Stephen Duffy and Anthony Erickson comprise Fulton Read, a rather eclectic rock band based in Austin, TX. "Indivisualize" is their latest EP, which they describe as "a big boost in diversity with funky jazz breakdowns, improv jams and trippy segues, all next to a piano pop hook."
One thing about this band that is indisputable: you are going to have a hard time comparing them to anyone. With the wide variety of musical instruments and styles, I think it is safe to say they are carving out their own niche. Maybe all these interesting goodies are distracting me, but I am having trouble finding the hook. The other element that pulls away your attention more than anything else are the striking vocals.
Erickson's vocals are raspy and grating, with hints of Trent Reznor (Nine Inch Nails) coming through. They just don't seem to match well with this brand of music. Imagine what Trent Reznor would sound like if backed by Ben Folds - that is Fulton Read. Not exactly the most inviting thing to listen to, but some people will truly appreciate the fresh sound.
I would recommend Fulton Read if you like The Dwellers or Stereophonics. If you want to check them our for yourself, you've got nothing to lose but a little time and memory space - "Indivisualize" is available as a free download through their MySpace page. That's right..."after four years of recording, promoting, releasing and playing, Fulton Read has turned its back on music business as usual and determined themselves to release all their new music for FREE." Thanks guys, but don't go teaching a course in business anytime soon! Go buy a T-shirt so they don't have to sell another Saturn to make an EP.
I was pretty excited to sink my teeth into some new Wheat. I was attracted to their 2003 major label debut "Per Second, Per Second, Per Second... Every Second" after hearing the semi-hit single, "I Met A Girl", and the rest of the disc really grew on me. But after hearing their new one, "White Ink, Black Ink”, I may have to re-evaluate my fondness for this indie rock band.
"White Ink, Black Ink” was a real challenge for me to get through, from the electronica beats in the lead-off track to the dissonant piano on the album's closer, "Baby In My Way". While there are some moments of genius, I generally find the bulk of the music to be inaccessible. True to indie rock, Wheat thrives on being different, but in 2003 kept the experimentation grounded with solid hooks; on this one, I am struggling to find more than one song that I am in a hurry to hear again.
I would liken Wheat to a collision between Wilco and Radiohead, partly because of Scott Levesque's vocals. The music is purposely chaotic, which can be fresh and exciting here and there, but for an entire album it gets old fast. Sad to say, but I think "White Ink, Black Ink” ranks as one of my biggest let downs of the year. For those of you who dig exploratory pop rock and still want to check out the record, I'd point your ears to "Change Is", "Living 2 Die vs. Dying 2 Live", and "Music Is Drugs".
The Elms, one of Indiana's hottest melodic rock bands, are back with their fourth album, "The Great American Midrange". I have been a big fan of The Elms since I heard their debut EP in 2000, but they worried me a bit with the uneven "Chess Hotel" (their 2006 major label debut). I am happy and relieved to inform you that "The Great American Midrange" is a brilliant return to form.
I thought it would be appropriate to listen to the new record while driving through their hometown of Seymour, Indiana, while on my way to The Horseshoe Casino to play some poker. I don't think a better soundtrack for such a trip could have been crafted. With titles like "Country Fair" and "Back To Indiana", and a strong roots rock sound, the record just screams 'rock from the heartland'. The ballads can make you feel like you're on your back in a golden field, staring at that big open sky on a lazy afternoon...but without missing a beat they can rock it like a twister. The Elms have attracted some big names to perfect the sonic quality of "The Great American Midrange": the record was mixed by Adam Kasper (Pearl Jam, Foo Fighters) and mastered by Bob Ludwig (Rolling Stones, U2, R.E.M., many more).
Owen Thomas sounds as good as ever; his versatile voice gently sways to falsetto and back again on the tender ballads ("A Place in the Sun" and "The Little Ways"), but can rock out with the best of them amongst the crunchy guitars and thumping drums ("Strut" and "Thunderhead"). What I like best is that the boys have returned to the more classic Elms sound, with big hooks and sing-a-long choruses, and they kept their lyrics smart, positive, and inspiring. My favorite song is "Unless God Appears First", which encapsulates everything I like about this band. There isn't a dud in the bunch, but the other must hear tunes include "Back To Indiana", "This Is How The World Will End", and "The Wildest Heart".
"The Great American Midrange" is a terrific record - one of my favorite records by the band and one of my favorite records of 2009 so far. You'll like The Elms if you dig Tom Petty and the Heartbreakers, "Scarecrow"-era John Cougar Mellencamp, or just about any other Midwestern rock outfit.
"The Great American Midrange" drops September 15, but if you pre-order now, you can get an autographed copy, bonus download, and host of other goodies. There is also a very reasonably priced option to get an acoustical interpretation of the album in its entirety.
It has been since 2005 that we've heard anything from the Canadian band Our Lady Peace, known to most for their string of alternative rock hits in the late 90s (including "Superman's Dead" and "4 AM"). The distinctive vocals and unusual inflections of Raine Maida may not be pleasing to everyone's ears, but one thing these guys have consistently done is write good pop rock songs under the guise of "alternative". Long-time fans often complain that the band's sound has evolved to be too commercial and mainstream since 2002's "Gravity", which spawned the awesome hit, "Somewhere Out There", but I for one have enjoyed them more and more with each release.
Which brings us to their new record, "Burn Burn", the seventh album. While "Burn Burn" was hyped as a return to their older sound, I actually think it is a logical extension that picks up where they left off with "Healthy in Paranoid Times". In other words, "Burn Burn" is a slick and well-produced record, full of hooks and more straightforward lyrics, and finds Maida sticking to a more accessible vocal tone, minimizing those strange inflections and grating falsetto that were his trademark in the 90s. To me, these are good things. Everything from the ultra catchy single, "All You Did Was Save My Life" to the upbeat and climatic bonus tracks pull you in with the hypnotic vocals, memorable melodies, and sonic brilliance. A very worthy addition to the Our Lady Peace discography.
