Review: Elizabeth and the Catapult “The Other Side of Zero”

Elizabeth and the Catapult is an indie pop duo comprised of Elizabeth Ziman and Danny Molad. On the heels of their acclaimed debut, their latest, “The Other Side of Zero”, was recorded with producer Tony Berg (Peter Gabriel, Phantom Planet, Jesca Hoop), and features respected sidemen such as guitarist Blake Mills and Tom Waits’ longtime touring keyboardist, Patrick Warren. As Molad puts it, “The record is more blatantly honest, even rude at times..." Elizabeth continues, "Even the happiest sounding pop songs on this record have a tinge of regret and darkness to them…And thank goodness for that. Ultimately that’s the only way I’d feel comfortable singing them. I’m drawn to the ambiguity like a menacing smile.”

If you like your pop music with a side of intelligence and quirkiness, Elizabeth and the Catapult is the band for you. Ziman and Molad have crafted a very enjoyable sophomore record that is utterly refreshing, yet retains smart melodies throughout that easily imprint on the mind. Ziman’s voice is delicate and unpretentious, not far removed from Colbie Caillat in tone and style. But the band’s music is more like XTC mixed in with Cake. The introductory track, “Julian Darling”, is a bouncy and cheery tune that effortlessly grabs attention. Even better, however, is the second track, “You & Me”, which should resonate with anyone who has felt like they were “dressed like a present that’s no longer wanted.” Heartbreaking yet catchy at the same time, this song is their most accessible and could even be a hit at radio. Additional highlights include the gorgeous piano-driven ballad “Open Book” and “Worn Out Tune”, which features one of the most hauntingly memorable choruses on the record. The experimental pop of “Go Away” is a tad too eclectic and “Heart Goes Boom” (bonus track) is a rather goofy dance track, both of which sound out of place on this otherwise consistently good indie pop record.

Elizabeth & The Catapult's “The Other Side of Zero” will be released on October 25.

iPOD-worthy: 1, 2, 4, 7, 8

Elizabeth and the Catapult on MySpace. Official site.

Check out a video:

Classic melodic rock CD of the week

By Stephen Kasenda

LILLIAN AXE "Psychoschizophrenia" (1993)

Lillian Axe had just begun turning people's heads with several hits from their "Poetic Justice" in 1992, just as the grunge wave came crashing in. The band tried to survive the change by releasing "Psychoschizophrenia", an album that incorporated a darker element and deeper essence to the music and lyric department, respectively. Big thumbs up to Steve Blaze who wrote all the songs - this man is simply a genius, not to mention the thrilling guitar solos he had on this album.

"Crucified" is a blazing opener, crushing forward with intense hard rock, followed by a groovy track of "Deepfreeze" with a wonderful solo. "Sign of The Times" has a combination of dark verses, a melodic bridge, and a catchy but rough chorus – it is a stunning delivery by the band and one of the best tracks off the album. A couple of great ballads on the record are unbelievably pretty. "The Needle And Your Pain" is dedicated to a late friend who died of cancer, and "The Day I Met You", an ode to the lost love, this track is emotionally sad and touching. Some other great songs that I like are "Stop The Hate", "Deep Blue Shadows", and the Japanese bonus track, "Here Is Christmas".

To sum up, "Psychoschizophrenia" contained a mix of early glam with a bit of alternative influence – it is a bit dark and heavy, but melodic and accessible at the same time. This is a grower and not an easy album, probably needs at least 4-5 spins to capture the magic of Blaze's ideas. A brilliant underrated album that came out in 1993!

Read more of Stephen’s features at MetalMusicArchives.

Review: Normandie Wilson “The Flower Box”

West Virginia native Normandie Wilson specializes in homegrown, vintage, DIY organic indie-pop (and painting). She grew up listening to 1960's music like Burt Bacharach, Beach Boys, and Motown soul while watching birds with her grandma. In fact, one of her goals outside music is to paint every species of bird. The question we’re concerned with here, however, is does her music make us want to soar?

“The Flower Box” follows her 2009 release, “Music For Smart People”, and continues her trend to defy musical convention. Lyrically, Wilson is heads above the rest, writing about familiar subjects like love and love lost with acerbic wit and humor. She makes no bones about wearing her heart on her sleeve and putting everything out there for all to see…warts and all. Same goes for her music, though. The collection is not without its warts, or perhaps “weeds” given the title. “The Flower Box” contains only five vocal tracks separated by four instrumental numbers. Most tunes are piano-based and quite beautiful at times, highlighting Wilson’s training in classic jazz. Vocally Wilson is not bad, but I think it is safe to say that she is an acquired taste for most.

