Review: Mighty High - Drops a Deuce

Label: self-released

Released: October 12, 2009

True to the form they set with last year's full-length, In Drug City, Mighty High's new EP is nothing if not unabashedly fun. This 7" EP features two songs that waste nothing (except perhaps brain cells). "Cable TV Eye" is full-on stoner paranoia propelled by riffs they learned from hard rock leaning punk bands like Gang Green or the Circle Jerks in the mid-to-late 80s. It's thick and chunky and full of good things for your rock and roll appetite. "Hands Up!" is like a pep rally at a Texas high school if pot was the football team. It's recorded live and, to the band's credit, there is little distinction between this and the studio track. Their energy can't be contained no matter where it's being recorded. So, it's two sides, one studio, one live, and both rock uncontrollably. No pretensions, no cleverness, no tricks, no fakes, just rock and roll you can get high off of whether you smoke pot or not.

Top it all off with some fantastic R. Crumb-style artwork (seriously, it's almost as fun as the Cheap Thrills cover) and sweet baby blue marble vinyl and it's a package that can't be beat!

Ratings
Satriani: 6/10
Zappa: 6/10
Dylan: 7/10
Aretha: 9/10
Overall: 8/10

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DVD: Blue Cheer Rocks Europe

Label: Rainman Records

Released: June 26, 2009

There's a handful of bands out there whose influence has been felt far and wide decades after they made their mark, yet they never enjoyed significant commercial success. The Velvet Underground comes to mind. So does Nick Drake. There are others, but in heavy rock circles, one of these bands rises above all others - Blue Cheer. Unlike most members of this exclusive club though, Cheer continued to do their thing for over 40 years, even releasing a fine album recently, 2007's What Doesn't Kill You.

Blue Cheer Rocks Europe finds Dickie Peterson, Paul Whaley and "Duck" MacDonald (the "new guy" with only a little more than two decades of service) standing tall as they bring the sound they pioneered, and others have copied, to the stage. Ripping through material, new and old, they have both the energy of a hungry band and the tightness of a well-oiled machine. Peterson's voice is raw and passionate. MacDonald's riffs are heavy and grooving. Whaley's beats are driving end energetic. Although the video is a bit too sterile to fully capture it, it's easy to imagine the big dose of crazy that still permeates their show and it brings up the question of whether Blue Cheer might actually be better today than in their acknowledged prime. One thing is undeniable though: They still give the bands they influenced (some of whose members weren't even born when Cheer made rock heavy) something to shoot for. Just check out "Parchman Farm." I don't know if they could have done any better in 1967, when they first recorded it.

Sadly, this may be Blue Cheer's last document. Bassist, vocalist and founder of all that is heavy, Dickie Peterson, passed away on October 12, 2009. He once said, "We're more interested in the gig tomorrow night than being in the hall of fame." I suspect that making the music and seeing it blossom in other bands over the last 40 some years was the greatest reward for him. Rest in Peace, Dickie. Thanks for all the crazy tunes.

Rating: 9/10

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Free Buffalo Killers mp3!

Huma Bird Download

Right click the image above to download Huma Bird

Enjoy! Love, Buffalo Killers

THe BAcksliders - Thank You

Label: self-released and free!

Released: May 16, 2009

Thank You's title may prefigure last year's You're Welcome, but the sound is moving forward. THe BAcksliders don't refine their previous effort, so much as distill what's clearly in their hearts. Whether it's the flat out energy of "Have You Ever Been Down" or the hard-edged soulfullness of "Last Call," the band has a great handle on the pure, simple energy of rock n roll. As further proof, they do right by Little Richard (a backslider himself, at times) on the cover "Keep a Knockin'" and channel the Shangri-Las on their own "Twisted."

Kim Bonner's voice has that beautiful rock n roll imperfection. It's raspy and gritty, relying on raw passion more than range and control, but it has so much substance that it's something almost tangible to hold on to. She works perfectly with the loose, open swagger of the band that bangs out songs with just enough hook to catch you and plenty of grit to hold you. They capture the wild mix of soul and garage rock that ruled late 60s Detroit and take it on a trip through their home state of Texas' fine tradition of outlaw music. As their name implies, the music embodies the internal conflict between worldly desire and divine goodness. I always hope the good wins, but for the BAcksliders, it still seems up in the air.

Best of all, you can download the album for free, no strings attached:

Thank You

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

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Review: JC Brooks & the Uptown Sound - Beat of Our Own Drum.

Label: self-released (CD Baby)

Released: February 24, 2009

JC Brooks & the Uptown Sound hail from Chicago, have a song about Baltimore and sound like Detroit...in the 60s. That was the time and place where the local airwaves were a battleground between Motown and garage rock. While not the greatest to emerge from that scene, it was probably Mitch Ryder and the Detroit Wheels that best embodied that clash. And it is that same collision of sound that the Uptown Sound tap.

Beat of Our Own Drum certainly leans more toward soul than garage as Otis Redding or Booker T & the MGs will come to mind quicker that the MC5 or the Stooges, but it doesn't take a very discerning ear to hear the latter nonetheless. The album almost seems as if it came out of that swirling confusion as previously disparate genres clashed. It's like a soul record that discovered rock n roll and added the best elements it offered.

The only difficulty this album really runs into is that it is often too smooth. A song will build and just as it seems ready to really break out, JC and company throw in a hook rather than an explosion. It's not a killer, but it tones down the crazy that both great soul and great garage rock always have. Beat of Our Own Drum is in fact so good that it hints at the greatness that it doesn't quite achieve. They simply need to trust the music enough to let it run wild at times. There are points when it seems like a James Brown moment is ready to happen and when it doesn't, it can be more disappointing than a record that never even comes close to those heights. That is the one missing ingredient that stands between this being really good and flat out fantastic.

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

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Video: Left Lane Cruiser - Wash It

Here's some hot Texas boogie...not courtesy of ZZ Top!

Buffalo Killers new album and tour

BUFFALO KILLERS NEW ALBUM LET IT RIDE IN STORES JULY 22nd
PRODUCED BY DAN AUERBACH OF THE BLACK KEYS

SOLO WEST COAST RUN STARTS JULY 18
OPENING SLOT ON THE BLACK CROWES TOUR THIS FALL
ADDITIONAL U.S. DATES TO BE ANNOUNCED

"Ride simmers, then explodes with the fuzzy psychedelia of southern rockers crowding classic rock playlists, but without sounding dated or overtly derivative." – Cincinnati Magazine

Los Angeles, CA –Cincinnati psychedelic blues trio, Buffalo Killers, will hit the road this summer supporting their soon to be released album Let it Ride on July 22nd. Recently coming off tour with the Black Keys, the Buffalo Killers will begin a solo run of the west coast on July 18th running from Chicago to Seattle and San Francisco to Los Angeles, before opening for the Black Crowes again this fall.

Earlier this year, after wrapping their opening run for the Black Crowes, the Buffalo Killers returned to the Midwest to complete recording sessions in Akron, Ohio with producer Dan Auerbach of The Black Keys at his Akron Analog studio. The result is a 10-track album titled Let it Ride that remains deeply rooted in their signature 60s psychedelic and 70s blues rock inspired sound.