One pet peeve - I really hate when "bonus" tracks are included on a "Deluxe Edition". Go ahead and include a DVD if you want on a "Deluxe Edition", but put ALL the audio tracks on the standard release. The standard release is only 10 tracks and the extra two included on the "Deluxe Edition" ("Time Bomb" and "The Right Stuff") are excellent rockers. The standard release needs those rockers because otherwise it is too ballad heavy. Fans should have been able to buy all 12 tracks on the standard edition without an inflated price!
Warren Charles is W. Peter Jacobson and C. Lucas Jacobson, a brotherly duo that can really tickle the ivories, along with your senses. Their 2009 effort, "When Chandeliers Sway", oscillates between jazz and funk, but is firmly attached to a ceiling of pop rock.
Immediately, you'll almost mistake the indie pop charm of some of these piano-driven tunes for Ben Folds or Barenaked Ladies, while the album closer "About a Week" sounds a lot like late 70s songsmith Rupert Holmes. Vocally, these guys are very good and liberal with their tight harmonies, and are solid lyrical scribes. The music is a bit eclectic at times, and some songs have parts that are quite disjointed; while this makes it a bit less accessible, it does keep things intriguing. Highlights include the smart and sharp opener, "Standing in my Way", complete with horns and a groovy vibe that makes it impossible to resist nodding along to the beat, and the equally infectious "Enter the Break". My favorite track is the rare moment they slow things down with "You Don't Know Me", which incidentally reveals the duo's cross-over potential into mainstream pop.
I recommend Warren Charles if you are a fan of Ben Folds, Barenaked Ladies, or Bruce Hornsby. Warren Charles delights with some of the best and varied piano-based rock you'll find today.
I just ate up the debut CD from retro popsters Vinyl Candy. Now they have returned with the sophomore effort, "Land". Like its predecessor, "Land" is drenched in Southern California sunshine, radiating with lush harmonies and sparkling melodies. There are all sorts of sweets in the Vinyl Candy bowl, flavors of bubblegum pop, psychedelic rock, pop rock, and more.
The musicianship, production, and vocals are amazing, dressing up songs that Roger Joseph Manning, Jr. himself probably wishes he'd written. Each song goes the extra mile to create a unique listening experience, but still play cohesively from track 1 to track 13. No matter what they do, Vinyl Candy has a distinct retro sound that classic pop fans will love to sink their teeth into.
In addition to the slick pop, "Land" also showcases more of a hard rock side to Vinyl Candy, as evidenced on tracks like "Fan Club History" and "Star Struck" that bring a little 70s-era Kiss to mind. The lead off track "I'll Be Fine" is my favorite, but you'd be remiss to miss the excellent "All Along the Way", "Gasoline and Tangerines", and "Learn How To Fly". I also liked the more laid back and stripped down (for Vinyl Candy, at least) ballad, "Want It So Bad".
"Land" is a concept album about a rock star's rise and fall, yet it is just impossible to listen to these grand and sunny songs without feeling better...and they are so catchy that the tunes and your good mood will last long after the last note is heard. Check out Vinyl Candy if you like Queen, Jellyfish, or ELO.
The Injured Parties - what a great name for a band! And their debut album title pretty much says it all...these guys from the Windy City exude a fun and wacky attitude with their music and lyrics, but strive to make some meaning of it all along the way. We're dealing with energetic yet quirky pop here, with a good dose of rock added to the mix.
The songs are actually very good - well-written pop with more than your fair share of hooks and harmonies. But what kills it for me is the voice - sorry, but I find the vocal tone annoying. It is very They Might Be Giants, so if they don't rub you the wrong way, it is a safe bet that you will really enjoy The Injured Parties. If you are a fan of Shake Some Action or Hoodoo Gurus, I'd also suggest you check out The Injured Parties too.
Highlights for me included the rollicking "American Comfort" and "Zingerman's Deli", as well as the driving "What We Talk About When We Talk About Love". However, my favorite track is "If You're Gonna Break My Heart", which inches into Material Issue territory.
Florez specializes in "tangy, groove-driven rock" with songs that "transform snapshots of life into catchy melodies". They've been kicking around Nashville since 2002 and have been steadily building a following. Florez has achieved a career highlight in 2005 by earning the opportunity to open for Gavin DeGraw in 2005, and brought aboard some more fans through some shameless (but smart!) self-promotion from band member Erik Huffman, who sported a Florez cap while participating in the reality show “Survivor: China” in 2007.
The 4 track "Not Alone" EP follows their recent "Yellow Shoes" EP from 2007. Florez manages to mix several different flavors of pop rock music, yet I can't decide if the chemistry is right. The hooks did not grab me immediately and the vocals are rather pedestrian. "Not Alone" strives to be indie and commercial pop simultaneously, and succeeds to some degree (I really enjoyed "Uncle Frankie"). But here's the bad sign: I didn't notice when the CD had looped back to the beginning and began to play again - I forgot it was an EP and didn't realize I had just heard the songs less than 20 minutes ago...that's how memorable they were!
While I look forward to hearing more from Florez, "Not Alone" is remarkably unremarkable. The tribe has spoken.
Just three songs into this CD and I was desperate to learn more about Benjamin r, wondering why in the world I've not heard of this guy yet. Robert Selvaggio, otherwise known as Benjamin r, has 'come out of nowhere' with his excellent debut CD, "The Other Side of Nowhere". My hope is that this release takes him somewhere big.
With a solid foundation in producing and recording acts from Jewel to Puddle of Mudd, Benjamin r decided in 2007 to track some of his own tunes. 2009's "The Other Side of Nowhere" is the result - lucky for us! Benjamin r generally writes in the style of Crowded House, and sounds somewhere in-between Mark Kano (Athenaeum) and - believe or not - Billie Joe Armstrong of Green Day (especially on "I Don't Need This Anymore", one of the strongest tracks on the disc). But for the more coffeehouse songs, he reminds me a bit of Elliot Smith (check out "Letters").