Several of her tunes exude a 70s lounge feel with some soul or jazz peppered in for good measure. The end result is generally an amusingly warm and perky sound, but at times it comes across like a confused and drunken doo-wop group (take opening track “Elevator!” for example). Alternatively, the blunt and abrasive lyrics of “Been Cryin’ My Eyes Out” simply don’t mesh with the old-fashioned jangly piano and gentle retro horns at all – it sounds like a Ben Folds parody gone wrong. “I’m Not Dead Yet” is the most enjoyable to my ears. “I’m Not Dead Yet” is the type of song Wilson could really take flight with – cute and quirky, this is her element. The rest is, well, for the birds.

iPOD-worthy: 3

Normandie Wilson on MySpace. Official site.

News: Nelson comeback record coming soon

Here is a preview of the forthcoming "comeback" CD from the brothers Nelson. The upcoming record is called "Lightning Strikes Twice" and is described as the true sequel to their blockbuster debut ("After The Rain") from 20 years ago. Sounds promising!

Review: Bombastic Meatbats “More Meat” – Free mp3

The Bombastic Meatbats, featuring Chad Smith of Red Hot Chili Peppers and Chickenfoot fame, are back already with another serving of their jazz, rock, and funk fusion (read our review of their debut record here, which hit the iTUNES Top 10 Jazz albums and reached #48 on Billboard’s Jazz Albums Chart last year). “More Meat” is exactly what the title implies – another instrumental jam session by these ultra-talented musicians that aims to throw as many musical genres as they can into the frying pan.

Chad Smith and his fellow meatbats (Ed Roth on keys, Jeff Kollman on guitar, and Kevin Chown on bass) have even greater chemistry this time around. The 60+ minute record flows easily and, despite the musical variation, gels remarkably well, perhaps due to the fact that these jams were recorded in just a three day weekend. The first single is “Shag”, which has amore written all over it, slinking through your ear canal like vintage 70s silk. “Shag” proves that the Meatbats don’t give a damn about the world’s overpopulation problem. “Roller Girl” is another cool tune that stood out for me, with its retro lounge feel peppered with feisty modern guitar licks. But the greatest highlight for me was the opener, “Passing The Ace”, which finds the Bombastic Meatbats firing on all pistons to deliver the most accessible piece they’ve put to tape yet. Some of the tracks marinade a bit too long and still come out dry, but overall “More Meat” is melt in your mouth tasty.

There is a jam on here to suit whatever mood you find yourself in, and if you play Bombastic Meatbats at your next party it will surely be a topic of conversation. “More Meat” will be available October 19. But go to iTUNES for it, not your local butcher.

The band also gave permission to offer you a free download – check it out here!

Bombastic Meatbats on MySpace. Official site.

Review: Tumbledown “Empty Bottle”

Tumbledown is the brainchild of Mike Herrera, frontman for renowned 90s punk rockers MxPx. Combining his love for roots rock Americana (the likes of Woody Guthrie, Woody Nelson, Johnny Cash) with punk rock, Herrera has carved a rather unique niche out for Tumbledown. The two seemingly disparate musical genres actually have quite a lot in common – songs of hard luck sung with a lot of heart and a snotty attitude make up many of our country’s timeless classics. Tumbledown, which takes its name from the “tumbledown shacks” described in Guthrie’s biography, “takes the sepia-tinged image of Americana and sends it hurtling into the present”.

“Empty Bottle” is the latest from the band, following the notable self-titled debut (reviewed here). On this second release, Tumbledown sounds matured and comfortable, with Jack Parker providing plenty of licks and brothers Marshall and Harley Trotland providing plenty of kick on the stand up bass and drums. Bass is particularly important in this style of music and the country thumpin’ notes laid down here drive the music along like a rambling Ford truck speeding downhill on a worn dirt road. “Empty Bottle” may as well be a concept album about drinking, although other vices are usually mentioned as well. It’s not bad for a song or two, but such narrow lyrical themes begin to wear themselves out pretty quick. After the initial laughs, the lampshade over your head routine just isn’t funny anymore.