Drawing comparisons in sound to Blue Cheer, Cream, Neil Young & Crazy Horse, Mountain and the Allman Brothers Band, the trio released their self-titled debut to critical raves praising them and their music as "the real raw deal" (Amplifier), "well played sludgy blues-rock" (Variety) and "deftly captures the sweaty, grimy feel of the era's best-loved soul-and blues-influenced rock" (Hartford Courant). Simply said, this is as authentic as they come.

The initial pressing of the Let it Ride vinyl version, limited to 500 copies, includes a bonus "bootleg" live concert LP recorded in Los Angeles at the Orpheum Theatre during the Black Crowes tour by Mikey Jones, a fan that taped the concert and sent the band a copy. The six-track set features a mix of songs from both their self-titled debut album and "Let it Ride." Additionally, the Buffalo Killers have posted an outtake from that concert recording, their signature cover of Neil Young’s "Homegrown," on their MySpace page and website. Rolling Stone recently offered a "sneak peek" of the opening track, "Get Together Now Today," online at www.rollingstone.com.

The Buffalo Killers are brothers Zachary (vox/bass) and Andrew Gabbard (vox/guitar) with Joseph Sebaali (drums).

For more information on Alive Records, please visit their website.

Buffalo Killers
Website and Myspace

Buffalo Killers confirmed U.S. tour dates:
July 18 @ Busted Lift - Dubuque, IA
July 19 @ Deep Blues Festival - Lake Elmo, MN
July 23 @ Empty Bottle - Chicago, IL
July 24 @ The Aquarium - Fargo, ND
July 26 @ Big Railroad Blues Festival - Livingston, MT
July 28 @ Sunset Tavern - Seattle, WA
July 29 @ Slabtown - Portland, OR
July 30 @ Big Pete’s - Arcata, CA
July 31 @ Hemlock Tavern - San Francisco, CA
August 2 @ Safari Sam’s - Los Angeles, CA
August 5 @ B-Side Lounge - Boulder, CO
August 6 @ Lincoln State Theater - Lincoln, NE
August 15 @ Indie Summer/Fountain Square - Cincinnati, OH
August 16 @ Peach's - Yellow Springs, OH
October 27 @ Hammerstein Ballroom - NY, NY w/The Black Crowes
Nov 8 @ Lincoln Theater - Raleigh, NC w/The Black Crowes
Nov 10 @ Ruth Eckerd Hall - Clearwater, FL w/The Black Crowes
Nov 11 @ House of Blues - Orlando, FL w/The Black Crowes
Nov 12 @ The Fillmore - Miami Beach, FL w/The Black Crowes
Nov 15 @ Alabama Theatre - Birmingham, AL w/The Black Crowes
Nov 16 @ Ryman Auditorium - Nashville, TN w/The Black Crowes
Nov 18 @ House of Blues - New Orleans, LA w/The Black Crowes
* * * additional dates TBA

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: Caesars - Strawberry Weed

Label: Astralwerks

Released: August 19, 2008

From the opening seconds of Strawberry Weed, Caesars make it clear that they're not afraid to make noise. Committed to the mod tradition of the Who, they are loud, abrasive and willing to run wild, yet they never lose their raw pop sense. They tap into that point in rock history when bands realized they should play really loud before the equipment was ready for it. The music here is loud, but in anything other than a hard rock way.

Caesars beat bubblegum pop over the head with the title track and "Boo Boo Go Goo." They hit up garagey R&B on "Turn It Off" and go for the psych out on "Crystal." Even the brit pop leanings of the album's last few tracks ride on straightforward rhythms and rough-hewn energy.

Strawberry Weed embodies rock n roll's perfection of imperfection. If you have any wildness in your heart, this will appeal to you. It isn't about revolution or even rebellion, just about a desire to break out and be free.

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

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Video: Thomas Function - "Filthy Flowers"

Check out "Filthy Flowers" from Thomas Function's self-titled debut on Alive Naturalsound Records.

Review: Shin Jin Rui - Zutiqua

Label: Ex Libris Records

Released: April 14, 2008

With a lot of bands, it's fairly easy to discern their influences and use those influences to describe the band's sound. I could try that with Shin Jin Rui. At times I hear Gang of Four and at others the Stooges. Sometimes the Fall, Syd-era Pink Floyd, the Velvet Underground, Ziggy-era Bowie. I hear the Kinks, Flipper, Meat Puppets and the Talking Heads. I even heard a hint of the Clash at one point. Do you get the picture yet? I didn't think so.

What Shin Jin Rui does on Zutiqua is draw on just about every raw and wild rock n roll influence of the last 40 or so years and roll it into their own brand of cacophony that is under constant threat of disintegration, yet always manages to hold itself together. The album walks that fine line between live energy and studio sound successfully and that's a considerable achievement. Most importantly, there is a madness that runs throughout. It's not a dark and brooding madness, but more of the likable, happy-go-lucky madness of the Cheshire Cat. I just hope Shin Jin Rui doesn't disappear.

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

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Left Lane Crusier Hits the Road

35+ U.S. DATES CONFIRMED THROUGH AUGUST INCLUDING BOB LOG III/SCOTT BIRAM TOUR

Los Angeles, CA – June 2008 – Left Lane Cruiser has confirmed a summer tour in support of their debut Alive Records release "Bring Yo Ass to the Table." The band will be performing throughout one selected dates with the Black Diamond Heavies, Bob Log III and Scott Biram. Left Lane Cruiser, features just Joe Evans on slide guitar and vocals with Brenn Beck on one big-ass bass drum, harmonica and a toolbox full of percussive gear.

“R.L Burnside, Seasick Steve, trash cans, hub caps, meth smoking two dollar pawn shop mics and all sounding as cool as that all sounds” – Organ

