angler

Label: Exigent Records

Released: February 26, 2008

It seems that some of the least likely bands are incorporating strings of the non-guitar variety these days. Plenty of metal and hardcore bands don't seem to even blink at the idea anymore. Sometimes, it sticks out like a sore thumb and other times, it's perfectly integrated. Salt Lake City's Loom is the latter. They play intricate post-hardcore with agile, mathy rhythms, guitars that alternate between hardcore crunch, rock riffs and prog complexity and vocals that growl and sing. Oh yeah, and there's violin that's both seamless and essential. Angler might get lost in the post-this-and-that shuffle without that violin, but with it, it's clear this band has the potential to enter into more uncharted territory. This is a pretty good accomplishment for a band that's only been together a little over a year.

Rating: 6/10

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Review: Dirt Mall - Got the Goat by the Horns

Label: Daykamp Records

Released: December 4, 2007

While hard rock is probably one the easiest genres to play, it is probably one of the hardest at which to succeed. It's has been played by so many for so long that it's really hard to be a standout. Sure, the old hard rock regulars will flock to anything that reminds them of AC/DC, but the legions of AC/DC soundalikes (and AC/DC themselves for that matter) aren't exactly good bands. To be a good hard rock band, you have to either find a new angle (almost impossible) or play with such unbridled energy and groove that you can't be denied.

Dirt Mall do a lot of things right on Got the Goat by the Horns. They don't rehash bad hard rock from the 80s. They don't get all dressed up in the studio like someone they're not. They don't get pretentious. They claim to be a rock and roll band and that is just what they are. However, it takes more than that to get over the hard rock hump. For the most part, Dirt Mall's energy seems to be latent on the album. It's there, but it's hidden, lurking in the background rather than pushing the songs over the edge. They do draw on some of the late 80s metalicized punk, perhaps from fellow Boston band Gang Green's later albums, but they lack the lingering punk rock punch. I think Dirt Mall is likely going for something along the lines of a hard rock Replacements, but they lack Westerberg's knack for hooks and drunken poetry. Don't get me wrong, this is good hard rock and their ability to at least look to bands that actually have substance give them an edge over most of their peers, just not quite enough to really stand out in such a big crowd.

Still, they did nail a couple tracks on this eight song album. "The Demons & the Damned" has a slow, understated groove, but it keeps the song, the album's longest at just over nine minutes, moving along its dark, moody path. The closer, "Ghosts Descend," the other of Dirt Mall's more subdued tracks, is not quite as long, but has an almost mystical energy (as well as the album's best riffs). What's great about both of these songs is that they stretch beyond the limitations without sacrificing the strengths. They don't try to artificially enhance them with the puffed up bombast of typical hard rock. Instead, they maintain their down-in-the-trenches, straightforward rock and roll imperfections that make the songs truly theirs. There's really nothing worse than a band who gives up the very bumps and lumps that make them who they are. Dirt Mall's ability to embrace them even when they expand their sound is a major point in their favor.

Like their friends in Cheater Pint, Dirt Mall don't get wrapped up in all the pretensions of their art. They simply wanna rock. Perhaps that simplicity keeps them from shaking things up at times, but they when they loosen up and let go, they make it clear that they really can play both sides. Seriously, they have a nine minute song that doesn't feel long, cumbersome or gratuitous. That alone is worth checking out. My guess is they're at their best live where they can shake free of any confines that come with the studio.

Rating: 6/10

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Review: The Wildbirds - Golden Daze

Label: PRC

Released: August 14, 2007

The Wildbirds draw on a variety of late 60s and early 70s influences on Golden Daze. At times they turn it into their own sound, but at other times, they filter it through more recent regurgitations, most prominently the Strokes.

The first few tracks on Golden Daze get old quickly. The driving rhythms of 70s hard rock mix well with the ringing guitars, but the whole package, particularly the vocals, gets there via the Strokes rather than the Wildbirds' own path. However, "It's Alright Now" marks a change in the album. It's low fluid bass line, airy vocals and fuzzy riffs tap directly into the trippiness of 60s psyche. From that point forward, the band finds a sound that filters the retro sound through themselves rather than some band that taps into the same vein. That isn't to say that we hear no more of the Strokes on the album, because they're still prominent, but even their influence passes through the Wildbirds' own creative spin and a healthy dose of chaos to keep the album from feeling too settled.

The Wildbirds' trouble isn't their choice of influences. From the Velvet Underground to the MC5 even to 70s arena rock and even to the Strokes, they bring it all together in a cohesive package. The real difficulty is when they wear those influences on their sleeve. When they inject enough of themselves into the sound, the result is a top-notch modern take on a bit of the past.

Rating: 6/10

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Review: Love and a .45 - Too Blonde For You

Label: Cheapshock Records

Released: November 5, 2007

Here's a short list of some of the bands I can hear in Love and a .45's music: Bad Religion, Rancid, Hole, Avail, Face to Face, a bit of the Replacements, even. The thing they all have in common is that they're American. What's odd is that Love and a .45 isn't. They're British. That's not a bad thing in its own, but it is indicative of the band's biggest problem: they can't really find their own voice.

That being said though, Love and a .45 does do some good things. First, they have a very good sense of hooks, making them a solid pop punk band. While most pop punk today seems to err on the side of emo, with whiney singers and cry-baby Sally songs, Love and a .45 stay clearly on the punk side of the line. They tend to be a bit too clean a bit too often, but even then, they certainly aren't sappy. When they're looser and grittier, they're able to dig into the song more and the result is some very good punk rock.

The sound definitely benefits from Kate Moritz's voice. She maintains a sense of melody, but keeps the rough edges that play into the album's high energy level. On occasion, she also shows that she can take the edge off, but never overuses the smoother side of her voice. At the opposite end of her spectrum, she proves to be a very good screamer, an art form all its own. She also uses this upper limit of her vocal power at only the right times.