True, Benjamin r's expertise as a recording engineer shines on this sonically pleasing debut, but it is the pop rock sensibilities that have won me over. The first half of the disc is remarkably strong, infusing a bar band rock sound with catchy powerpop melodies on tracks like "Tell Me I'm Wrong", "Falling Apart", and "History". The second half of the disc is not bad by any means, but it did not capture my attention as quickly. All in all, a very strong debut, and I hope to hear a lot more from the other side of nowhere.
Strangefinger...strange name, but fantastic disc. "Into the Blue", the latest offering from SideBMusic, arrives just in time as the new soundtrack to summer. Since it comes from SideBMusic, you know it has to be good...and after I heard Chris Manning (Jellyfish) had a hand producing and mixing the record, I was waiting outside by the mailbox with eager anticipation for its arrival.
Strangefinger is pure power pop bliss - band leader and main songwriter, Freddie Lemke, has gone through hell and high water to get this record, which was recorded and mixed in 2005, to finally see the light of day. Persistence has paid off and Strangefinger's "Into the Blue" is destined to be a classic in the genre.
Maybe it is the album title or cover art, or song titles with "Ocean" and "Sunshine" in them, or maybe it is the sunny melodies, bright instrumentation, or positive vibe, or perhaps the heavy Brian Wilson influence in many of the songs, but numerous reviews have already remarked how appropriate "Into the Blue" is for the beach. And while these comments make perfect sense, I'd like to add for clarification that Strangefinger does not sing about the surf and sand; rather, the lyrics are much more interesting, rewarding the listener with something more substantial and contemplative.
We begin with a beautiful piano-driven pop tune called "Sleep", which is far from a snore, boasting a gorgeous melody sung with perfection. "Good Night" is a show closer and, while it may have been intuitive to place this at the end of the CD, it is ear candy wherever and whenever it is heard. "Piscetarrius" is another piano-based and harmony-rich ditty that is very reminiscent of Jellyfish. Strangefinger also demonstrate that they are not just a one-trick pony by showing a soulful side on the groovy track "System to the Grind". Additional highlights include a "lost in the 70s" ballad called "Two Angels" and the outstanding single, "There's An Ocean".
Strangefinger should appeal to a wide range of power pop and rock fans. Audition them for free by downloading "There's An Ocean" here.
Children Collide is a modern rock trio from Melbourne, Australia. Releasing EPs since 2005, 2008's "The Long Now" marks their full-length debut and is creating a buzz not only in their homeland, but also here in the states. Driven by the ceaseless energy of guitarist and vocalist Johnny Mackey, the music of Children Collide demands your attention and can shake you out of any stupor.
The band has a strong indie rock vibe that sounds modern, yet there are lots of flashbacks in their music to the 90s. In other words, there is the potential for a lot of cross-over popularity, drawing in today's rock fans along with those still dwelling in the last decade. My favorite track is the sizzling opener, "Across the Earth", which has definite Cult overtones. "Farewell Rocketship" is also cool in the way that is deceptively laid back during the verse, but then "blasts" you with their more typical noisy chorus. I also like the lyrics on this track. Others of note include "Marie Marie Part II" and "Brave Robot", the latter of which resembles The Killers.
"The Long Now" is masterfully produced by Dave Sardy (Dandy Warhols, Oasis, Wolfmother, Jet), so crank it up. Children Collide will be on tour with Jane’s Addiction before embarking on their own headlining tour. The sky is the limit, it seems. Children Collide should appease fans of modern alternative rock in the neighborhood of Jack Butler, Modest Mouse, and The Strokes.
If anyone is going to get me to listen to anything with electronica overtones, Livan(Lie’van) is the man who can do it. I am normally repelled by music that is heavily processed and industrial, but Livan brings plenty of rock guitars and catchy riffs to keep me listening. I would liken his style to a more rocking version of Depeche Mode.
His music comes at you fast and furious, with deep and intelligent lyrics ("do your math religiously") that pull you into his turbulent world. Livan has witnessed the hardships of addiction, politics, exile, poverty, and prison, giving him a copious amount of material to draw upon for his poetic explorations. Livan communicates his struggles with sincerity and humanity, never being preachy or assuming. Vocally, Livan has a good range, but stays predominantly baritone, sounding somewhere between two Peters: Peter Murphy and Peter Garrett of Midnight Oil.
Despite the intensity of the majority of the tracks, it is when Livan slows it down that he appeals to me most. "Where I Bleed" and "Still Around" are fantastic and have huge cross-over potential. On these tracks, Livan's strong voice is at its most emotive and the choruses are most memorable. I would like to also call your attention to the blistering opening track, "King of the World" and the very melodic "Underground". Many of you will also want to take note of his industrialized cover of "Shout" originally by Tears for Fears.
It seems like only yesterday we covered singer/songwriter David Brookings' "Obsessed" release (review here). But the prolific Brookings is back already with a new CD comprised of 14 pop treats. "Glass Half Full" is just as good as "Obsessed" - if not, better - brimming with a sunny outlook and shimmering melodies to match.
Brookings sounds more and more like the long lost son of one of the Beach Boys. His gentle voice just coasts and glides over the catchy guitars, and he throws in plenty of harmonies to boot. On his latest, it is evident that Brookings' lyrical themes are beginning to mature, as he now references the need to get babysitters and even has a closing track entitled, "Gettin Older".
Every song is wonderfully catchy and has the power to change your mood for the better. The top half of "Glass Half Full" is probably one of the strongest starts to any of his records so far (his 5th solo album), with radio-friendly gems like "Don't Wake Me Up" and "This Time Its For Real". Brookings doesn't slow things down often, but the dazzling ballad "Flashlight Love" might make you wish he did a little more. The happy-go-lucky feel of "One Lonely Word" makes it my favorite of the bunch.
Fans of 60s and 70s pop songwriting need to drink from the cup David Brookings offers on "Glass Half Full". Good to the last drop!
What better way to debut a new feature here on BMF that highlights rock movies than profiling the iconic "This Is Spinal Tap"?