LEFT LANE CRUISER summer tour dates:
Jun 14 @ Mid City - Fort Wayne, IN w/ Black Diamond Heavies
Jun 15 @ The Belmont - Detroit, MI w/ Black Diamond Heavies
Jun 16 @ Points East Pub - Milwaukee, WI w/ Black Diamond Heavies
Jun 27 @ The Brass Rail - Fort Wayne, IN w/ Jawbone
Jul 15 @ The Brass Rail - Fort Wayne, IN w/ T-MODEL FORD
Jul 20 @ Deep Blues Festival - Lake Elmo, MN w/ T-Model Ford, Black Diamond Heavies, Buffalo Killers, Bob Log III, etc
Jul 22 @ Ned Kelley's Pub - Green Bay, WI w/Bob Log III & Scott Biram
Jul 23 @ High Noon Saloon - Madison, WI w/Bob Log III & Scott Biram
Jul 24 @ Empty Bottle - Chicago, IL w/Bob Log III & Scott Biram
Jul 25 @ The Pike Room - Pontiac, MI w/Bob Log III & Scott Biram
Jul 27 @ The Boathouse - Saugatuck, MI w/Bob Log III & Scott Biram
Aug 1 @ Harper's Ferry - Allston, MA w/Bob Log III & Scott Biram
Aug 2 @ Jerky's Music Hall - Providence, RI w/Bob Log III & Scott Biram
Aug 3 @ Cafe Nine - New Haven, CT w/Bob Log III & Scott Biram
Aug 4 @ Mercury Lounge - New York, NY w/Bob Log III & Scott Biram
Aug 5 @ Southpaw - Brooklyn, NY w/Bob Log III & Scott Biram
Aug 6 @ Johnny Brenda's - Philadelphia, PA w/Bob Log III & Scott Biram
Aug 8 @ Le Tractor Blues Festival - Aulnoye Aymerie, France
Aug 9 @ Le Tractor Blues Festival - Aulnoye Aymerie, France
Aug 10 @ Le Tractor Blues Festival - Aulnoye Aymerie, France
Aug 11 @ Riot Room - Kansas City, MO w/Bob Log III & Scott Biram
Aug 12 @ Waiting Room - Omaha, NE w/Bob Log III & Scott Biram
Aug 13 @ Larimer Lounge - Denver, CO w/Bob Log III & Scott Biram
Aug 14 @ Bar Deluxe - Salt Lake City, UT w/Bob Log III & Scott Biram
Aug 15 @ Neurolux - Boise, ID w/Bob Log III & Scott Biram
Aug 16 @ Doug Fir Lounge - Portland, OR w/Bob Log III & Scott Biram
Aug 18 @ El Corazon - Seattle, WA w/Bob Log III & Scott Biram
Aug 20 @ Bottom Of The Hill – SF, CA w/Bob Log III & Scott Biram
Aug 21 @ The Echo - Los Angeles, CA w/Bob Log III & Scott Biram
Aug 22 @ The Casbah - San Diego, CA w/Bob Log III & Scott Biram
Aug 23 @ Plush - Tucson, AZ w/Bob Log III & Scott Biram
Aug 29 @ Botanical Conservatory - Fort Wayne, IN
Sep 6 @ Mid City - Fort Wayne, IN w/ Orange Opera

Website

Review: Left Lane Cruiser - Bring Yo Ass to the Table

Label: Alive Naturalsound

Released: January 8, 2008

"Billy Gibbons, how do I love thee? Let me count the ways." That's likely what goes through Left Lane Cruiser guitarist Freddy J IV's head as he pines away for his guitar hero. Gibbons' influence on Freddy's playing is unmistakable and perhaps wearing his influences on his sleeve like that should count against him to some extent, but...well, how many people have imitated that fat, rich, dirty ZZ Top guitar tone? Not many. And done it this well? Perhaps none.

The bottom line here is that Left Lane Cruiser takes ZZ Top's Texas boogie (you know, the stuff they did on the early records, before the pop sheen of "Tube Snake Boogie" or "Legs"), strips it down to the lo-fi garage rock approach it was meant for and throws in a little bit of psychobilly craziness. True, it's somewhat limited in scope, but the sound fully fills its intended space.

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

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Interview: THe BAcksliders

THe BAcksliders tap into a wild tradition of Texas rock n roll, mixing garage rock and girl group pop into a manic, melodic ride. Their new album, You're Welcome will be out on June 3rd. I recently had a chance to get a bit of the inside scoop on the band from Chris and Jason Bonner.

RnRnMN: You're Welcome is your second album. How was making this album different than the first one?

Chris: With the first album we were just kinda finding our way. The songs were all over the place. It was made up of a lot of songs Kim,Jason(my brother and new bass player), and I had before hand. With the new album we have found more of our own sound.

RnRnMN: The new album is self-released. What are the challenges faced in releasing an album on your own? What are the benefits?

Chris: Their are many challenges in releasing albums yourself. The first of which is the money. It is always twice as expensive as you think. The other major challenge is making sure everyone involved is doing their job. The most important benefit is quality control.

RnRnMN: Once the album is out, is there a tour planned? If so, what areas do you plan to hit?

Chris: We tour constantly. Our goal is to play 300 days a year, so we will be coming to a town near you soon!

RnRnMN: What are your shows like? What kind of crowd do you typically attract?

Chris: Our shows are at the center of what we do. THe BAcksliders are like a sweaty juggernaut that doesn't ease up until last call. Our crowd varies, generally people who like rock and roll and wanna get effed up.

RnRnMN: Texas has a wild musical tradition. How do the BAcksliders fit into that?

Jason: Texas has a tradition of musical outsiders much like that of Memphis, where Chris and I are from. Doug Sahm, Willie Nelson, etc.... Those guys reinvented the musical landscape mostly by just remembering "the song". Staying true to a well written tune. That what's missing from a lot of music today and what it is I believe THe BAcksliders are doing.

RnRnMN: Do you feel that each of you brings a unique influence to the band or is it your common influences that create your sound?

Chris: We are mostly into the same sort of stuff but above all our respect for song craft creates our sound.

RnRnMN: What do you see as your non-musical influences?

Chris: Adversity.

RnRnMN: Do you expect to "make it" or is success a less measurable thing for you?

Chris: In my mind we have already made it. We just want to produce more work and tour more often.

RnRnMN: Pick your favorite from each pair:
1. Beatles versus Stones
2. The Ronettes versus the Shangri-Las
3. Big Star versus the Replacements
4. MC5 versus the Stooges
5. White Stripes versus Black Keys

Chris:
1. The Beatles ( quitting while your ahead)
2. The Ronettes ( Be My Baby, I mean come on)
3. Big Star ( ain't no one gonna turn us 'round)
4. MC5 ( Kick out the Jams M****RF*****S)
5. White Stripes

Thanks to Chris and Jason for the interview. Check out You're Welcome on June 3rd! See THe BAcksliders' site for details.

Website

Myspace

Review: THe BAcksliders - You're Welcome

Label: self-released

Released: June 3, 2008

When most people think of the Bangles, they think of "Walk Like an Egyptian" or "If She Knew What She Wants," but before they caved into commercialism, they were an edgy band making garage rock with a great 60s girl group flair. THe BAcksliders aren't playing an entirely different game from the pre-Different Light Bangles. They lean a little more toward garage and away from pop and they add a hint of country twang that gives the tunes a distinctive flavor, but by and large they're doing a lot of the same things. Let's just hope THe BAcksliders don't get wooed away to play Liam Sternberg and Jules Shear songs.

There is little doubt that You're Welcome is a rocker, distilled into its purest form. It doesn't get bogged down in guitar solos or vocal gymnastics. Driven by Taylor Young's poor man's Keith Moon and Nolan Theis' catchy bass lines, the songs drive home with almost Who-like energy. Chris Bonner fattens up the sound with his fuzzy jangle and Kim Pendleton's gritty, vaguely country voice is the music's heart.

For the most part THe BAcksliders split the difference between pop pleasure and raw rock n roll. They do miss on the overly Stonesy "Fat Girls," but they even nail the tracks that depart the straightforward rock n roll approach with cabaret ("Love Field") and folk ("Someone Has Broken"). There really aren't many better raw rockers than "Under the Moonlight" or "Serves You Right" or most of the rest of the album for that matter and "Cry" pours on the soul to finish the album.

You're Welcome is one of those albums that sounds like so many other garage acts on one level, yet stand apart in an almost intangible way. By the title, I guess they already knew I'd be saying, "Thank you."