The raucous opener, “Places In This Town” is a promising way to start the record – classic Tumbledown sound with interesting chord changes and a big sing-a-long chorus. The bass in the title track is terrific, but it’s the chemistry of the band as a whole that makes “Meet The Devil” a better track overall. First single, “Arrested In El Paso Blues”, is a nod to Johnny Cash and will surely please fans of the first record. For my money, I’d bet on “Great Big World” and “Bad News” to be the favorites of new fans – these two are among the most radio-friendly songs the band has written. Finally, “A Thousand More Times” is a welcome change of pace, a ballad climaxing with some unexpected and effective strings.

Tumbledown delivers another solid slice of Americana punk, but it is a great big world indeed and I wish these guys would write about something other than drinking. Consequently, “Empty Bottle” goes down better as a quick shot rather than a fine wine.

iPOD-worthy: 1, 3, 5, 8, 10

Tumbledown on MySpace. Official site.

Review: Andrew Ripp “She Remains The Same”

Chicago singer/songwriter Andrew Ripp returns with his sophomore set, “She Remains The Same”, which follows his impressive debut record, “Fifty Miles To Chicago” (reviewed here). Also returning is that soulful rock and pop voice, sounding like a cross between David Mead and Jason Mraz.

Ripp sounds a little rougher and tougher on this outing, largely due to the raw rock edge coating several of the songs. The talented vocalist is well suited to this terrain and it hasn’t diminished his capacity to shine on ballads as well. “She Remains The Same” gets off to a fiery start with gritty rockers like “Growing Old Too Young” and “Savior”. Lead off track “Growing Old Too Young” is my instant favorite, encapsulating Ripp’s full potential and hitting all the radio-friendly buttons. “Star” is another likeable tune that I can imagine getting lots of airplay. The middle of the record, however, is weighted down with many slower, sleepy tunes. Bunched together like this, it makes going through the center a bit cumbersome. The exception is “Rider”, a murky and haunting song that has an enticing melody in the chorus that is well sung. The grit comes back in “When The Deal Goes Down”, but the choppy arrangement was a deal-breaker for me. “A Reason To Breathe” resuscitates the record briefly, but I did not enjoy much of anything else until the closing track. “Forever After Love” is a bare bones acoustic piece that lets Ripp’s vocals shine through – a tender song, beautifully sung.

“She Remains The Same” is a strong record, but doesn’t reach the high bar set by Ripp’s remarkable debut. Great performances, quality lyrics, but generally unexciting songs.

iPOD-worthy: 1, 3, 6, 8, 11

Andrew Ripp on MySpace. Official site.

Check out a video for “You Will Find Me”:

Kneejerk: Guster - Finger Eleven

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Guster “Easy Wonderful”

We haven’t heard from alt rockers Guster since their 2006 release, “Ganging Up on the Sun”, a somewhat uneven follow up to what many refer to as their masterpiece, “Keep It Together”. After a four year break, one would hope that the new full-length studio release would be stellar – four years is plenty time to gather an abundant crop of songs and sort the wheat from the chaff. My kneejerk reaction is that Guster still needs to work at this…yes, there are some crafty harmonies and clever instrumentation, but all of this means nothing if the song is not set on a solid foundation. Too many overt religious references also make the record uncomfortable for me to hear. “Easy Wonderful” is going to please their devoted indie pop fans and people who like hearing Jesus in the lyrics, but I do not anticipate that Guster will draw in too many new recruits with this one. The key tracks that work best include “Do You Love Me”, “This Could All Be Yours”, “Bad Bad World”, and “This Is How It Feels To Have A Broken Heart”. If Guster can play on these strengths more consistently, they might produce another cross-over hit to rival “Keep It Together”.


Finger Eleven “Life Turns Electric”

I’ve often wondered what it feels like for a band that has a breakthrough single that is nothing like most of what they write and perform. Canadian hard rockers Finger Eleven had a huge single in the sparse acoustic track “One Thing” a few years back, but this song is far from representative of what they normally sound like. Finger Eleven rock, and have been doing so in an increasingly melodic manner since “One Thing” hit it big. Three years since their last offering, “Life Turns Electric” continues along this trajectory, bursting with hard riffing verses and king size choruses. This time out the songs are short and to the point – mostly upbeat or mid-tempo numbers. The first single is “Living In A Dream”, which is a heavy funk rocker, but it is not as good as some of the other tracks. More radio-friendly cuts include the excellent “Whatever Doesn’t Kill Me”, the groovy acoustic rocker “Stone Soul”, and pop rocker “Ordinary Life”. There is a lone ballad at the end, “Love's What You Left Me With”, but like the other final few tracks it fails to thrill. There are only ten tracks, six worthy of repeat listens, so not a perfect album by any means, but a solid attempt.