In celebration of the 25th (!) anniversary, "This Is Spinal Tap" is now available on Blu-ray Disc (MGM Home Entertainment). All of the great extras that accompanied the DVD version are there - cast and crew commentary, deleted scenes and outtakes, their music videos, and more - but the Blu-ray Disc also contains two brand new exclusive features: Spinal Tap’s 2007 Live Earth reunion performance of their hit “Stonehenge” at Wembley Stadium and Nigel Tufnel’s interview for the National Geographic Stonehenge special.
For most people, this film needs no introduction. Put simply, it is the defining picture that brilliantly satirizes virtually every strata of the hard rock music scene. Spinal Tap (Christopher Guest, Michael McKean, Harry Shearer) is the fictional band that takes center stage, and we have a front row seat to witness the typical growth cycle of your average heavy metal band. From the unlikely rise to fame, the ridiculous excesses, the shoddy management, inevitable fall, and modest comeback, too many bands have followed in the footsteps of what was intended to be fiction. In fact, many bands have been quoted as failing to see the humor in this movie because they have actually lived every scene. This just speaks to how "in tune" with the music business the writers were, which included the stars and director Rob Reiner.
This Is Spinal Tap is beyond classic - it is the quintessential movie any musician or music fan must see, again and again.
I am really excited about this new hard rock outfit from Evesham in the Midlands (UK). Their new five track EP "Useless Souvenirs" flexes some huge muscle and shows incredible promise.
Stu Lister leads the charge with some powerhouse vocals that can still be heard over the thick and heavy guitar riffs. The five songs come at you fast and furious, but what knocks the ball out of the park is that their choruses are rooted in smart melodies, accented with many well placed harmonies. Great stuff to pump your fist in the air to. There is some room for growth, and Age would benefit from big league production, but "Useless Souvenirs" should be the ticket that helps them secure some significant backing. That said - there is a certain charm about the production...Age put the "raw" in "rawk"!
My favorite cuts include "Battery", "Your Last Day", and "I'm Not Done". If these guys keeps enveloping good hooks and harmony in crunchy loud guitars, and avoid the temptation to scream and rap, it seems inevitable that they'll be international stars in no time.
Age is one of those rare contemporary bands that will suit old school and modern rockers alike. I'd recommend you check them out now if you rock out to Hawthorne Heights, Three Days Grace, or Puddle of Mudd.
Rock bands have until August 7 to get in on the month-long competition and vie for the $7,500 first place cash prize. The runner-up will be awarded $2,500. Bands are encouraged to submit a CD or DVD to the resort with a photo or to upload a video onto YouTube.
The finalists will perform live on the casino stage for 30 minutes on weekends August 14-September 12. Fans and supporters, 21 and over, are encouraged to be at the casino during the performances. Judges will take crowd response into consideration when making their decision. The final round is scheduled for September 19 in the resort’s Windsor Ballroom.
There is a $4 cover charge for the preliminary round performances in the casino lounge. Tickets for the final showdown are $10 and may be purchased at the Hoosier Sugar Company in the French Lick Springs Hotel, on Ticketforce or at the door the night of the show.
To enter, groups may send a CD or DVD and photo to: French Lick Resort 10k Classic Rock Band Challenge 8670 W. State Road 56 French Lick, IN 47432
Or, simply upload a video to French Lick Resort’s Country Band group page on YouTube
Please note, quality of entry will have a direct effect on band selection.
The moody and powerful "Coast Is Clear" sets the stage for the new sophomore CD by Australia's Grand Atlantic. "How We Survive" is out to impress and Grand Atlantic is taking no prisoners. Uncompromising in songwriting quality and recording expertise (the record was mixed by Magoo, whose clientele include Midnight Oil and Powderfinger). Sonically, "How We Survive" sounds terrific.
More important, many of the songs also sound terrific, well-written and harboring to-the-point melodies that aim to grab you quick. Grand Atlantic has a sound along the lines of Carolina Liar or O.A.R., masterfully blending driving modern rock riffs with smart pop hooks and spot on harmonies. But Grand Atlantic doesn't stop there - they pay just as much attention to detail in their thoughtful lyrics.
The first single, "She's A Dreamer" fits this bill being a radio-friendly track that has it all. I like "Freeway" even better, which tattooed itself onto my brain even faster - the track is my favorite in the bunch. Other highlights include "Tripwires" and "Hit n Run/So Cold". Pop fans will delight in singling along with the sha la la of the infectious "Used To Be The Sensitive Type", and Jet fans should take note of "Holding Pattern".
The latest from Ted McCloskey is the musical equivalent of a Supersized ValueMeal. Loaded with 23 tracks, McCloskey's 2009 opus "One Night Bland" record has been divided into two distinct sections: the 'Prefixes', and the 'Remixes'. I initially thought this meant that the first half of the tracks were demos of the second half of the tunes - but that is not the case. These are 23 independent tracks, the 'Remixes' representing recordings first heard on his 2003 debut, "One Man Misery Parade". So set aside a sizable block of time to digest all of "One Night Bland".
The vocals are bipolar - most of the songs have that classic "raunch n' roll" tone - that characteristic rasp that sits somewhere between Robby Takac of the Goo Goo Dolls and Josh Todd of Buckcherry. But during a down-shift in the music, McCloskey appropriately sounds tamer - even tender - and like he didn't spend all night shouting at the waitresses while chain smoking in the bar.
The thing I love most about this record is the spirit - McCloskey is a purist for that classic rock and roll sound and attitude. Even better, he grounds everything with a strong hook in the chorus; as he puts it, his music is like "highly refined chaos". Ted McCloskey has all the swagger of the early Rolling Stones, the innovation of The Replacements, and pop sensibilities of The Kinks. In many respects, Ted McCloskey simply has it all, and "One Night Bland" is so packed with diverse songs I'd be surprised if you couldn't find at least one track that suits your taste. McCloskey throws at you gritty electric and acoustic guitars, slide guitar, harmonica, piano, banjo, and more...in tunes that range from good ol' rock n' roll to bar blues to honky tonk to coffee shop to that thing Beck does (check out "Let-Me-Go-Or-Let-Me-In).