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

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Review: The Griefs - Throwing a Tempo Tantrum

Label: Spoonful Records

Released: 2007

The Griefs channel the Who's manic drums, big power chords and brutal loudness in a catchy package. Sometimes there's fuzz and other times there's jangle, but from start to finish, this is an album of loud melodies and rock n roll bombast that many have copied, but few have done this successfully. Throwing a Tempo Tantrum has the hooks of 60s pop without reining in any of garage rock's energy, creating a loud, abrasive vehicle for their wonderful pop songs. They do little if anything to update what came out of garages 40 years ago, but they capture the essence of that period's raw creative insanity as well as its sweet pop sensibility in a way that is seldom matched today. It kinda makes you wanna hum along and bounce off the walls at the same time!

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

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Left Lane Cruiser on tour!

From Alive/Naturalsound:

Los Angeles, CA - March, 2008 - Left Lane Cruiser is on tour in support of their debut Alive Records release "Bring Yo Ass to the Table." Comprised of Joe Evans on slide guitar and vocals with Brenn Beck on one big-ass bass drum, harmonica and a toolbox full of percussive gear, the raw blues duo of LLC have honed a sound unlike any other where everything is an instrument: trash cans, paint trays, hubcaps, ladders, you name it.

"While it suddenly seems fashionable to crank out a few Robert Johnson slide guitar riffs alongside a meth-fuelled drummer, Left Lane Cruiser actually possess enough chops to write some memorable songs. What’s at the root of them is the unshakeable rhythm that singer/guitarist Freddy J IV and drummer Brenn “Sausage Paw” Beck create together, leaving plenty of space for Freddy to strut and holler over top. The line between hip-hop even blurs slightly on heavy stomps like 'Big Momma' and 'Pork ‘N Beans' But it just goes to prove that when reduced to its basic elements, the music is all rock’n’roll." - Jason Schneider / Exclaim!

Left Lane Cruiser - Busket MP3


Confirmed U.S. tour itinerary:
March 13 @ Printer's Alley - Memphis, TN
March 14 @ Finnegan's Wake - Alexandria, LA
March 15 @ SXSW showcase - Hole in the Wall, Austin, TX
March 17 @ Finnegan's Wake ST. Patty's Party - Alexandria, LA
March 18 @ HMF Tattoo Tavern - Chatanooga, TN
March 19 @ Highlands Taproom - Louisville, KY
March 22 @ Mid City - Fort Wayne, IN
March 29 @ Coody Browns on Lake Witmer - Wolcottville, IN
April 18 @ The Voodoo Lounge - Bowling Green, OH
April 19 @ The Stone House - Detroit, MI w/Jawbone
April 20 @ The Boathouse - Saugatuck, MI
April 24 @ The Rox - St. Cloud, MN
April 25 @ Shaws - Minneapolis MN
May 18 @ Broadripple Art Fair - Indianapolis, IN
May 24 @ MidCity Grill - Fort Wayne, IN w/ Buffalo Killers
July 19 @ The Deep Blues Festival - Lake Elmo, MN
More dates coming soon

Brimstone Howl US and European Tour (and MP3)

Los Angeles, CA - February 28, 2008 - Nebraska's BRIMSTONE HOWL is heading back on the road in support of their debut Alive Record's release "Guts of Steel" - co-produced and engineered by Dan Auerbach of the Black Keys. The band will wrap their U.S. tour after performing several SXSW showcases then begin a month long European tour. Alive Records is currently offering an exclusive MP3 "Cyclone Boy," available for download on their website.

With a furious mix of 60's influenced garage and old school punk, Brimstone Howl's Alive Records debut has been described as "cranked lo-fi blues rock" by Uncut magazine, "razor sharp snake rock" by NME and "lo-fi, loose punk wallowing in the blues" by Kerrang. Delivering in-your-face live performances, they describe themselves as "Guitar sluts and hook thieves with hearts of chrome, but with pretty good lyrics," and their music as "burnt blues, steady tom beats, and looooooowwwwwd fuzz."

Brimstone Howl is rounded out by John Ziegler (guitar/vocals), Nick Waggoner (guitar), Austin Ulmer (bass) and Calvin Retzlaff (drums).
Myspace

"If retro-styled garage rock gave you an icky feeling in 2007, take two listens to Guts of Steel and burn your red-and-white clothes in the morning. Production by Black Keys frontman Dan Auerbach give Brimstone Howl some requisite vintage-sounding reverb, but there's nothing reverent about these Nebraskans'unholy hot-wiring of the Sonics, the Damned and the Blues Explosion." - MAGNET Magazine

Brimstone Howl - Cyclone Boy MP3

U.S. tour itinerary:
Mar 6 @ Nieches Buffalo, New York
Mar 7 @ The Oasis New London, Connecticut
Mar 8 @ Don Pedro’s New York, NY
Mar 9 House Show - New Haven, Connecticut w/Estrogen Highs
Mar 11 @ Billiken Club St. Louis, MO
Mar 13 @ SXSW Austin, Texas - Botticelli’s Day Show
Mar 14 @ SXSW Austin, Texas - TBA
Mar 15 @ SXSW Austin, Texas - Trailer Space Recordsw/Thomas Function
Mar 15 @ SXSW Austin, Texas Blackout Showcase, Blender Bar @ Blind Pig Pub

European tour itinerary :
Mar 20 Paris @ La Mecanique Ondulatoire - France
Mar 21 Tours @ Donald's Pub - France
Mar 22 Bordeaux @ Cafe Pompier - France
Mar 23 Tulle @ Opus Bar - France
Mar 25 Strasbourg @ Molodoi - France
Mar 26 Reims @ L'Excalibur - France
Mar 27 Karlsruhe @ Alte Haeckerei - Germany
Mar 28 Geneva -- tbc - Switzerland
Mar 29 Luzern @ Sedel (w/ Carbonas) - Switzerland
Mar 30 Konstanz -- Germany
Mar 31 Freiburg -- tbc - Germany
Apr 2 Kortrijk @ the Pit's - Belgium
Apr 3 Eindhoven @ Altstadt - Netherlands
Apr 4 Utrecht @ dB's - Netherlands
Apr 5 Gottingen @ Theaterkeller - Germany
Apr 8 Koln @ Sonic Ballroom - Germany
Apr 9 Groningen @ O'Ceallaigh - Netherlands
Apr 10 Haarlem @ Patronaat - Netherlands
Apr 11 Munster @ Gleis 22- Germany
Apr 12 Hamburg @ Beat Club - Germany

Radio Moscow : Live Sessions @ hearya.com

From Bomp/Alive Naturalsound:

Radio Moscow played some live sessions down in Chicago about a month ago and now they are online, available for download hearya.com.

Review: Buffalo Killers - s/t

Label: Alive Natural Sound Records

Released: 2006

Formed out of the ashes their previous band, Thee Shams, which was limited to some extent by its love of the Stones, the Gabbard brothers find a much more expansive, heavier sound with Buffalo Killers. They dip generously into the heavy psychedelia of Cream and Hendrix and alternate that with a dose of the Allman Brothers' southern soul. Just a dash of the Beatles adds a hint of pop accessibility without tempering the heaviness or groove.