Review: Alternate Routes “Lately”

Longtime readers of BMF know that I am passionate about the Alternate Routes, a pop rock band co-founded by Tim Warren (vocals, guitar) and Eric Donnelly (lead guitar) in 2004 (read my previous reviews here). From the beginning, the Alternate Routes have amazed me with the depth of their songwriting – rarely are such moving and intelligent lyrics surrounded by chillingly good melodies. As if it couldn’t get any better, Tim Warren’s warm and clear vocal tone wraps itself around every word, often building to a jaw dropping climax. It is with great dismay and disbelief that I find myself struggling to say something more positive about the band’s latest, simply called “Lately”.

“Lately” has its charms. After a prosaic instrumental opener, Warren’s vocals caress the ears like a gentle breeze on “Carry Me Home”, and it is inviting to hear his magical tone once again. But like too many of the songs on this record, “Carry Me Home” never takes off - we just taxi around the runway for nearly five minutes. “Rocking Chair” provides a little relief and sounds more like the Alternate Routes I’ve grown to love. Other highlights include “Love The Way”, which showcases a fantastic and inventive vocal, and the earnest ballad, “Raincoat”, but honestly, even those don’t grab me as much as their previous material. Producer Teddy Morgan brings a rougher edge to some of the tunes, but the band’s core sound is left intact. The problem, frankly stated, is that this batch of songs is rather dull and lacks the hooks needed to make them memorable.

Warren sings on “Tell Me Your Name” that he can’t smoke a cigarette sober, but is happy to just watch it burn. I think that is how I feel about “Lately”. I’ve given “Lately” more than its fair share of spins, and the subtle hooks do start to sink in with time, but I hope the Alternate Routes can get back on the main drag next outing…or fewer will want to join them on their journey.

iPOD-worthy: 3, 7, 11, 14

Alternate Routes on MySpace. Official site.

Classic melodic rock CD of the week

By Stephen Kasenda

GUNS N ROSES "Lies" (1988)

The follow-up to the major explosion created by "Appetite For Destruction" captured Guns N' Roses doing an intense and raw performance, portraying the band as rebellious youth seething with shocking naughtiness. Consisting of four live tracks and four acoustical tunes, "Lies" is an important release by the band, successfully bridging the magical moment of their crazy debut and the next big double-release hit. This album was often compared to Lennon's "Some Time In New York City" – they not only share similarity in their front sleeve design, but inside you'll also find live-recordings.

The first half of the album contains my two fave tracks, "Reckless Life" and a cover of Aerosmith's "Mama Kin", but the rest of the album shines too. "Patience" is no doubt one of their biggest ballads - just listen to the memorable whistling and the gentle acoustic strumming…mind-blowing! And this song is even better played live with electric guitar and drums. "Used To Love Her" is a fun sing-along track and the acoustic rendition of "You're Crazy" is also nicely delivered, but the huge controversy of "One In A Million" is a bit exaggerated since this track is among their weakest I believe.

"Lies" is definitely not their greatest, but it ain't no dull release - extremely underrated and condemned by many fans. It is a must-buy for hardcore GNR fans and good to have if you're a casual hard rock fan for the sake of "Mama Kin" and "Patience" tracks alone.

Read more of Stephen’s features at MetalMusicArchives.

Review: Farrah “Farrah”

If you are in the mood for some modern power pop, you really just can’t go wrong with Farrah. Farrah hails from the UK and consists of Jez Ashurst (vocals, guitar), Andy Campbell (guitar, keyboards and vocals), Michelle Margherita (bass, vocals), and Dana Myzer (drums, vocals). You’ll notice everyone contributes vocals, so you can bet there are plenty of harmonies to go around on a Farrah album…their latest self-titled effort being no exception.