For the Prefixes portion, my personal picks include "Tilt-A-Whirl", "Some Other Planet", and the very Replacements sounding "I'm Gonna Learn You How". For the Remixes portion, it is even more difficult to find highlights as so many of the songs are great, but I'll pick "Misdirected Karma", "A Passing Moment of Thought", "Beautifully Dead", and the terrific ballad, "Even If...". For anyone who loves rock - you need to reserve an evening for Ted McCloskey's "One Night Bland". Excellent, excellent record.
From Charlottesville, Virginia, here comes a piano-driven pop rock band called Tim Be Told (Tim Ouyang, Luan Nguyen, Andrew Chae, Jim Barredo, and Parker Stanley). In their words, "The name 'Tim Be Told' was inspired by the quote 'Truth Be Told', reflecting the band's musical ethos of honesty, hope, redemption, and change." Hot off the heels of winning the 2008 UVa Battle of the Bands, they are back with a new EP, "From The Inside".
You can get a sense of what this band is all about from comments made by singer/songwriter Tim Ouyang: "Music, for me, is the sincerest expression of the human soul. It has the power to heal the heart, and the strength to soothe its anger." Complementing this conviction, the band members are largely self-taught musicians; in other words, they are doing this for the love of the game, and that sentiment comes across loud and clear in these passionately performed songs.
Listening to Tim Be Told is a bit of an adventure, as the tracks infuse a dazzling array of pop, rock, gospel and blues. Lead off track "Analyze" sounds a lot like Train, but then lead single "System" veers into territory marked by Jason Mraz. The jangle and bounce of "Third Wheel" will delight power pop fans, while "Perfect" is a grand and soulful song, so full of gospel and blues influence that Joe Cocker will want to cover it. If you like any of the aforementioned artists, or others such as Five for Fighting or The Fray, you need to give Tim Be Told a try. "From The Inside" is about as heartfelt as records can get, whose diversity should satiate even the most discriminating musical palate.
The Fate Lions, led by songwriter and front man Jason Manriquez, have roared onto the scene with their new CD entitled, "Good Enough For You". It has a pretty lo-fi indie sound, but remains charming and melodic. The best resemblance that comes to mind is The Lemonheads, but also some traces of Golden Bloom (recently reviewed here), Teenage Fanclub, and the early jangle pop days of R.E.M. "Good Enough For You" is "an album title jokingly plucked from Manriquez’ own experiences regarding family and, oddly enough, food". It will be up to the listener to decide how good it is, but after a couple listens I think these guys could have a real future with proper backing and better resources at their disposal.
Manriquez has some keen instincts for pop rock songwriting, and the band incorporates plenty of elements like oohs and ahhs, hand claps, and tambourine to keep things interesting and enjoyable. One thing they should have changed some more is the guitar tone, but at least it is played capably. Manriquez comes across a bit of a slacker in the vocal department, but somehow it seems to fit with the musical and lyrical vibe.
By far and away the best track is "Seen It All", but I'd also like to call your attention to the driving "Starsign", which incorporates clever 70s style backing vocals over a breezy acoustic rhythm, the amusing "All You Do Is Crazy", and the clap-a-long treat, "The Girls Are Alright". "Astronaut" would have also made my list, but the distortion on the vocals was a deal breaker for me.
All in all, Fate Lions ain't half bad - now the question is: Is it "Good Enough for You"?
Bleu needs no introduction to readers of our blog, so I will cut right to the chase and tell you that his new record, "A Watched Pot" is nothing short of brilliant. I believe my hunch that this record would be an instant classic (read here) was right on the money. What does it sound like? Well, not quite "Twisted Sister meets Mister Mister", as Bleu sings in "Boy Meets Girl".
The first thing that struck me about the record was the number of slow to mid-tempo numbers. Nothing really accelerates much except the thrilling E.L.O. flavored "Kiss Me", which could easily have been written during his stint with L.E.O. - reviewed here). Normally a collection of slower tunes would be a turnoff for me, but these songs are so infectious, so meticulously produced, and so well sung that you forget their pace. Bleu sounds better than ever on this batch of tunes, pulling off some of the greatest vocal moments I've heard from him. Sandra McCracken (sounding very much like Sheryl Crow) duets with Bleu on the ballad "When the Lights Go Out" while The Get Up Choir contributes to "One Day", giving both tracks that little something extra to make it special.
To add to the majesty, many of these songs are augmented by a lush orchestral background. Every track sounds like it was written and recorded with "this one is the hit single" in mind (with the possible exception of track 6, which has a most radio-unfriendly title!). My three instant favorites include "Save Me" (kind of like a runaway Train hit), "Come 'n Go", and "One Day".
Overall, "A Watched Pot" boils over with hook after hook, spilling a very satisfying musical meal into your soup bowl...a musical soup so chunky that you'll have to listen to it with a fork.
Ray Mason (a.k.a. Ray Mason Band) is an old school veteran keeping the flame of retro rock alive. Quirky, fun, different, and always better with a few beers, he is back with the new CD, "Like Bugs Chewing on Paper", aiming to please long-time fans and recruit new ones alike.
With his beloved axe, the road worn 1965 Silvertone guitar, Ray Mason smiles and charms his way through another 11 jovial tracks. His voice is pedestrian but friendly, at times reminding me a little of John Hiatt. Mason's vocals beam with so much joy that it is obvious that he is in his element and wouldn't want to be doing anything else, despite 40+ years in the biz. His experience helps carry the record in terms of quality production and the wisdom to build your songs around memorable hooks and riffs. "Lunch Box" and "Eloise Please" exemplify this the most in my opinion.
You won't be "bugged" by Ray Mason if you like chewing on NRBQ, They Might Be Giants, or Marshall Crenshaw. Like the CD cover suggests, Ray Mason is inviting you to a carnival...if you can find the little kid inside you, his music is sure to delight.