Buffalo Killers' debut is not about technical prowess (even though they're good players), but about free and wild expression. The rhythms aren't complex, the riffs aren't flashy and the vocals aren't dynamic. Whether playing heavy psych or garagey soul, the band as a whole shuns the pristine in favor of digging down and unleashing a power that pushes rather than punches. The whole is in fact greater than the sum of its parts.

Rating: 7/10

Website

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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

Website

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Interview: Pocus Whiteface

Just based on the strength of their 7", I thought Pocus Whiteface would make a fine interview. Since they're across the ocean, we did this one via email, but each member got his two cents in.

RnRnMN: Many of the bands that you list as influences fall into the post-punk genre and I can definitely hear that in your sound. However, I also hear a looser garage sound. Where does that come from?

Joe: When i was starting out playing guitar I played a lot in my grandparents garage, so it could be that. We always played with door open to get that loose "open" sound. Although i play drums now, there's a lot feel that you learn at an early age.

Theo: Possibly from me. I didn't start the guitar until I was 20 and as such I'm a fairly loose guitarist who likes to use distortion to get around my lack of precision. Also I'm probably more heavily influenced by that sort of music when I write my bits.

Will: Probably from Theo. I need to loosen up more. But I love how Theo's great loose style often dances over the top of the bass and drum groove.


RnRnMN: There are a lot of bands out there playing both garage and post-punk influenced material. Why should someone check out Pocus Whiteface? What sets you apart?

Joe: The Songs. Non-yankee sounding vocals. We're not trying to sound like the Killers, the White Stripes, or anyone recent. There's clearly a love for our favourite bands, but the influence swirl together like some kind of delicious ice cream.

Theo: It's not a question I've ever even considered. I'd have thought what sets us apart is a spread of styles that still sound strongly of 'Pocus' and somewhat humorous take on lyrics and song structure. I think we write in a way that's quite cooperative and makes the songs much stronger.

Will: We try to keep our songs interesting. There's often something quirky going on.

RnRnMN: If you had to pick a theme for Pocus Whiteface, what would it be?

Joe: something like the theme from Minder. Upbeat but with an gritty english sound.

Theo: 'Twisted' maybe? Not in a Marilyn Manson way obviously, but I think a lot of our songs have slightly odd ideas lyrically or tend to break up a straight song with something different. I once described us as sounding like all the unlistenable bits of In Utero, though I'm not sure how true that is.

Will: Um, probably paisley.

RnRnMN: Your EP is a free download on the internet. Obviously, you didn't plan to make any money on that directly, but there must've been a plan for how it would work out. What was the plan? How did it work out?

Will: As far as I remember at the time we didn't have a plan about anything. We'd played together for a couple of months only when the
Hemrig guy contacted us about putting some songs out through his website. Seemed a great idea. We gave him the best we had at the time.
I guess they're demo takes really. There's always the option of putting newer versions of these out on a future release.

Joe: It's all good publicity. :0) It's worked out very well.

Theo: well actually I don't remember there being a plan. Shortly after we put our music up, Tim contacted us to say he had a free net label and wondered if we'd let him put 5 or 6 tracks out as an EP. I guess the main plan I had was that we'd write a lot more good songs because it would have been a bit depressing if that stuff, good as it was, was the best thing we'd ever do. And I think we've written stuff as good as the best in the EP, and better than most of it since then, so that's good. We still play three tracks from it live in almost every gig and if we had a 45 minute headline slot we'd probably play more. The plan was to have that as an early free release and then charge something for music from now on, even if only a nominal amount, and I think we're doing that okay.

RnRnMN: The 7" comes in a really nice package (heavy sleeve, nice vinyl), especially for something self-released. It seems like the opposite end of the spectrum from the internet EP. I'm guessing that you aren't making a ton on this either, but that there is also a plan. How has the 7" worked out versus the free EP?

Joe: I love the 7" - two great songs and as you say, great packaging. We sell a few at each gig and it's a change from the ubiquious CDR's.

Theo: Ah, I've probably given too many away for free to hard-up friends but we're trying to push it now so that little independent stores stock it and trying to remember to bring them to every gig if possible. I think our 'profit' on each on is in the region of 20 pence but then there are always going to be ones you give away to friends, family, labels, etc. When we made them it wasn't to make back any money. We deliberately decided we'd rather have good artwork and a heavyweight sleeve and make sure it was really worth holding on to. We wanted to put those very early songs out there and their short length made this seem like a great way to do it; if we did it again now I'm guessing we'd put Dr. Emery's First Law of Arse and Keeps You from Mine on there or something but these things take so much time from conception, recording, mastering, etc.

Will: I've always loved the packaging a record comes in. It matters. I dunno how we are financially on this one. We're trying not to give too
many away ..

RnRnMN: Do you have a full-length release planned?

Joe: We've only just started talking about it.. but yes, there will certainly be an album next year. We've got the skills to record to a decent quality now, so we've just got to record an album !

Will: Maybe. We've almost got enough material for a solid full-length. We're probably about to do another EP first though. It might then be a little while longer before we can do a really good one without reissuing tracks from either this or the first EP.

Theo: Not as yet. We could do one but we'd really need a label to do it. So until then it'll probably be EPs or strange stuff. We're planning a 10 -copy ultra-limited run of 10"s done by our friend Doug who mastered the 7". Each one would be expensive and more about the collection and art value than the music, most likely.

RnRnMN: Will's artwork on the 7" is really cool. It's actually the first thing that attracted me to check out Pocus Whiteface. Will, how does art fit in with music for you?

Will: Pretty much as I said above. Though I guess I have a lot more music as mp3 than other formats now, I love the whole package you get when you buy a record. Like you say, I've checked out several bands because I liked the artwork. Maybe it shows that the band cares more about how the music is to be received. Especially when the band is closely involved in the artwork.

RnRnMN: Looking at your gig list, it seems that you've played mostly local shows. Do you have plans to expand that with a tour? Any plans to come to the US?

Joe: I love travelling, but there's the practicality of taking extended leave from work to consider.. It's be great to do a few gig in the US though..

Will: Yeah! When we get a sponsor. Early days yet. There's so much scope for playing in London there's not been much need to play anywhere else yet .. But we'd like to start playing shows further afield certainly.

Theo: We would love to play outside of London but it's hard to find promoters and then get those promoters to put you on. We don't have a big 'buzz' around us I guess and we don't have a touring vehicle, but we do have a willingness to spend our money to achieve these things. I am going to look at organising gigs in other cities maybe but it's a lot of money to have to lose really. As to the US, well I think we'd need some big label funding that.

RnRnMN: Pick one from each pair:

The Beatles versus the Stones
Joe: phew, tough one. Love the rockier side of the Beatles. Has to be Stones though, i really grew up on them.
Will: Stooges

Iron Maiden versus Judas Priest
Joe: I never really got Judas Priest. Iron Maiden anyday, especially the first four albums..
Will: Iron Maiden (esp. Number of the Beast)

The Buzzcocks versus the Fall
Joe: the Fall.
Will: Buzzcocks. Probably.

Husker Du versus the Pixies
Joe: I'm a bigger fan of the Pixies
Will: Pixies. Though Husker Du are brilliant.