Too Blond For You is not going to break any new punk rock ground, but it does avoid blurring the line between pop punk and emo. It would be nice if it had a better defined identity, but it thankfully hits all the hooks, showing that the price of pop isn't always the music's edge and energy.

Rating: 6/10

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Review: Brian Dewan - Words of Wisdom

Label: Eschatone Records

Released: November 13, 2007

Clearly, some novelty records are just silly and others are, at least on some level, actually quite serious. Words of Wisdom is certainly of the more serious variety. That's not to say that it isn't light-hearted, just that it has a real purpose.

Brian Dewan apparently found these songs in old schoolbooks, garage sales, attics and basements and some date back 200 years. While the songs themselves seem rather traditional, the performances with their odd instrumentation (autoharp, electric zither, organ and accordian) and Dewan's quirky delivery, are anything but. Dewan sings these peculiar little lost pieces as if he's singing to children and perhaps it is with a child's innocence that they are best approached. Still, the topics are at times dark like a Grimm fairy tale. In a sense, Dewan plays this like Berl Ives with a dark side.

Words of Wisdom is not for everyone. It's certainly not slick or pop-oriented and makes no effort to fit into any mold. Even for those who will find his folk oddities interesting, it won't be in constant rotation. Nonetheless, it's an healthy diversion into some unknown folk music that Dewan is able to justify with his silly, yet somewhat compelling recordings.

Rating: 6/10

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Review: Crashdïet - The Unattractive Revolution

Label: Universal Music AB

Released: October 3, 2007

Even as an undercurrent to mainstream rock, a glam revival was one of the last things I expected to see. But this year has proved that a genre that was crumbling under its own bloated self twenty years ago might still have a little bit to offer. Sure, it's full of "reunions" where one original member is trying to cash in on past success that they often never deserved in the first place. The big glam event of the year, Rocklahoma, was a nostalgia fest at best despite its commercial success, because it focused on the has-beens. What it ignored was that some things going on in the glam scene have more to offer than just the past. The latest Hanoi Rocks is a change in tone, yet one of their best albums, the Gypsy Pistoleros have infused old sleazy hard rock with a Latin flair and now Crashdïet has shown that a little youthful energy goes a long way even when rehashing the stupidity of a shallow genre.

Silly stage names and umlauts didn't bode well for Crashdïet and while there's nothing musically new about The Unattractive Revolution, it's clear from the opening track that they have enthusiasm for what they're doing. Granted the revolution is a fake and the lyrics, while pretty literate by hair metal standards, are an inane treatise on hedonism, but that does little to interfere with their high-energy rock experience. At their best, they mix the heaviness of metal with the swagger of sleaze, walking a line that most of their predecessors never attempted in lieu of the slick soulless formula. They do get off track at times, sounding a little too much like Motley Crue here (minor flaw) and drawing a little too much from Bon Jovi there (major flaw), but these moments are the exception rather than the rule. It may be of note to some that Mick Mars helped out on two tracks, but his skills being what they are, it isn't really noticeable.

While I don't think you can trade intoxication for salvation as Crashdïet would propose, you can trade passion, even somewhat misplaced, for a new sound...at least sometimes. For whatever reason, Crashdïet gets away with it on The Unattractive Revolution. If you like to spend a lot of time in the superficial world of glam, Crashdïet is a much better alternative than the Bang Tangos and Faster Pussycats of the world who stake their claim to the past on one original (often old and tired) member.

Rating: 6/10

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Review: Paris Luna - City Lights

Label: Severe Records

Released: December 4, 2007

A superficial reaction to Paris Luna's City Lights might be to dismiss it as light folk rock. While it does have a few nods to bands best left forgotten like America, there is more behind it. Over the course of the album, Paris dabbles in folky pop, bluesy rock, light funk and soul as vehicles for her rich voice. That alone isn't going to sell anyone on this album though. The thing that makes it stand out is that while she sounds a bit like Natalie Merchant, she feels more like Chrissie Hynde. What does that mean, you ask? It means that her voice is technically strong, but more importantly, she has the ability to sing to you and not just at you. She has the ability to cross gender barriers and touch everyone. She makes her songs personal, not just to her, but to her audience as well.

She does make the all too common mistake of re-writing "Sweet Jane" on "Someday," her voice tends to call 10,000 Maniacs to mind a bit too often and she occasionally sounds like she could be an opener at a Dave Matthews show, but she also dabbles in Tom Petty and occasionally even conjures up the ghost of Zeppelin III (or at least the Black Crowes). The band's playing is generally sparse though bright and clear, but their purpose is clearly to support and they do that well. While her tendency toward breeze rock might be disconcerting at times, she always manages to dispel that lightness when her earthy voice reaches right out of the song.

Rating: 6/10

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Review: Gang Green - You Got It, Older...Budweiser, Can't Live Without It

Label: Metal Mind Productions

Re-issued: 2007

Metal Mind Productions has recently re-issued Gang Green's Roadrunner catalog on limited edition CDs. While this period may be just past their prime (1985's Another Wasted Night), they still find Gang Green in high gear. You Got It is a lot closer to its predecessor than I remembered and it remains one of the best albums in the skate rock sub-genre. 1989's Older...Budweiser finds the band drifting a little further down the metal path, but not to the point of being bloated and lethargic as many punk-cum-metal outfits had. The bonus tracks are none other that the hilariously-titled Van Halen parody, I81B4U EP. The only trouble is that it fits better with the punk-oriented You Got It, but that's just a minor complaint. Can't Live Without It, their 1990 live album and their last release for Roadrunner, was a first time listen for me and it reminded me of why I regret never having seen Gang Green live. All of their wild rebellious fun is captured here in all its glory. The album errs on the side of energy rather than quality, but I can't imagine anyone who would want it otherwise.

These three re-issues are a reminder of a band that may have been lost in the historical shuffle over the years, but not so easily forgotten by punks and skaters who grew up in the 80s. Gang Green should have no trouble resonating with a new generation of kids as, for better of worse, punk, skateboarding, beer, anger and fun seem to be as popular as ever.