Lead off track “Swings and Roundabouts” - a reference to how to life works - marches right into your memory with a happy go lucky piano line before swinging full blast into an irresistible Beatles-esque jam. The quartet delivers another winner with the lyrically smart “Stereotypes”, a nod to their Jason Falkner worship. “Scarborough” is a breezy, folky number that reminds me a lot of Fountains of Wayne’s “Valley Winter Song”. “DNA” is an amusing piece that wonders how emotions can arise from mere organic matter – a biologist’s wedding song, perhaps. Michelle takes charge of the vocal duties on “Got The Best Of Me”, providing a refreshing change of pace mid-record. But a string of four consecutive knockouts follows, including “If You Were Mine”, “Missed The Boat”, “Wasting Time” (the best of the slower tracks on the record), and “Just Driving”, which features the type of 80s-styled harmonies you might hear in a Jimmy Eat World tune. The tail end of the record fizzles just a bit, but this is largely due to the fact that it follows an oasis of particularly strong songs.

Farrah is for fans of Fountains of Wayne, Owsley, and Jason Falkner. Don’t miss out on these unsung heroes (and heroine) of modern powerpop!

iPOD-worthy: 1, 2, 3, 6, 7, 8, 9

Farrah on MySpace. Official site.

Check out the video for “Swings and Roundabouts”:

Review: Megan McCormick “Honest Words”

I was first introduced to Megan McCormick at a Toad the Wet Sprocket show, promoting her debut album “Honest Words”, which was released this August on Ryko. She was perfect as an opening act for TTWS and thrilled the crowd with her pop rock sound, which is generously seasoned with blues and soul. McCormick’s vocals match her musical style well, as she can wail when things are rocking out like Bonnie Raitt or move you to tears with her vulnerability on her simmering ballads like K.D. Lang. On “Honest Words”, which is produced by Grammy Award-winner Dave O'Donnell (John Mayer, Joss Stone, James Taylor), McCormick addresses love, life and addiction with wisdom and grace: "My songs reflect a deep look inward as well as the world around me. I find inspiration sometimes in my guitar, on a street corner, or even in a lover. The new album will touch on love, family, addiction and the never-ending search for self-understanding."

McCormick is a formidable guitar player, but this is much more evident live than on her album - on stage she really let loose, producing some jaw dropping solos. Highlights from her impressive debut record include more radio-friendly cuts like “Things Change”, “Do Right”, and “Addiction”, but be sure not to miss the raw, seductive nature of “Shiver” and “Drifting”. Some breezy ballads like “Wreck (I Could Change)” and “Oh My Love” serve to round things out and showcase her versatility as a songwriting and performer. Also, be sure not to miss the epic “Pick Up The Phone”, a powerful song of longing and regret.

While a little sleepy at times due to excessive balladry, “Honest Words” is a treat, and Megan McCormick – just 23 years young - is certainly one to watch. Honestly.

iPOD-worthy: 1, 2, 3, 4, 7, 9, 11

Megan McCormick on MySpace.

Review: The Riffbackers “The Curtain Shop And Alterations”

Time for some excellent powerpop and rock from Spain! The Riffbackers is the new project of Fausto Martin (guitar and lead vocals) and Nacho Garcia (drums), which follows the breakup of their former band, The Winnerys (Rock Indiana-Spain/Rainbow Quartz-USA). This time around they are joined by Octavio Vinck (guitar on Paul Collins’ Beat and Amaral) and Dani Montero (bass on Cooper).

The Riffbackers were born in the springtime of 2007 in Madrid and took nearly two years to craft their debut record, “The Curtain Shop And Alterations”. The album is a new 11-song set that is heavily inspired by 70s and early 80s pop and rock. Musically, the band sounds like a mix of The Knack and Badfinger, with vocals that are often reminiscent of Paul McCartney. These guys are no strangers to writing good song hooks with strategically placed harmonies.

The record blasts into action with the attention-grabbing cut “Now It’s Fine” - bristling with energy, it is sure to make your playlist. “Do It Again” is a mid-tempo follower that is equally catchy, with enchanting harmonies in the chorus that will have you singing along in no time. After a quick diversion with the country-tinged “You’d Do Anything”, the band bounces back with a snappy garage pop rocker called “Sometimes”. Additional highlights include the presumably autobiographical “Stupid Rock Star’s Dream” as well as the harmony-laden gems “Step By Step” and “Under Your Spell”. The guys showcase their love for Beatles-styled acoustic ballads with the terrific “After All These Years”.