Public Enemy versus NWA
Joe: Public Enemy -they held it together for more than one album !
Will: Public Enemey

Hank Williams versus Johnny Cash
Joe: johnny cash. Fulsom Prison is such a top album...
Will: Johnny Cash

Theo: I'm goint to pick 'Public Enemy versus NWA' so I look cool...but actually 'Husker Du versus Pixies' is probably more my sort of contest, and I'd be on the side of the Pixies there. (Oh and I'd pick Public Enemy over NWA but I don't really know much more than an album and a few singles so it's a bit of a cheat.) [I realise I answered the last question wrong. But Will said to keep it that way, so I have! :D]

Review: Black Lips - Good Bad Not Evil

Label: Vice Records

Released: September 11, 2007

The Black Lips exude the dark undercurrent of lo-fi 60s garage rock, but unlike other revivalists, they haven't filtered it through the present. Good Bad Not Evil is a minimalist affair with a harsh, thin sound made up of tinny guitar, echo-laden vocals, wild, loose rhythms and production right out of some hole-in-the-wall studio 40 years ago. This album is as lo-fi as it gets and the technical skills displayed are nothing to write home about, yet Black Lips' pop sense shines through. Over the course of the album they tip their hats to early Who, country rock, early 60s AM pop, punk and psychedelia without straying from their course. This ability to capture moods and styles without much in the way of measurable skills shows an intangible talent that cannot be taught or acquired in simple practice. The hipster cleverness would derail most albums, but they actually turn that annoying quality into a mild comedic effect that squares off nicely against the album's subliminal darkness. There are plenty of revivals, but few have Black Lips' ability to recreate the past without being old.

Rating: 8/10

Myspace

Review: Radio Moscow - s/t

Label: Alive Natural Sound Records

Released: February 27, 2007

Radio Moscow is a modern day power trio whose influence reaches back to the days when the sub-genre first reared its head with the likes of the Jimi Hendrix Experience and Cream. Radio Moscow don't ignore everything that's happened since the late 60s, but their influences don't stretch too far beyond that time.

The thick fuzzy sounds of Hendrix are the biggest influence on Radio Moscow's debut and like their mentor, they have that innate ability to really feel their music. They play as a band not as individuals. The vocals aren't superb, but they don't hold anything back either and while no one is a great technician, the songs' riffs and grooves are monsters. They also draw some of their fat guitar tone from early ZZ Top and Wishbone Ash (when both were good) and throw in some of the bluesy trippiness of LA Woman-ear Doors for good measure. The acoustic blues of "Lickskillet" is as good as anything this side of Zeppelin III. Radio Moscow also brings a bit of swing to their rock n roll swagger, giving the album very subtle hints of jazz. In general, Radio Moscow plays loosely, but hold everything together in a strong groove. But the album's finale, "Fuse," just rips loose and instead of drawing to a close, they explode! It makes the whole album seem like a live set rather than a studio album.

This is blues rock as it was meant to be played, not as it was watered down by the hairspray-conscious acts of the 80s. The production, courtesy of the Black Keys' Dan Auerbach, is deliberately raw and the album has a decidedly live energy. However, unlike a lot of lo-fi recordings, this one is masterfully done, rough but free of noisiness and clipping.

If this was Radio Moscow's third or fourth album, I'd still be impressed with both their energy and their execution, but this is the debut! It may be a revival, but it is most certainly worthy of the past into which it taps. It's down to earth approach makes it easily accessible for anyone who simply likes their rock n roll a little on the raw side.

Rating: 7/10

Website

Myspace

Radio Moscow on tour!

Radio Moscow is on tour (joined by Witchcraft in November):

Radio Moscow tour dates :
Oct 13 @ House of Bricks - Des Moines, Iowa
Oct 16 @ Bali Satay - Ames, Iowa
Oct 17 @ The Hurricane - Kansas City MO
Oct 18 @ Under the Mooch Records (instore) Tulsa, Oklahoma
Oct 18 @ The Continental - Tulsa, Oklahoma
Oct 19 @ Double Wide - Dallas, Texas
Oct 20 @ Scoot Inn - Austin, Texas
Oct 21 @ Circle Bar - New Orleans, Louisiana
Oct 22 @ Chelsea's - Baton Rouge, Louisiana
Oct 24 @ Sluggo's - Pensacola, Florida
Oct 25 @ Martin's Lounge - Jackson, Mississippi
Oct 26 @ Grimeys (instore) - Nashville, Tennessee
Oct 27 @ Star Bar - Atlanta, Georgia
Oct 31 - Private Party - Lawrence, Kansas
Nov 4 @ Gypsy Hut - Cincinnati, Ohio
Nov 5 @ Belmont Bar - Detroit, Michigan
Nov 9 @ The Oasis - New London, Connecticut
Nov 10 @ Asbury Lanes - Asbury Park, New Jersey
Nov 11 @ Cary St. Cafe - Richmond, Virginia

Radio Moscow tour dates with Witchcraft :
Nov 16 @ Visual Arts Collective - Boise, Idao
Nov 17 @ Urban Lounge - Salt Lake City, Utah
Nov 18 @ Three of Kings - Denver, Colorado
Nov 20 @ Replay Lounge - Lawrence, Kansas
Nov 21 @ Vaudeville Mews - Des Moines, Iowa
Nov 22 @ The Entry - Minneapolis, Minnesota
Nov 23 @ Cactus Club - Milwaukee, Wisconsin
Nov 24 @ Double Door - Chicago, Illinois
Nov 26 @ The Crofoot - Pontiac, Michigan
Nov 27 @ Grog Shop - Cleveland, Ohio
Nov 28 @ Sound Lab - Buffalo, New York
Nov 29 @ Gothic Stone Church - Brattleboro, Vermont
Nov 30 @ Middle East Club - Boston, Massachusetts
Dec 1 @ The Bowery Ballroom - New York, New York

A review of Radio Moscow's self-titled album will be coming soon!

Review: St Phillip's Escalator - Endless Trip

Label: Living Eye

Released: 2006

Being a revivalist is a difficult task. How do you stay true to the past yet make it relevant in the present? The simple answer is...you rock! St Phillip's Escalator does just that.

There is no question where the heart of this Rochester, NY trio lies. St Phillip's Escalator brings 60s garage rock to you in a way that's authentic and fresh at the same time. From start to finish, Endless Trip is a nonstop assault of fuzzy guitars, loose rhythms and ghost-of-Keith-Moon drumming that captures both the naivety of the 60s and the headlong dash into losing its virginity. This is no small achievement for a band with 40 years of history and analysis between itself and those halcyon days they're recapturing. They take the sweet pop sense of the British Invasion on dark walk through the psychedelic blues.

Produced and engineered by Chesterfield Kings Andy Babiak and Greg Prevost, who know a thing or two about the garage rock revival, helps St Phillip's Escalator create the most vivid picture of the past since Redd Kross recorded Teen Babes from Monsanto. With neo-garage bands popping up everywhere over the last few years, St Phillip's Escalator is one of the few that present the format undistilled. Endless Trip isn't just a snapshot though. It's more like a time machine.