Not long ago we reviewed the self-titled EP from notable eclectic pop artist, Alan Cohen (review here). The guy and his mighty 'Orchestra of Personality' have been busy as we've already received the new forthcoming EP, "Eat the Peace", set for release on Election Day (November 3). "Eat the Peace" includes six songs that examine the cycles between war and peace.
For the uninitiated, Alan Cohen Experience (ACE) has a reputation for recording some pretty far out and offbeat stuff, venturing into Frank Zappa territory, but sounding refreshingly unique to my ears. The bizarre lyrics and arrangements made the previous EP intriguing and, well, an 'experience' alright. Comparatively speaking, "Eat the Peace" sounds subdued and calm, almost to the point where it sounds like ACE is running out of energy. Alan Cohen Experience comes up a bit short in the hook department, but on the last EP they made up for that with providing an energetic and wildly dynamic set of tunes. I'm not feeling that on this latest effort. This time out, they use a more straight-forward Southern rock sound to tell a different story for each song.
The noteworthy track that I enjoy most is "Peace", where supporting vocals from Catherine Pierce (The Pierces) really shine (she contributes to "Ranger Stranger" and "Truck Driver" as well).
iPOD-worthy: 5
Note you can grab a couple tracks for free at their official web site - go check them out for yourself!
When it comes to intelligent music that is meaningful as well as entertaining for adults, we don't have a lot of choices. That is where Willy Porter steps in...
Since 1990, Willy Porter has been quietly wowing audiences around the world with his virtuoso acoustic guitar playing, soulful voice, and emotive lyrics. The guitar is stunning - a cross between the guitar gymnastics mastered by Michael Hedges and the pop sensibilities of Lindsey Buckingham. With his latest release, "How To Rob A Bank", Porter has outdone himself. Everything he's learned during his two decades in the trenches culminates here, resulting in one of the most consistently mesmerizing discs of his notable career.
I can't understate how terrific "How To Rob A Bank" is, and it just gets better with each spin. The tunes that don't quite grab you the first go around will sink their subtle hooks into you shortly, and you'll be glad for it. Porter covers a lot of ground on this CD, from his insightful looks into interpersonal relationships through experienced eyes, to a heart wrenching story about a multi-generational family of soldiers, to the despicable corruption in corporations and politics. Musically, he infuses numerous genres with ease while maintaining his characteristic sound, largely due to his acoustic guitar being front and center. These are the kinds of smart, hip songs you'd expect to hear at the end of an episode of House, M.D. Vocally, I would liken Porter's skills to the talents of John Mayer and David Mead.
There isn't a song I don't appreciate, but the tracks I am particularly fond of include the tuneful "Colored Lights", "The Lemon Tree" (probably prompting Paul McCartney to check his catalogue for possible pilfering), the Bob Dylan flavor of the sad but true title track, and the catchy "Psychic Vampire", which seems to be inspired by The Band.
I would recommend Willy Porter for fans of David Mead, Glen Phillips, and Dave Matthews Band. "How To Rob A Bank" will rob your other CDs of their share of your listening time.
I never really gave Mandy Moore a second thought - nice voice, but her discography generally is comprised of unremarkable, corporate teen pop. But then I heard that her new 2009 album, "Amanda Leigh" was making some noise in the power pop circuit, propelled by the fact that one of our modern day power pop heroes (Mike Viola) had a huge hand in writing, performing, and recording this record. With that backdrop, I had to tuck my tail between my legs and get my first Mandy Moore disc.
What a pleasant surprise. "Amanda Leigh" is a clear deviation from her past recordings, so long-time Moore fans should be forewarned: this is what REAL music sounds like! Moore has matured, and Mike Viola's stamp is on every track here - keeping the music organic, throwing out the dumb drum machines, and incorporating his staples of harpsichord and (sigh) toy piano. Moore and Viola were inspired by 70s singer/songwriters, especially Paul McCartney, and you'll definitely hear that influence among these tracks.
By far and away, the best track is "I Could Break Your Heart Any Day Of The Week", but I would cite "Love to Love Me Back" and "Nothing Everything" as additional standouts. Most of the songs are exceptionally well-crafted and pay homage to their 70s idols by incorporating plenty of memorable hooks and harmony. Unfortunately, the CD is pretty damn dull in the middle, but it starts and ends very well.
Moore has sold over 8 million albums worldwide and now I can say that I am not ashamed that I own one of them. "Amanda Leigh" is not likely to outsell her previous work, but I applaud the new artistic direction her music has taken and look forward to where she is going.
Check out "Amanda Leigh" if you enjoy Kelly Jones, Lisa Loeb, or Mike Viola.
The latest sensation from New Zealand has arrived, and she is now crafting and recording exquisite pop songs in Hollywood. "Right Here" is the solo debut from Boh Runga, lead singer and guitarist of Stellar, Sony's biggest selling kiwi band.
"Right Here" is extremely impressive - Runga's sweet, captivating voice is second only to the sweetness of the memorable melodies she composes. Her pop instincts are sharp and the rock edge shows itself in exactly the right measure. A good mix of ballads and more uptempo numbers keep "Right Here" moving steady, providing a very satisfying listening experience through all eleven tracks. She is liberal with her angelic backing vocals and has recruited some first rate musicians to flesh out her songs, which generally revolve around love, loss, and hope.
There are just too many great songs to pick from, but I will highlight the starting trio: "Starfish Sleeping", "Evelyn" (see below), and "Dark Horse". Also noteworthy is "Be Careful", which features the distinctive voice of Serj Tankian (System of A Down) - how they managed to hook up is probably an interesting story!
Boh Runga is for fans of Tasmin Archer, Nina Gordon, and K.T. Tunstall. A truly excellent debut.
I thought I had seen the last of new releases by Boom Crash Opera, one of my favorite Aussie bands of all time. Over here in the States, BCO was tragically ignored for reasons I've never been able to resolve. At heart they are a straight-up melodic rock band, but their big and bold sound, rich with harmonies and orchestral stabs, gave them a unique sound.