“The Curtain Shop And Alterations” was released at the end of 2009 under the band’s own label, Rainbow Lane Records, and has been gaining accolades ever since. And now they have another one. Fans of catchy, crunchy rock and pop will not want to let this one pass by.

iPOD-worthy: 1, 2, 4, 5, 7, 8, 10, 11

The Riffbackers on MySpace.

Kneejerk: Posies – Jimmy Eat World

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


The Posies “Blood/Candy”

There’s something magical about those harmonies of Jon Auer and Ken Stringfellow, which bolster the clever pop of the Posies. Their long-awaited new release, “Blood/Candy” is true to its name in that it contains a mix of the sugary sweet melodies we’d expect from their early days and the darker, less melodious elements from more recent releases. The record, especially the first two thirds, is generally upbeat and wonderfully catchy – it will finally satisfy fans who have been longing for a return to their 90s output. This time around, the harmonies are plentiful and well placed, illuminating the intriguing song structures to result in tunes that are instantly likeable. With that classic mix of acoustic and electric guitars, “Blood/Candy” serves up its juiciest morsels right at the get-go with soon to be classics like “Plastic Paperbacks”, “The Glitter Prize”, and “Licenses To Hide”. The strummed goodness of the acoustic yet upbeat “So Caroline” is another welcome treat, followed by another standout entitled, “Take Care of Yourself”. The most brilliant example of the vocal synergy between the Posies can be heard in “Accidental Architecture”. With exception of “She's Coming Down Again!”, the tail end of the record is a little lukewarm, but overall you really have to struggle to find something you won’t like on this record.


Jimmy Eat World “Invented”

The sixth full-length album from emo-turned-pop rockers Jimmy Eat World tries to recapture the brush with success they had with their breakthrough, 2001’s “Bleed American” (also known as a self-titled release for those of you who purchased it after 9/11). Even “Bleed American” producer Mark Trombino is back at the helm, balancing the band’s 80s-inspired guitar tones with modernized distortion. But sadly what seems to be missing here are the contagious melodies. The songs on “Invented” are not bad, but they don’t hold a candle to the earlier hits, or even a lot of the tracks on the excellent “Chase This Light” from 2007. Shame. Strangely, the strongest cuts include the less energetic tracks “Evidence”, “Movielike”, and “Littlething”.

Review: Neil Young “Le Noise”

You would think that a legendary artist like Neil Young, who has been making music since the 60s, would have done it all by now. By the same token, you would think that Daniel Lanois, best known for producing landmark albums for U2, Bob Dylan, and Peter Gabriel, has also done it all by now. But one thing that these esteemed musicians have not done is work together on a record.

Young, soon to be 66, could have churned out another rocking classic like “Freedom” or solidified his label as the ‘Godfather of Grunge’ with another “Ragged Glory”. Or, he could have gone the tender folk route and delivered another “Harvest” or “Harvest Moon”. But collaboration between two pillars in the music world called for something truly remarkable. Something that hadn’t been done before – something that most people wouldn’t even dream of doing. But with countless solo records, not to mention his timeless work with Buffalo Springfield and Crosby, Stills, and Nash, what else is there for Young to do?

Lanois must have said it. “How about we record you and your guitar – nothing else.” Then Neil interjects, “But I’ve done an unplugged record.” Lanois retorts, “No, no…we do one with you plugged in.” “No band?” “No band.” Neil slowly nods. And out comes “Le Noise”. The collaboration is so intimate that Young got credit as the artist and Lanois (pronounced “Le Noise”) got credit in the title.

Few artists have the courage to be so exposed, so let’s at least give the team high marks for audacious, out-of-the-box thinking. For six of the eight new songs on “Le Noise”, all we hear is Neil’s electric guitar cranked to 11 and his signature vocals shouting and soaring above the distortion. Sound maestro Lanois does a remarkable job creating different sonic textures from these limited options and strategically places two acoustic numbers into the collection to cleanse the palate now and again. Despite their creative efforts, “Le Noise” is obviously not an album for everyone. Even the most ardent fan is probably left wondering how amazing some of these songs would have sounded if performed with an entire band.