Rating: 8/10

Website

Myspace

Review: Turbo Fruits

Label: Ecstatic Peace

Released: July 17, 2007

Most of Turbo Fruits' self-titled album's strengths and weaknesses can be summarized by simply reviewing one song, their cover of the MC5's cover of "Ramblin' Rose." Both versions attempt to release enormous energy on the listener in the same way that an atomic bomb releases it's energy on a target. It takes a smaller explosion to create the exponentially larger one. The trick with the music as with the bomb is for the small explosion to keep it together to reach critical mass and detonate the real blast. The MC5, live, on the first track of their first album, are like freakin' Oppenheimer. They walk that very dangerous line, not sure that they can control the process, but they do and the result is brighter than a thousand suns. Turbo Fruits on the other hand have the energy of the small explosion, a pedestrian, conventional energy, an energy that has been harnessed and used for simple purposes by countless bands. But they never reach critical mass before everything breaks down, the real explosion never goes off and, next to the MC5's atomic bomb, theirs doesn't just pale, it's as imperceptible as a firecracker.

Luckily, most of the album doesn't have to live up to the MC5, but that doesn't change what Turbo Fruits do well and do poorly. Often the songs are loose to the point of floundering, because few of them have enough substance to keep the music on even a meandering path. A few do have moments that get into a groove and "Volcano" adds some quirky stops, making me wonder why they didn't focus on being a little odd rather than just being unrestrained. They do try to infuse the music with a lot of energy, but they're not strong enough as either players or writers to split musical atoms.

Rating: 4/10

Website

Myspace

Review: Epsilons - Killed 'Em Deader 'n a Six Card Poker Hand

Label: Retard Disco

Released: June 26, 2007

If precision, refinement and crisp production are part of your idea of a great album, Killed 'Em Deader 'n a Six Card Poker Hand is probably not for you. However, if you like raw rock n roll energy, you've come to the right place.

Epsilons aren't just superficial garage rockers trying to stake their claim in the wake of the White Stripes. These kids (they were just finishing up high school when this was recorded) write songs that dig way down into garage rock history for a sound that is jagged, spastic and dark, yet soulful. It's not clear that come to it via historical knowledge or simply an innate understanding of what puts the rock in even rehashed garage rock. After all, they even cover "Stronger Than Dirt," an old Jay and the Techniques 60s soul tune, via a 90s remake done by the Mummies.

Either way though, they have managed to capture something special from the angry, unbridled punk of the opener, "I Hate (Your Face)," to the wild, noisy rock n roll of the closer, "Papa Told Me." The whole album is an almost unwieldy attack of loose rhythm, fuzzy guitar and snotty vocals with a dark, almost insidious, organ undercurrent that turns the whole thing into a psychedelic fun house. True low budget production keeps it just on the good side of the listenability line without losing even a half step in the album's mad dash to the finish.

However they come by it, Epsilons' maniacal interpretation of garage rock captures the details that elude many bands with many more years under their belts. It makes me wonder what to expect from these guys next.

Rating: 8/10

Myspace

Review: Pocus Whiteface - But It's Home b/w This Room Spins

Label: self-released

Released: May 23, 2007

After releasing a free internet only EP earlier in the year (which you will get on the CD that accompanies this 7"), London trio, Pocus Whiteface returns with this two song 7". Both songs draw from loose garage rock and tight, angular post-punk. "But It's Home" is a bit catchier and more instantly likable. It starts thin and builds in density, ultimately coming across much like the Buzzcocks meet the Stooges. "This Room Spins" is similar but abandons much of the pop sense of its predecessor. Instead, it's angular and agitated, with a dragging rhythm that creates tension within the song itself. After a few listens, it clicks and is a much more enduring track than "But It's Home."

This EP has decent variety for only two songs and it shows Pocus Whiteface's ability vary their sound without losing their sense of who they are. If that isn't enough to interest you, the 7" comes in a beautiful heavy cardboard sleeve and is pressed on heavy (180 gram)* vinyl.

Rating: 7/10

Website

Myspace

* [This was an error on my part. Apparently 180 gram vinyl applies only to 12 inches and would be unbelievably thick as a 7". Still, the vinyl they used is very high quality, so while the comment was incorrect, you get the point.]

Review: Nathaniel Mayer - Why Don't You Give It to Me?

Label: Alive Naturalsound Records

Released: August 21, 2007

Nathaniel Mayer is a legend in soul music, though lesser known outside of the genre. Once known for his sweet soulful voice, there is little of that remaining on his latest effort, released 45 years after his most famous song, "Village of Love." His now thin, raspy voice may not be what older fans recall, but the raw Detroit soul recorded here should still take them back to the days when the town's soul was so heavy that it influenced the burgeoning garage rock scene as much as it did the slicker Motown sound. In a sense, this record has as much to do with Mayer's influence on the MC5 as it does with his influence on R&B and soul.

Why Don't You Give It to Me? starts off with the title track, a straight blues number, and Mayer's vocals are shocking to the point that it seems like a novelty. His voice is thin and gravely and fails to convey much. However, the ride changes its character as Mayer's voice both improves and grows on you over the remaining eight tracks. Most of these take on a dark garage approach to soul msuic with loose, emotive rhythms and bluesy, psychedelic guitar. Mayer's band is filled out with some exceptional musicians, most notably Dan Auerbach of garage rock purists, the Black Keys. It is Auerbach's playing as much as Mayer's voice that brings the most out of these songs and it's no surprise that seven of the songs are group compositions. The closer is a cover of Delroy Wilson's reggae classic, "Dancing Mood." It may seem an odd choice until you hear Mayer and company nail it as a reggae-tinged garage soul number. If nothing else, it solidifies the idea that the initial misgivings with the opener are misplaced.

The production on Why Don't You Give It to Me? is poor to say the least...and it would be a crucial mistake to have it any other way. The album finds its way in walking that fine line between chaos and lifelessness, avoiding both and coming up with an album of tremendous energy. Mayer's voice may never quite resonate with all listeners, but taking some time to appreciate it as it is and to dig into the music that backs it will prove to be a worthwhile effort.

Rating: 7/10

Myspace: Mongrels

Mongrels is a Canadian five piece that is in sense a supergroup of lesser-knowns, drawing members from Tricky Woo, Bionic, Blood Sausage and Local Rabbits (I haven't heard of all of them either). They mix a stoner 70s hard rock influence with garage and soul to create heavy, sludgey grooves for singer Amy Turok's wailing voice. Two drummers add heaviness (almost like multi-tracking a guitar, but more natural) rather than the polyrhythmic approach you'd expect.

"Contemplating the..." moves slowly, but steadily with loose rhythms and mindnumbing riffs. Turok's voice is rich and full with the perfect grittiness and gives the song continuity as it gets heavier and lighter. The garagey soul of "City Living" is almost on par with the MC5, but the chorus is just a little too standard, with a common hook only slightly hidden beneath the rawness of the music. "All in My Head" has some searing guitar riffs without getting complicated. It takes advantage of their dual drummer approach and brings it all together with an upbeat, but soulful chorus that's catchy and anything but average.

Mongrels is like a one band embodiment of late 60s Detroit, bringing heavy garage rock and raw soul together into a near perfect mix. Sure, there are other bands doing this, but few are doing it as well as Mongrels.