Rating:
You Got It - 8/10
Older...Budweiser - 6/10
Can't Live Without It - 7/10

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Review: DJ Axel - Breakin' the Law

Label: Holden Records

Released: 2007

There is no real question that mash-ups are a novelty. Unlike a song that merely contains samples, a mash-up relies strictly on the strength of the songs that are colliding. True, there is some talent to hearing that two songs will work together and then mixing them into one. However, the result is never greater than the sum of it's parts. In fact, it seldom results in something that equals the quality of even one of its parts. Still, if the tunes going into the mix are good and it isn't forced, the result can extract a little bit of extra fun. DJ Axel doesn't nail all that he attempts, but he gets enough of them to make Breakin' the Law better than the average novelty album.

I don't think anyone would be surprised that Queen's foray into disco could work with Clipse on "Another One Bites the Last Time." Likewise, it's no shock that Bob Marley and Lupe Fiasco can find common ground with "Could You Be Kicked, Pushed & Loved." A little more surprising is Dj Axel's marriage of Jay-Z with GnR on "Guns N' Hovas" which actually adds a healthy dose of energy to Jay-Z's generally dull delivery.

Since fun is really the name of the game with this light fare, the best track here is "Control Myself After Midnight." As if it wasn't enough of a good time to get Judas Priest, LL Cool J and J Lo on the same page, DJ Axel also throws in a few samples from the hilarious cult classic Heavy Metal Parking Lot. Along with "Shorty Wanna Feelgood," which brings Motley Crue and G-Unit together, Axel demonstrates that he actually has some real love for metal (even if it doesn't go into any deep cuts). He has sufficient understanding to weave it in rather than simply throwing a few guitar riffs at a hip-hop song.

A few fail to bring the two songs together. "Lil' Brick House" is sometimes the Commodores and sometimes Lil' Kim, but never truly both. "What You Know About Drop Dead Legs" is never the hip-hop Van Halen that it should be and I certainly hoped for more when Peggy Lee met Ludacris on "Stand Up Fever." The difference between this and most mash-ups though is that falling short isn't the rule. While none really expands on anything the original tracks offer, they do succeed in bringing the songs together for a novel good time.

Rating: 6/10

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Review: Paul Robeson - On My Journey: Paul Robeson's Independent Recordings / Pete Seeger - American Favorite Ballads, Vol. 5

   
Label: Smithsonian Folkways

Released: August 28, 2007 (Paul Robeson) & October 9, 2007 (Pete Seeger)

On the surface, these two albums have little in common. But I happened to put them both on my iPod, and by hearing each artist's songs randomly mixed with Primal Scream and Pedro the Lion and Picastro (it was a "p" kind of week), I heard similarities that were wonderful and surprising.

Before I get to the review, I'm going to try to encapsulate two amazing lives in one paragraph. In addition to having a voice that's as full and rich as any in history, Robeson played pro football, earned a law degree, spoke multiple languages, acted in movies, and tirelessly fought for human rights. Seeger's reedy voice may be the antithesis of Robeson's, but Seeger has the same kind of powerful mind and personality that enabled him to accomplish things that are impossible for most of us to even imagine: he attended Harvard, served in the Army, protected the environment, and tirelessly fought for human rights. (Ironically, both men lost their own rights when they were blacklisted by the U.S. government during McCarthy's Red scare.)

They traveled in some of the same circles, so similarities in their music aren't that surprising. What's really interesting is the biggest difference between the two albums. Paul Robeson sounds like he's singing about the people he loves, while Pete Seeger sounds as if he's singing for them.

The spirit behind Robeson's work on these recordings is incredible and inspirational. Every song was recorded while he was blacklisted and unable to either work or leave the country. Each recording testifies to the strength of Robeson's conviction and character. But there's a problem. On nearly every performance, Robeson is accompanied by a talented, classically trained pianist. That would be fine if these were songs for concert halls and parlors, but most of these songs are about desperate and faithful people who struggled in the fields and fought in the streets. While Robeson's life at this time surely contained amazing amounts of both desperation and faith, the music here reflects very little of that.

The single exception is "Hammer Song," which was recorded in 1957 with Sonny Terry on harmonica and Brownie McGhee on guitar. Like all musicians who played with Robeson while he was blacklisted, Terry and McGhee ran the risk of losing their right to work in the music industry, but they wanted to make music with Robeson. And on this song, the only one that belongs in the bright daylight of the outdoors rather than the twilight glow of an Upper East Side mansion, Robeson made music whose passion shines.

Compared to Robeson, Seeger's voice is... well, it's awful. (That's not fair, of course, because pretty much everyone's voice is awful when compared to Robeson.) But the man has passion. Every song on the disc -- most of which are just Seeger and his banjo -- could've been recorded under a tree with a bunch of kids, outside a California farm with a crew of laborers, at a peace march in the South, or even in the twilight glow of an Upper East Side mansion. Seeger's performances exclude no one. He reaches out to every single person within singing range, and invites them to come hear some music.

American Favorite Ballads Vol. 5 is the last in a series of expanded CD re-issues of some of the most popular albums that Seeger recorded for Folkways between 1957 and 1962. Most of these songs focus on the American frontier, and they embrace everything from class war anger to drunken desperation. No matter how dreary the subject matter, though, Seeger is a masterful storyteller whose lighthearted touch provides balance to the often dark music.

Both On My Journey: Paul Robeson's Independent Recordings and American Favorite Ballads, Vol. 5 have an enormous amount of heart, but Robeson -- intentionally or not -- erected a barrier of intellectualism and refinement around his music. Seeger is the one who reaches his hand out and invites you to come in for a listen, no matter who you are or what you know.

Rating:
Paul Robeson, On My Journey: Paul Robeson's Independent Recordings: 6/10
Pete Seeger, American Favorite Ballads, Vol. 5: 10/10

Website (Paul Robeson)
Website (Pete Seeger)

Review: White Noise Supremacists - Shadows

Label: I Eat Souls Records

Released: 2006

A clever name like the White Noise Supremacists could be a blessing or a curse. If the name's that clever, how clever must the music be just to live up to it? While the name may be the best thing they've done thus far, their off-kilter rhythms and subtle melodies shouldn't be dismissed.