Now they are back with "Dancing In The Storm", their first collection of acoustical renditions of thirteen of the best songs spanning their career. Most of the tracks are from the trio of their most extraordinary releases, including their 1987 self-titled debut, "These Here Are Crazy Times!" and 1993's "Fabulous Beast". I actually doubted how their big and bold rock songs would translate to the stripped down acoustic format, but that was foolish. These songs sound amazing like this and the vocals sound better than ever. Most of the songs are true to the original, with exception of "Talk About It", which has been dramatically reworked into a subdued and haunting piece.
Coming with a DVD of a 1993 MTV Unplugged (Australia) performance, this release is more than worth the money - whether you were a fan or not, I highly recommend you check this out.
Chris Daughtry is now feeling the other side of the double-edge sword of having a phenomenally successful debut album. The former American Idol contestant was subject to one of the biggest injustices in the history of the show by being voted off far too early in the competition several years ago. Perhaps a blessing in disguise, he went on to make one of the biggest selling records in recent times, gracing radio with plenty of melodic hard rock goodness. He is his own hard act to follow.
To help with the sophomore effort, Daughtry has enlisted the songwriting talents of Nickelback's Chad Kroeger, Brian Howes, Mitch Allen, and more. The disc begins with the in your face guitars and the soaring, badass vocals we all expect from Daughtry. After this fierce reminder that he is still a force to be reckoned with, he glides right into the more radio-friendly "No Surprise", following this up with three more pop-based rockers, "Everytime You Turn Around" (a personal favorite), "Life After You", and "What I Meant To Say". After this, the songs are OK, rarely leaving the ballad or mid-tempo pace, and not matching the quality we've heard on the debut. The latter half of the CD is very ballad heavy and grows tiresome, not helped by duds like the country-flavored "Tennessee Line".
Another complaint is that the record seems to be on a mission to impress with the guitars and bombastic production rather than the voice. Daughtry has an amazing voice, but it is a shame to hear it take so few chances and to persistently get buried in the excessively loud guitars. Lyrically, we're also on ho-hum ground: unimaginative and straight-forward, but at least not silly.
The record is solid, but Daughtry is just running in place. In short, the title of the first single pretty much sums up the record as a whole: no surprise. I hope he comes back with a vengenace on the third release to give us the record we know he has the potential to deliver.
Formed in 1985 (!) The Jayhawks have been quietly and consistently releasing masterpiece after masterpiece, pioneering a musical path that blends alt-country and modern folk rock. At long last, the band has blessed the musical community with their first compilation of twenty of the shiniest gems from their treasure chest full of precious stones. All of the essentials are here, from the early tracks on 1989's "Blue Earth" to their last (and my personal favorite) 2003 record, "Rainy Day Music".
That would have been enough, but The Jayhawks have given fans so much more with this package. Included is a second CD and a separate DVD stuffed full of B-sides, rarities, demos, alternate versions, and other previously unreleased tracks. Even more fun, the linear notes include a brilliant piece on the history of the band by PD Larson, as well as detailed stories behind each of the tracks on CD2. If you pick your copy up at Best Buy, you get an additional bonus CD with yet five more tracks. In short, a lot of bang for your buck even if you already own their entire discography. It is an outstanding package for newcomers who need to become acquainted with one of the most influential bands of the genre.
No iPOD should be without all of the songs from CD1 in this comprehensive anthology. As for the other material, die-hard fans will probably love every note, but I find a lot of it to be hit and miss. As with many collections of "residual" material, finding some diamonds in the rough is like finding an attractive person left at last call. I've done the hard work for you...
iPOD-worthy: CD1 - ALL TRACKS CD2 - 4, 8, 12, 14, 16, 17 Bonus CD - 5
Rhett Miller has returned at last with this self-titled follow-up to 2006's masterful "The Believer". During the break he spent some time with his old friends in the acclaimed alt-country band Old 97's to release the excellent "Blame It On Gravity". Frequent readers of this blog have probably noticed my fondness for both the Old 97's and Miller's solo work, and won't be surprised when I say his latest is unbelievable. Readers may be surprised that what I really mean is that "Rhett Miller" is unbelievably mediocre.
Obviously, Miller has been writing an awful lot and perhaps the well is running dry. Most of these songs are devoid of the sweet melodic hooks that make you keep coming back for more, and Miller's vocals come off like he isn't even convinced that these are strong songs. I have spun this record many times now, trying to find something to love, but I can only find things I like.
The element that has remained strong, maybe even gotten better, are his lyrics. "Haphazardly" for example, may be one of his most heart-wrenching yet. So don't get me wrong - this is a good record, but I don't agree with the many folks calling this his best release yet.
Taking its name from President Roosevelt's 1939 New Deal initiative, Works Progress Administration (WPA) is a conglomeration of similarly minded musicians, crafting music that is meant to inspire and enlighten while it entertains. An impressive list of stellar talent has had a hand in steering the music that has found its way onto the self-titled debut record, due September 15. The founding members are listed as Glen Phillips (Toad the Wet Sprocket), Sean Watkins (Nickel Creek), and Luke Bulla (Jerry Douglas Band/Ricky Skaggs/Lyle Lovett), but substantial contributors include Sara Watkins (Nickel Creek), Benmont Tench (Tom Petty & the Heartbreakers), Greg Leisz (Joni Mitchell), Pete Thomas (Elvis Costello and the Imposters/Randy Newman), and Davey Faragher (Elvis Costello and the Imposters/Cracker). The founding fathers are regulars who interact at the legendary LA club, Largo, which is the very place Phillips recorded his 2003 live record.
As if that isn't enough name dropping, WPA partnered with Jim Scott to do the engineering; he's worked with the likes of Wilco and Tom Petty & the Heartbreakers. So with all this talent on board, is this project right on track or a messy train wreck?