Myspace

Review: Len Price 3 - Rentacrowd

Label: Wicked Cool

Released: May 29, 2007

There's a difference between cover bands and revivalists. The former, when done right (or as right as basing your existence on covers can be), sounds like a particular band. The latter, when done right, taps into the energy and soul of a band or a genre and brings it out for a fresh listen. A great cover band might be almost as good as a bad revivalist, but a great revivalist can do great things in its own right. The Len Price 3 is just one of those great revivalists.

I first heard the title track of the Len Price 3's Rentacrowd, on Little Steven's Underground Garage and liked it instantly. It didn't take long to figure out why: I also really like "Substitute" which "Rentacrowd" totally rips off. Nonetheless, they do it with style and passion and a perfect dose of edgy anger. They have that same ability to be melodic and chaotic that the Who had. Copy-catting aside, it was good enough for me to seek out the full release.

By and large, the album moves along at a fast pace, seeming even shorter than its 37 minutes. The trio doesn't get bogged down in long songs, but simply cut to the chase whether tapping into 60s British soul on "If I Ain't Got You" or fuzzy garage rock on "Girl Like You." They show they can create a great groove on "Cold 500" and a great hook on "Julia Jones." They provide a reprieve from the breakneck pace on two songs, the Byrds-ian jangle of "Doctor Gee" and the Beatlesque pop of "Mesmer." They even fill in the blanks between the 60s R&B of the Yardbirds and the Kinks and the 70s punk of the Buzzcocks and the Jam. Throughout all of this, they mix huge overdriven guitars, straightforward, driving rhythms and edgy lead vocals with the sweet harmonies that seldom accompany music that really rocks at its core.

Rentacrowd closes on a light-hearted note with the mellow psyche trippiness of "Australia," which even hints at the Beach Boys. Don't turn the album off right away though, because after an annoying four minute gap, the Len Price 3 has a nice surprise: a raw soul groove on organ, bass and really laid back drums supporting thin, echoey vocals. It allows the record to settle down at the end rather than being harsh and abrupt. Plus, it's as good as anything on the album.

With their second release, the Len Price 3 revives the British Invasion even if it's a one band show this time. Fuzzy guitar, solid rhythms, sweet harmonies and vocals full of bitter yet fun anger make up the kind of album that's just plain LOUD, whether you set the volume at one or eleven. It's nothing new, but near perfect in its own way nonetheless.

Rating: 8/10

Review: White Stripes - Icky Thump

Label: Warner Bros.

Released: June 19, 2007

Is there a tougher position to be in than following up a near perfect record? Probably not, but the White Stripes did a fine job by not trying to remake the stellar Elephant and instead stretching out even further on Get Behind Me Satan. While the latter was a half step down from its predecessor, it wasn't a let down because it was its own record and was still amazing. Now, that leaves the White Stripes in yet another difficult situation. Do they stretch out again or do they try to settle down into their sound and play it safe (or at least safer)?

On Icky Thump, the White Stripes keep the same course, but play it anything but safe. The album sticks to the same heavy, loose riffs and plodding rhythms that have worked so well for them, but the details change. The title track has the same Blue Cheer heaviness of "Blue Orchid," but adds a hooky riff and a prog break. "A Martyr for My Love for You" has a slow groove that builds and releases its energy and accents with organ. The amps are up to 11 for the heavy throb of "Little Cream Soda." "300 MPH Torrential Outpour Blues" is mellow with a restrained energy that only hints at its power, letting loose for only seconds at a time.

Other songs really go out on a limb. "Conquest" is a Spanish-influenced piece that retains its heaviness. It features great horns that accent wihtout beocming overbearing as well as Jack White's best vocals to date. While it doesn't really stand on its own, "St Andrew (The Battle is in the Air)" is an excellent album track freakout with bagpipes looped backwards and Meg's talking vocals. Just preceding it is "Prickly Thorn, but Sweetly Worn," a delicate folk song with bagpipe and deceptively good percussion. It sounds traditional without sounding old.

There are a few songs that don't quite live up to the White Stripes' standards. "I'm Slowly Turning Into You" stays close to the plan. It isn't bad by a long shot, but it doesn't challange anything either. While they regularly borrow from 70s rock, they usually choose from the best. On "You Don't Know What Love Is," they opt to lift a bit from Bad Company's "Shooting Star," a middling song that is anything but the cream of that decade's crop. Icky Thump's closer, "Effect and Cause," is a lighter blues rock song. It may not be the strongest song on the album, but it's a perfect finish that let's it down easy.

Once again, the White Stripes deliver, and thrive even, despite high expectations. Even though Elephant still remains their creative peak, Icky Thump raises the question: Can the White Stripes do any wrong? So far, it seems that they can't.

Rating: 8/10

Review: The Things - Major Bailey's Menagerie

Label: self-released; available through CDBaby

Released: 2004

I bought this at the same time that I picked up the Charms' So Pretty from CD Baby. There was a "buy three CDs and get them for $5 each" sale and I had two already, so pretty much got this one for free. The Things are a Baltimore garage rock band, so I thought I'd give a local band some support.

Major Bailey's Menagerie has some of the makings of a very good garage album. The music is raw and a bit sloppy. The rhythm section is competent, but more importantly, enthusiastic. The guitar is loud, chunky and dirty. While the vocals often have a second-rate Grace Slick quality, at least they're stealing from something a little off the beaten path. The band does mix things up with some slower, mellower tracks among the generally unbridled energy that runs through the album. The Things also capture the dark feel of 60s underground psyche and they pull off a fair cover of the Sonics classic "The Witch.".

The trouble with this album is that it is strictly rehashing something that's already been done. It isn't influenced by the garage/psyche/pre-punk bands of yesterday, it is a re-enactment and, even though it's a decent one, it doesn't really stand up well on its own. The one really significant difference between Major Bailey's Menagerie and its predecessors is that the production was probably a little better back then.

I doubt I'd pick up another album from the Things, but based on the energy on this one, I suspect they'd be worth checking out live. Perhaps in that setting, they could conjure up the past even if it isn't theirs.

Rating: 5/10

Review: The Charms - So Pretty

Label: Red Car Records (available through Cd baby)

Released: 2004

I picked this one up for $5 after hearing a Charms track (not from this album) on Little Steven's Underground Garage. I'm guessing the track I heard was newer and that the band has grown a good bit since this one was released.

The first thing that struck me about this six track EP was that I'd heard it before. Only last time the band was Joan Jett and the Blackhearts. Seriously, the first two tracks could be right off of Bad Reputation. By the time I got to track four, the Charms had laid off the Joan Jett and decided to do a cover. Ah, "Sweet Jane," nice. But this song is called "Candy." What's up? Oh, I was wrong, it's their own song, they only stole the good parts from "Sweet Jane." My bad. Finally, just after the halfway mark, the Charms give me something of what I expected. "So Pretty" is a raw, but catchy garage rocker with a nice dose of organ. The EP finishes up with a pair of non-descript tracks that at least aren't a complete rip-off of someone else's sound, but I'm actually thinking I like the Joan Jett stuff it started off with better.

I still have to go back and look up that track Little Steven played. Maybe I'll try a newer release rather than the cheapest one. I guess sometimes you get what you pay for.

Rating: 4/10