Their sound is rather thin, seemingly by design. Over the first three tracks, the music changes just under the conscious radar, ranging from the noise pop of My Bloody Valentine to the controlled chaos of Husker Du, all the while picking up the subtleties of the Smiths' melodies. This makes for an interesting listen and leaves the verdict out as to whether this versatility is their strength or just the result of an effort to find their voice. Starting off the second half, "Glare" lends credence to the latter explanation. There's nothing wrong with it other than the fact that it's indie singer-songwriter sound has been done too many times already. Just when WNS made me doubt though, they finish the EP up with two rather subdued rock songs whose light airy, emotive vocals are vaguely reminiscent of the Cranberries. These two tracks move around a lot more, rather than ending just where they started as the first half tracks do. "If You Go," the last of these two and the album's closer, struggles to take off as the end draws near, but their restraint creates tension that makes for their finest moment on the EP. The greatest promise of all is WNS's good sense of pop music which always seems so baffling, because it is almost pure art and not be understood so much as enjoyed.

Ultimately, Shadows asks more questions about the band than it answers, but based on its early subtlety and its late pop mastery, there's good reason for positive speculation about what's coming next.

Rating: 6/10

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Review: Steve Grimmett - Personal Crisis

Label: Metal Heaven

Released: October 26, 2007

Time changes some things, but not all. This is certainly true of Steve Grimmett. The music hasn't taken any great strides, but time has tempered his once distinctive voice. Other than an occasional hint of modern metal (and I do mean hint), Personal Crisis doesn't explore any new territory. It is a fine mix of melody, tight riffs and solid 80s heaviness that crossed the Atlantic as the NWOBHM. Grimmett's voice, which certainly had its grating moments back in the Grim Reaper days, is toned down. While it isn't quite as distinctive, it is a lot more consistent, making the album more palatable than his past work. The band is capable of reaching technical heights, but never sacrifices the whole sound for the sake of the individual spotlight. While there may not be a truly new moment on the album, there's also not a dull one either as Grimmett and company rip through almost 50 solid metal minutes. For those who relish in the heavier side of 80s metal, this should be a treat, but don't expect to hear the future, because you won't find it here.

At this point, Personal Crisis is not available in the US, so you'll have to pick up the import.

Rating: 6/10

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Review: Motley Crue - Carnival of Sin (live)

Label: Eleven Seven Music

Released: October 23, 2007

With the possible exception of Dr Feelgood (and that's even pretty questionable), Motley Crue hasn't done anything meaningful since 1983's Shout at the Devil, so it is quite beyond me why anyone would waste their time and money to see them. That being said, Carnival of Sin turned out to be a bit of a surprise.

The two-disc set obviously concentrates of the band's 80s recordings and rightly so, because the newer songs aren't worth hearing. The first disc largely concentrates on the first two albums and is therefore, the stronger of the two. The second disc stumbles a bit with weaker songs, back-to-back ballads and their ridiculous cover of "Anarchy in the UK." While Motley Crue aren't a relevant rock band any longer, they still prove to be energetic, albeit stupid, showmen. They no longer convey the wild side that they once did, but they give a worthy performance of the old material and inject life into their newer tunes.

Just as the band surprised me with their performance, so too did Bob Rock with his production. Rather than the slick commercialism that is his hallmark, this album actually captures the rawness of a live performance without being so raw that it's unlistenable.

The album was certainly better that I expected and it gives some credence to the position that the band should tour (and maybe even that people, not me, should bother seeing them). However, the strength of the older versus the newer material makes it quite clear that they shouldn't bother with studio albums.

Rating: 6/10

Review: Inked in Blood - Sometimes We Are Beautiful

Label: Facedown Records

Released: October 2, 2007

If I had to make up a name for Inked in Blood's music, it would be "pop-punk-core." They play a brand of hardcore that is a strange marriage of the Descendants and Gorilla Biscuits and they have varying success with it.

On one hand, Sometimes We Are Beautiful is typical of hardcore over the last decade or so. The growling vocals and choppy, chunky music with churning rhythms and metallic riffs is nothing new. However, Inked in Blood do a better job than most of their peers of incorporating melody. The trade-off however is a lack of punch. Some of that can be blamed on mediocre production which takes some of the crispness out of their sound, but a lot of it falls in their lap. They haven't quite brought the two sounds together. They clearly nail the melodic side as evidenced on the indie rock delicacy of "Instrumental" and the sappy emo of "This Moment" and they have moments of unbridled hardcore as well, but the two never seem to quite meet. Of course, even the near misses aren't without merit and the album overall is listenable. Better yet, it's very nature is hopeful and that positivity is contagious. Lyrically, it's open and honest without being dramatic, which further buoys its optimism.

Sometimes We Are Beautiful might not be the answer to the future of hardcore, but it could be standing at the first steps on that road. It clearly lays groundwork for growth which makes Inked in Blood a band to watch.

Rating: 6/10

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Review: Skitzo Calypso - Between the Lines and Beyond the Static

Label: Bi-Polar Records

Released: 2007

Between the Lines and Beyond the Static is a solid rock album. It has riffy guitars, crunching rhythms and vocals with nice range and movement. The production is crisp and clean and brings out the best in the band's abilities. This largely straightforward hard rock album is heavy, but not too heavy and polished, but not without feeling. They apply the standard formula for the genre very well and that's both their strength and their weakness.

The songwriting and production both play into this. There's nothing technically wrong with either, but the result is a collection of songs that are memorable more because, in a sense, you already know them than because they're instantly captivating. While this is the eighth album under the name Skitzo Calypso, it's only the second with the full band and the first to be a truly collaborative effort. The result of working together seems to have tempered their creativity rather than expanded it. Perhaps they're just getting the feel of their common direction, but their first shot at it seems to be something along the lines of Bang Tango meets Alice in Chains meets Godsmack meets System of a Down. Occasionally, an inkling of goth insinuates itself into the music and that is, despite it being goth, hopeful. "Hello Mother, Hello Father" even finds the band moving beyond the formulas and into more organic territory. The lyrics are also a saving grace. Their peculiar subjects and interesting imagery are refreshing in a hard rock context where we usually get nothing but misogyny and insobriety.