The twelve songs include some of the "best" of unrecorded material from various members, as well as some tunes specifically written for the project. Remarkably, the record has tremendous cohesion, despite the myriad of styles and vocal tones each team member brings to the table. I'll admit I was attracted to WPA largely because of Phillips, whose solo efforts and work with Toad remain some of my favorite recordings of all time. For those of you who share my taste, be warned that WPA is markedly country and Americana, with lots of fiddle and pedal steel. For those familiar with the 2004 Nickel Creek-Phillips collaboration, Mutual Admiration Society, I think you'd agree that WPA sounds like a logical extension of that effort. It isn't too Hee Haw (with exception of "Wedding Or A Wake"), but it is the most country-flavored release of Phillips' career.
Of course, this is not a Glen Phillips record - WPA is more like a modern day version of The Eagles, with Phillips, Bulla, and the Watkins siblings taking more or less equal turns on lead vocals, with plenty of masterful harmonies throughout (in keeping with the Eagles analogy, they even have a song called with "Already Gone" in the title!). As with most of the other work from these artists, the lyrics are almost always reflective and philosophical.
There is a good mix of slow versus mid-tempo songs, with the disc lending itself well as a soundtrack for watching sunsets on the back porch. Two of the most enjoyable and more upbeat numbers are right up front, "Always Have My Love" and "Good As Ever", and the haunting ballad "Rise Up" is deeply compelling (all sung by Phillips). Several of the other highlights from the record include the buoyant little ditties "Paralyzed" and "You're Already Gone". The album's closing piano ballad, "The Price", tenderly sung by Sara Watkins, is one of the finest songs I've heard this year; it was actually written by Tench more than two decades ago during his tenure with the Heartbreakers.
A more appropriate name for this project could not have been selected. No one is a hero in this outfit, and when egos are sacrificed for the betterment of the whole, you get a success story like the first record from WPA. While some of these tracks take two or three spins to appreciate, each listen brings a new reward. Today's music world needs a New Deal, and the biz could learn a great deal from the spirit driving WPA.
iPOD-worthy: 1, 2, 4, 5, 6, 8, 12
Take note that if you join the mailing list through their main web site, you can get a free mp3 of "Always Have My Love".
Live Daily have launched an exclusive John Mellencamp signed guitar contest. One grand prize winner will win a copy of the new live CD "Life Death Live And Freedom" along with a Fender Squire Telecaster guitar signed by John Mellencamp.
Don’t miss your chance to score the new release and a sweet piece of rock memorabilia.
One Grand Prize: - Autographed Fender Squire Telecaster guitar arctic white - Life Death Live and Freedom CD
Five Runner-up Prizes: - Life Death Live and Freedom CD
From Salt Lake City we have Michael Gross and the Statuettes, who have just released their new EP, "Dust and Daylight". The music is right at the border of pop and indie rock, so fans of both camps should be able to find something on there that will tickle their fancy.
"Dust and Daylight" sounds distinctly 80s with all the muted electric guitar driving the rhythm and Gross' early Bono-esque vocals. Reminds me of a cross between The Refreshments and Cheap Trick. The production is a bit on the lo-fi side, but does not distract from the catchy riffs and the heartfelt vocal delivery. While no single song is over the top awesome, every single song is pretty damn cool. Some big time production and engineer could take the skeleton of these songs and catapult them to radio-friendly gems that everyone would want to blast out of their speakers.
His partners in crime, the Statuettes, and indeed a little 'stiff'. With some loosening up and additional creativity, the tunes might sound more compelling on each listen rather than tired. Still, "Dust and Daylight" is a solid debut that has a retro rock charm and overall fun vibe - very cool for summer! "I've Been Wrong Before" is the clear outlier here, but "Novocaine" and "You Can't Get What You Want" are becoming more enjoyable with each spin.
Light in August is an indie quartet from Ann Arbor, Michigan that has been honing their craft since 2007. Being classically trained, they have a rather sophisticated and eclectic edge to their brand of pop rock, which could be classified as "prog folk". Alex Wand's songwriting and vocals have parallels to Cat Stevens; Alex also plays the guitar, sitar, and flute. "Places" has a bit of a coffeehouse feel to it, but on occasion you'll hear some smattering of distortion to disturb the rather tranquil nature of most of the tunes.
Light In August is not love at first sight for me; I'm not really finding too many reasons to play these songs again anytime soon. Not too many hooks, the voice is so-so, and I am not a big fan of the flute. Like Joe Christmas in the Faulkner novel, the music of Light In August is mysteriously complex; one minute you like it, the next you may not, but the one certainty is that it is engaging. I'd recommend this for fans of Frente!, Nick Drake, or Jethro Tull.
Those of you familiar with indie rock band Signal Hill Transmission (reviewed here) may already know Scott Warren, whose first solo effort "Quick Fix Bandage" drops on July 28. "Quick Fix Bandage" is described by the artist as a "collection of subtle yet powerful reflections on loves lost and found and the crossed wires one encounters along the way." Regarding his musical style, Warren reveals, "I'm influenced by songwriters like Bob Dylan and Ray Davies, but at the same time I'm inspired by things happening here and now".
A diverse list of talent has contributed to the record, including Brian Young, (Fountains of Wayne, The Posies), Tommy Rickard (Michelle Shocked, Linda Perry), Taras Prodaniuk (Lucinda Williams, Richard Thompson), and many more. The result is a wonderfully cohesive record grounded in roots-based rock. But what really separates "Quick Fix Bandage" from the pack? Warren's pop instincts combined with the multiple layers of musical complexity provide a record that gets more enjoyable with every spin.
There is just enough country twang augmenting these acoustic-driven songs to provide a sorrowful feel when appropriate, but never enough to make you think this is a country record. Warren's lyrics are poetic, and his voice has a gentle urgency about it - soothing, but strong at the same time. The music on "Quick Fix Bandage" is true to the record's name - perfect for healing, introspection, or meditation during the sinking of the sun. Interspersed with harmonica, pedal steel, organ, and mandolin, each song sounds organic yet different from the last.
The most notable tracks include "Before You Say Goodbye", "I Got Your Back", and "Speed of Sound", the latter of which is my favorite. And you won't want to miss what Warren has done with America's classic, "Sister Golden Hair". Take note, you fans of Rhett Miller, Todd Herfindal, and Matt Nathanson.