Skitzo Calypso still has a way to go in order to establish something that is truly their own, but they have the technical ability once they find their direction together. They've established that they have solid skills and now they need to free those skills in order to unlock their power. When the music does stray from the standard, they appear ready to fly and the lyrics display an interest in being rather skewed, but too often this album feels planned and hesitant. They have every possibility of breaking out if they use their new collaborative to spin free of the hard rock center of gravity.

Rating: 6/10

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Check out the Myspace review of Skitzo Calypso side-project Niki Thunders and the Temperamentals.

Review: The Soda Pop Kids - Teen Bop Dream

Label: Full Breach Kicks

Released: September 4, 2007

In their prime, Sweet was only about a half step from being the Bay City Rollers, but that half step made all the difference in the world and Sweet remains one of the best of the early glam bands. However, their close proximity to badness is a potential pitfall they pass on to any band that imitates them. Hence, sounding a bit too saccharine is the Soda Pop Kids biggest problem.

The album starts off on the wrong side of the fine line between Sweet's pop rock goodness and the Bay City Rollers' sickening sweet imitation. The whole album is merely an homage to early 70s glam rock, but the first four tracks lack the edge and energy that better bands combined with AM pop hooks into that inarticulate rock expression of William Blake's innocence versus experience. However, the album picks up down the stretch. Starting with the dirty rock n roll balladry of "Another Cigarette Ends," the album draws a bit on the New York Dolls and pulls itself back onto the right side of the aforementioned line. Whether it's the agitated shuffle of "Six Gun Senorita," the loose soul of "Bloodshot Eyes" or the straightforward pop energy of "The Soda Pop Sting," the second half finds the Soda Pop Kids offering up a worthy tribute to an underserved genre that had its name stolen by inferior though vastly more popular bands a decade later.

Teen Bop Dream is no more trying to change the face of rock n roll than it is trying to hide its identity. This is a revival record that brings very little to the table that wasn't done 35 years ago. However, once it hits stride, it captures a lot of the best qualities of early 70s glam, making it a fun listen even if they are just as cartoonish as the album cover.

Rating: 6/10

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Review: Torman Maxt - The Problem of Pain Part 1

Label: Mars Hill Records

Released: July 1, 2007

Concept albums are a difficult endeavor with a variety of pitfalls. Only the very best avoid all of them. Most of these complex albums fall into at least a few of these traps and Torman Maxt's The Problem of Pain Part 1 is no exception. Nonetheless, that shouldn't completely overshadow its strengths.

As the title suggests, the album deals with the difficulty in reconciling a benevolent and omnipotent God with the pain of His creatures. To accomplish this, the album revolves around the Biblical story of Job, a "blameless and upright" man, and the trials and tribulations that put his faith to the test. The first difficulty that Torman Maxt faces is the literalism of the lyrics. They do too much telling and too little showing, giving the words little emotional appeal. The trick here would be to retell the story in a way that is creative and evocative and that just doesn't happen here.

Luckily for Torman Maxt (and most rock artists for that matter), the lyrics don't have to stand on their own, because songs rely just as heavily on music. Another concept album pitfall is that the constraints of the story force the album to be uneven and once again that's the case with The Problem of Pain. The first three tracks come across as technically proficient songs in the realm of Styx or Kansas, not bad for a band that hasn't hit the big leagues yet, but not exactly a ringing endorsement for their ability to rock either. However, beginning with "Satan's First Song," they really draw a lot more color into their music, showing Satan as dark and sinister, the angels as holy and pure. Psychedelic elements evoke the torture of Job's life during these trials. There are a few steps backward into more straightforward arena rock which makes it an erratic ride, but over the course of the album, Job's story is told much better by the music than the lyrics.

As this is only the first part of Torman Maxt's effort to tell Job's story and explain the problem of pain, it is neither the whole story nor the final word. Part 1 is promising enough to generate anticipation for Part 2, both to see where they go with it and how they grow as writers. It's not a perfe3ct concept album, but supposedly better bands have done worse with ambitious undertakings of this sort.

Rating: 6/10

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Review: Bruce Springsteen - Magic

Label: Columbia

Released: October 2, 2007

It's been a long time since Springsteen has released a truly good album. Granted, he did a nice job with the Pete Seeger covers, but his own material has been dull and decidedly adult-oriented. Magic isn't a full return to rock form, but it is a step in the right direction.

From the opening guitar riff and driving drums of "Radio Nowhere," it's clear that Springsteen has at least written a rock record rather than another lackluster attempt to recapture the stripped down authenticity of Nebraska. Even slower tracks like "Your Own Worst Enemy" and "Girls in Their Summer Clothes" have a big sound with all the trappings of songs that translate well in concert. He does misfire a bit on the title track which falls back into the limp attempt at being understated that characterized albums like Devils and Dust. All in all though, Springsteen has finally released a new album that shows he can write arena-sized songs that appeal to listeners on a personal level, something he hasn't done in almost 25 years. It also seems clear that he wrote this record with live performances in mind. He's tried for years to translate coffee house music to the big stage and failed on both levels. Fans who catch this tour are likely to find that he once again succeeds to connect with a large audience.

Rating: 6/10

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Review: Brazzaville - East L.A. Breeze

Label: Vendlus Records

Released: 2006

Brazzaville is the project of David Brown, saxophonist for and longtime friend of Beck. The band is known for layering lyrics about the world's forgotten souls -- the lost and lonely, the whores and addicts, the killers and the soon-to-be dead -- in sultry musical canvases that conjure images of South American beaches and salty, sun-warmed skin. They are arguably the greatest unknown band of the past decade, and every serious music lover should check them out.

With that said, East L.A. Breeze is Brazzaville's worst album. This is a shame, because they've changed and, in some ways, grown for the better.

East L.A. Breeze starts out incredibly strong. Brady Lynch's string bass and Josep Terrecabras' percussion set up a quiet rhythm on "Peach Tree" that hints at something both sensual and dark; Naomi Webman's violin rolls in like a lazy, late afternoon storm; and Brown's plain but compelling voice slides into gentle observations about mortality, loss, and lifetimes of loneliness.

But it goes down from there. The second song, a reworking of Russian rock band KINO's "Star Called Sun," is dragged down by clichéd soft-rock beats, cheesy keyboard swells, and a syncopated guitar that lacks any emotion whatsoever. It's frustrating, because it's so easy to hear what could have been... the lyrics and the vocal melody are wonderful, the simple chord progression lends itself to the kind of haunting arrangements that Brazzaville does so well, and the band is talented and emotional. Unfortunately, the rest of the album is dominated by generic rock performances, dull drum machines, and lackluster arrangements. There are a few gems scattered throughout, but even some of those -- like the forlorn ode to past mistakes, "Madalena" -- are a bit flat and lifeless compared to the music Brown is capable of creating.

The lyrics on East L.A. Breeze are among the best that Brown has ever written. Brown understands desperation and loneliness, and he has a sense of his own mortality; not that death has ever been far away from Brazzaville's music, but it feels more inevitable this time around. The desolate victims of globalization aren't here this time, but the muted character studies abound. As always, Brown does a wonderful job of not only portraying the untouchable members of society, but respecting them and even loving them.

Brown's intentions to push his musical boundaries are noble, but the road to mediocrity is paved with good intentions. East L.A. Breeze is a good enough album that any Brazzaville fan should own it. If you want to hear Brown's vision at its finest, however, you're better off with Rouge on Pockmarked Cheeks.

(For what it's worth, it hurts me to write a less-than-glowing review about Brazzaville, because I've been a fan for years. David Brown has been an influence on my writing about Baltimore, and I strive to learn from his ability to see the beauty in what most people find hideous.)

Rating: 6/10

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Review: Prong - Power of the Damager

Label: 13th Planet Records

Released: October 2, 2007

In their prime, Prong established a sound that was so unique and intense, that it's influence can still be felt today. In doing so, they also set their own standard fairly high, making post-prime albums even more difficult for them.

Power of the Damager won't hold up to an album like Cleansing. It doesn't show Prong's ability to mix the technical with the visceral, a feat that few bands have been able to copy. In the past, Tommy Victor and company's prowess has been rightly obscured by their ability to mix heavy crunch and lots of pinch harmonics with an undeniable groove. They simply rocked so hard that it didn't matter that they were fantastic musicians to boot. On their latest album though, the heaviness and the fine playing is obscured by Victor's poor production. The album's weight is muted into a thin shell of itself and fails to bring out the separation that exposes what almost certainly is top-notch playing. On top of that, the songs, while attempting to move in the same direction, generally lack the groove that remains memorable even over a decade later. There are moments where they really hit stride, but they don't maintain that over full songs let alone the whole album.

On Power of the Damager, Prong is actually a victim of their own success. While most of their followers would be thrilled to release an album this good, it just doesn't reach the bar Prong set themselves.

Rating: 6/10

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For a second opinion on this album, check out Metal Mark's review. For a third opinion, check the Metal Minute.

Review: Static Radio NJ - One for the Good Guys

Label: CD on Black Numbers Records and 7" on Chunksaah Records

Released: August 2007

Oddly enough, even hardcore can over think itself and often enough it ends up getting away from is visceral core as a result. That makes a band like Static Radio NJ refreshing. They aren't rewriting the genre by any means, but they play straightforward East coast hardcore at a blistering pace with just enough melody to keep you on board for the ride (having All/Descendants guitarist Stephen Egerton produce certainly didn't hurt them on the melody front). In classic fashion, Static Radio NJ fit seven bursts of adrenalin in less than 10 minutes. It may not be long, but you'll need the breather when it's over before you play it again.

Rating: 6/10

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Review: John Fogerty - Revival

Label: Fantasy/Concord Music Group

Released: October 2, 2007

While John Fogerty is not likely to ever match his output in Creedence Clearwater Revival, he still manages to release some very good solo material spaced out over a period of 30+ years. Revival, his latest offering often aims at Creedence and the protest climate of the 60s.

The album kicks off with the Utopian "Don't You Wish It Was True," a nice pop song that has Fogerty written all over it, but lacks the teeth to get its message across. Much of the album follows the same model with varying success. "Gunslinger" takes a Pollyanna view of the past, but its easy metaphor is palatable instead of overbearing and the aptly named "Creedence Song" as well as "Natural Thing" come closest to hitting the CCR mark. Fogerty runs into his biggest problems as he heads into the middle of the album with a couple dull, slow country-rock numbers, neither of which succeeds as either a pace change or a more serious moment, because both are utterly forgetable. The album does pick up again, but Fogerty's eyes remain firmly on the past ("Summer of Love," which he sings like he read about it rather than witnessed it) even as he tries to be relevant in the present ("Long Dark Night," an anti-Bush song that is more likely to make you want to dance than impeach the president). Fogerty's ultimate delusion of grandeur comes on "I Can't Take It No More," another protest against Bush that he clearly sees as on par with "Fortunate Son" (he even makes reference to it). Clearly, he hasn't listened to his best song in quite some time.

All that being said, Fogerty still has quite a flair for songwriting and even after hearing it all these years, it hasn't gotten old. Revival alternates between rockers and low-key numbers, but it's consistently rootsy with just the edges smoothed out. Fogerty fans won't be completely disappointed. Even if for some inexplicable reason they love Bush, they can get past the politics, because Fogerty's stance isn't really the core of this album (even if he wants it to be). For the rest of us, it's non-essential but pleasant listening. He could do worse.

Rating: 6/10

Review: Zap Mama - Supermoon

Label: Heads Up International

Released: August 7, 2007

Frankly, I wasn't very familiar with Zap Mama prior to hearing the title track to this album about a month ago on my local independent radio station, WTMD. I liked the song well enough to track down the album, but once I got it, I found it to be a tough one to write about. Supermoon the album is considerably more in the world music realm than "Supermoon" the song. Since world music isn't really my thing, it was harder to write about even though I liked the album.

Supermoon continues Zap Mama's move away from sparse, nearly a capella arrangements to to a fuller sound. The album certainly puts the world into worldbeat, drawing not only on African styles, but also Cuban, reggae, jazz and r&b. At times it even takes on some elements of electronic dance music as well as a disco slickness without dropping its overall organic nature. Supermoon does have a few tracks that stand on their own, the title track in particular, but by and large it works best taken as a whole as the album tracks are not mere filler, but serve to enhance of the overall work.

If you aren't a worldbeat fan, Zap Mama may not convert you, but it will give you a very listenable opportunity to see what's happening outside in the broader world. If you are a worldbeat fan though, I suspect you'll see Supermoon as a light version of the music you love, dummied down a bit for those of us who don't understand.

Rating: 6/10

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Review: Zerobridge - Havre de Grace

Label: self-released

Released: September 18, 2007

Zerobridge was formed by two Kashmiri brothers who grew up near the namesake of the their EP, Havre de Grace, Maryland. While this broader cultural experience may seem like a boon for the band, their music has little to do with the former and everything to do with the latter.

Zerobridge relies on the straightforward rhythms and the simple hooks of neo-new wave as the basis for their music. They suffer perhaps, because the new wave revival is getting played out and because it's hipper than thou musicians/fashion models are getting more annoying by the day. Zerobridge reminds me a bit of Modern English which is a bit on the periphery of what most bands of the genre borrow from. As with just about every pop or rock artist in the last 20 years, they also bear the marks of many hours with U2, so they aren't all that much different from the others in the game. What makes Zerobridge most pleasant though is that they don't seem affected by the hipster leanings of their peers. That alone makes them more palatable.

Havre de Grace would benefit from a bit of influence from their roots in Kashmir, but as it is, it really only draws from mainstream America. It's very listenable though and avoids the style over substance trappings that turn so many similar bands into annoyances.

Rating: 6/10

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Review: Mars Hill - Fate Chance Luck Dance

Label: Sandbar Music

Released: May 2006

According to Mars Hill's Myspace page, they are "one of the most original and finest bands of the 21st century" and they are "genre-defying." The former is beyond a stretch. No offense, but they aren't even close. The latter, however, is pretty accurate.

The list of genres touched significantly by Mars Hill is longer than most bands' list of even their most remote influences. Over the course of the album, they hit jazz (of the good and bad variety), hip-hop, Spanish, cabaret, reggae, dance, soul and, of course, rock. Among those who try to bring in disparate influences, few bands can take a list that long and maintain their own sound throughout. Careful arrangements manage to make this album homogeneous, but the actual songwriting and performance lack life as if the experiment couldn't quite be brought to full fruition. To be fair though, the lounge angle is a part of their shtick and adding more personality to the songs may have compromised that.

Their talent as players is generally pretty evident, particularly in the rhythm section that really drives the album to the extent that it is driven. The vocals range from laid-back, spoken style, reminiscent of Damon Albarn's work in Gorillaz, to well-cadenced hip-hop to an ethereal female soprano usually appearing in a backup role. Keys, guitar and horns act more as accents. The production doesn't keep the elements separate, but also fails to fill out the sound. They're really not far off target; they just fall a little short of what could have been.

There are thousands of cover bands out there that can morph their sound into any genre on command, but there are not nearly so many that can incorporate all of those genres into a single sound. While Mars Hill doesn't quite nail everything, they do come pretty close, so close in fact that they may be poised for an outstanding follow-up to this good, but not great, album. It's not essential, but it's worth a listen if you're looking for a band that's going in a new direction and doing an admirable if imperfect job rather than making a shambles of it.

Rating: 6/10

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Review: Patti Scialfa - Play It as It Lays

Label: Columbia Records

Released: September 4, 2007

Patti Scialfa will always find herself in the unenviable position of begging the question, "Would anyone care if she wasn't married to Springsteen?" Certainly, her marriage has proven to be a fine career move and she has an unfair shot at getting her music out compared to singers who aren't married to the Boss. To be fair though, it isn't her fault that she gets a better deal than everyone else, so let's pretend she didn't marry into a record deal and take a look at the album on it's own merits.

Play It as It Lays is a light bluesy rock album with touches of country, folk, soul and even gospel, but the whole thing is really just a vehicle for her voice with it's nice movement, mild rasp and country twang. The band is low-key and understated, entirely competent to convey the songs, yet infusing them with nothing they don't already have. The songs are adequate despite feeble hooks and contrived subjects. Still, her voice is worth hearing and keeps the ship above water so to speak.

In a lot of ways, Scialfa sounds like Bonnie Raitt, except Scialfa's substitutes a better voice for Raitt's sense of soul. Perhaps a better comparison would be to the light-weight work of Sheryl Crow, where the songs aren't entirely bad, just hollow. Part of Scialfa's problem may stem from spending the bulk of her career as a backup singer. It's usually someone else's music that she's singing and she has to sing it in such a way as not to overshadow the star of the show. Here she is making only her third solo effort since 1993 and it seems she can't quite find herself. She sings well, but most often she fails to really dig her heels in and put the little extra into her voice that is the difference between alright and amazing. The song titles alone betray the songs as contrived and forced: "Looking for Elvis," Town Called Heartbreak," "Rainy Day Man." She hits a lot of rock lyric cliches before even delving into the lyrics. For the most part, the album feels like she churned it out as a job rather than an expression of herself.

To her credit, the album does finish with three strong tracks where she digs a little deeper and writes a little stronger. "Run Run" doesn't ask her to go too deep and the result is much more comfortable. The title track even finds her tapping subtly (and very slightly) into Dylan. She closes the album with the breathy vocals of "Black Ladder," the album's only songwriting chance. It's really the saving grace, because it leaves Play It as It Lays with an open-ended expansiveness that defies the faults that precede it.

Rating: 6/10

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Review: Rachael Cantu - Run All Night

Label: Q Division Records

Released: February 7, 2006

A number of years ago, I bought a 7" from a band I'd never heard on a whim. The band was okay, but the thing that stayed with me was the voice. It was rich and mature, yet young and optimistic. It was beautiful. The band was Quite Satellite and that voice was Rachael Cantu. I got in touch with her and she hooked me up with a CD-R of some stuff she recorded after that with Robb MacLean of Limbeck. I bought Limbeck's first album just because she sang backup on it. Then it seemed like not much was going on and, while I still listen to those songs, I lost touch with her career. So, while I was perhaps early to appreciate her talent, I'm late in hearing Run All Night. About four years have passed since I'd heard anything new from her and in that time some things have changed and some have stayed the same.

Rachael Cantu still plays low-key, indie, singer-songwriter material. Therefore, the instrumentation is still sparse, but more polished. The music on its own is generally good, though nothing jumps out immediately, but a closer listen shows that there's more variety. Her voice is still the focus, but it's changed a little.

The album doesn't quite get off on the best foot. The opening track, "Hear My Laughter" lacks even subtle elements of interest. But the flat start is misleading. The upbeat, but not too upbeat, "Saturday" easily gets past the false start of the opener. It's not immediately apparent, because she's so subtle over most of the album, but there's a lot going on beneath the surface. Sometimes, Cantu sticks to her old folky, voice-and-a-guitar ways, but at others she dabbles in a variety of genres. They rise subtly from the album's basic form. She's soulful on "Sweat & Bones." There's jazz in her voice on the dark title track which closes the album. She really hits stride in the middle with "Blood Laughs," whose ambient drone proves the best backdrop for her voice; "This Breath Won't Hold," with an evocative jazz feel to her vocals over the indie/folk guitar; and "My First War," whose strings ebb and flow and which hints at her younger voice.

Run All Night is certainly a more mature recording than Cantu has made in the past, but there's both an up and down side to that maturity. The songs are better written and the arrangements help bring out her voice which is every bit as beautiful, but is missing the youthful optimism that made it even more striking in the past. The songs have long had a sadness that permeates them, but the optimism always added a yearning that this album is missing.

Rating: 6/10

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DVD: The Bangles - Return to Bangleonia

Label: Shout! Factory

Released: August 14, 2007

I've always loved the Bangles. Even the big sellout of Different Light still had the sweet harmonies and sixties jangle that I loved in their days in the Paisley Underground. I don't operate under the illusion that bands often recapture their prime when reuniting, but I did expect an energetic show and an enthusiastic crowd for this 2000 set at Hollywood's House of Blues. I got some of the former and none of the latter.

Part of the joy of a good live performance is drawn from the vicarious energy of the fans lucky enough to be there. Without that energy and its interaction with the band, there's really no point to a live recording. That's the biggest problem with this DVD. Most of the fan noise is filtered out, even between songs. That's just half the crime though. It really doesn't appear as though the crowd had much to offer anyway with only a few hands in the air for "Walk Like an Egyptian" and little other response. It looks like a crowd at the theater, not a rock show.

With little energy from the crowd, the Bangles are only partially culpable for a lack of excitement in their performance. Still, great bands rise above adversity and the Bangles aren't fully able to do that. Things don't get off to a good start with their cover of "Hazy Shade of Winter." One of the several fine covers from their prime, the song, Vicki Peterson's guitar leads in particular, drags as though they're unsure of themselves. By "If She Knew What She Wants," the band is in better form and they manage a soild if unspectacular performance. To their credit, they play five new songs that would ultimately end up on Doll Revolution (still three years away at the time of this show) rather than playing it completely safe with the material from their two biggest and least personally creative records. While they did pull three songs from All Over the Place (including "Hero Takes a Fall," which may be their best tune), I would have gladly traded "Angels Don't Fall in Love" (from Different Light) and "Get the Girl" (from the Austin Powers soundtrack) for "James" and "Dover Beach." Still, at least they kept the contributions form Everything to a minimum and threw in a solid cover of the Seeds' "Pushin' Too Hard." So, the set list was decent, but not perfect and once they got going, the did justice to the songs I love.

Return to Bangleonia showed me what I always suspected was true: The Bangles are merely a good, not great, band, no matter how much I love their music. Still, the songs sound good all these years later. It makes me wonder why the crowd was so dull. With a little help, the performance may have come across much stronger. It also makes me wonder why anyone would go to the House of Blues. It's not a venue that's conducive to fan participation and energy, so why not just stay home and listen to records?

Rating: 6/10

Review: Slough Feg - Hardworlder

Label: Cruz Del Sur Music

Released: July 2007

Though Slough Feg's name is derived from Irish mythology, they're really at the forefront of the NWOSFHM (New Wave of San Francisco Heavy Metal). What that really means is that they're from Frisco and they love Iron Maiden.

This is the band's sixth release, but the first one I've heard. Even from a band with that many releases under their belt, Hardworlder is a fine album. The album is technically proficient and has great energy which they manage well. They do borrow heavily from the NWOBHM, Maiden in particular, but their approach is more raw and that makes Slough Feg stand out. There is the occasional hint of prog rock as well, but it's never overbearing.

It would be a stretch to say that Slough Feg is the next thing in metal, because they're not. They look more to the past than the future, but at least they do the past a service by re-energizing it. If you don't like Iron Maiden, you probably won't like Slough Feg (you're also probably deaf or stupid), but if you can't get enough of Maiden, Slough Feg has enough of their own thing going to be of real interest.

Rating: 6/10



If you'd like to read other reviews of Slough Feg's latest, check Metal Mark and the Metal Minute.