But I don’t think that is what “Le Noise” is all about – it is meant to amaze through minimalism, and I found the record to be mesmerizing. While it is not an album I see myself playing from start to finish very often, “Le Noise” is astonishing in concept and execution. To listen to it straight through just once was an experience I will not soon forget – and that is what I imagine Young and Lanois wanted. Highlights include an old live favorite finally put to tape in “Hitchhiker” and the reflective closer, “Rumblin’”. While a bit redundant, “Walk With Me” has an urgency about it that I find difficult to ignore. The driving “Someone's Gonna Rescue You” features vocal dynamics that make the track a compelling listen as well. For those of you hoping for the softer side, Young delivers two incredible acoustic ballads you’ll want to cherry pick, “Love and War” and “Peaceful Valley Boulevard”. Easily the most accessible tracks among the eight, but also two of the best ballads Young has written in years.

Missing the sound of a full band, some will call “Le Noise” dull, perhaps even lazy. Others will insist that the sparse arrangements place focus on the guitar, lyrics, and sonic fireworks. Some will call it madness, others will call it genius. Some will say FTW, others WTF? What do you say?

iPOD-worthy: 1, 3, 4, 7, 8

Neil Young on MySpace. Official site.

Check out a trailer describing the making of “Le Noise”:

Le Noise Trailer

Neil Young | MySpace Music Videos

Classic melodic rock CD of the week

By Stephen Kasenda

ALICE COOPER “Trash” (1989)

I still have a vivid memory of playing this tape over and over again when I first discovered Alice Cooper years ago. "Poison" and "Bed of Nails" are my most fave tracks of the album and those two songs are the reason I decided to backtrack Cooper's early catalogue to learn more about him. "Trash", even though it was a more commercial approach and a far departure from his roots, is still highly enjoyable, especially if you're into the late-80s style of Aerosmith, Motley Crue, or Bon Jovi. This album is Cooper's best-selling release thanks to the several singles that were intensively aired back in the days.

The anthem "Poison" is a great album opener with its catchy chorus. "Spark In The Dark" is also a great track with some groovy riffs but "House of Fire" stole my attention. The refreshing nuance made this a fun party track. "Bed of Nails" is definitely the album's diamond - a brilliant up-tempo tune with a memorable chorus and killer guitar solo. "Only My Heart Talkin'" is a mandatory ballad, a beautiful one, and I love the screaming duel with Steven Tyler at the end of the song. "Hell Is Living Without You" is the second ballad attempt, quite okay but inferior compared to the prior. The title track is a decent filler but "This Maniac" is horribly boring, I always skip this track.

Produced by Desmond Child, fans expected a more commercial sound. The production value is acceptable and this album is perhaps not for his long time fans, but for glam/pop-metal lovers, "Trash" is a big gem not to miss.

Read more of Stephen’s features at MetalMusicArchives.

Review: Hollywood Tramp “Lies About The Truth” [EP]

Hollywood Tramp is a pop rock band with a funky twist based in London, England, and they’ve just released a new four-song EP entitled, “Lies About The Truth”. These infectious tunes wiggle themselves into your ears and head straight for the patches of neurons that govern your mobility. No lie, it is hard to resist the will to move to the beat and glide to the grooves set down by Hollywood Tramp.

Don’t let the name fool you – yeah, Hollywood Tramp sounds like a late 80s glam band, but these four lads won’t impress you with fret board gymnastics or mile high hair. But their music does possess a seductive lure, intertwining slinky melodies and sexy rhythms. In a phrase, Hollywood Tramp aims to get your body moving with irresistible pop rock hooks.

The opener and title track sizzles with funk guitar before launching into a standard pop rock sing-a-long chorus. The next track, “Undone” is very Maroon 5, with the bass and drums snaking their way around your eardrums. With its emotive vocal and relatable lyrics, “Undone” would fit well on commercial radio today. “Orthodox Paradox”, which touches on the deeper subjects of democracy and politics, is another engaging track featuring a strutting bass line that reminds me of the great Aussie band Boom Crash Opera. The EP closes with “Now That You’re Gone”, another sweet dessert that leaves you wanting more of Hollywood Tramp.

Check out Hollywood Tramp if you dig Maroon 5, Lenny Kravitz, and Prince. With their blend of contemporary pop and rock, it is hard to imagine this band not taking off in the UK and beyond.

Hollywood Tramp on MySpace. Official site.

Interview: Neil Nathan

Neil Nathan's debut record, "The Distance Calls", merges ’70s style jangle pop with modern singer-songwriter smarts. He is equal parts Cat Stevens and Matthew Sweet, and he recently took a few moments to entertain some of our questions…

Q: Neil – thank you very much for taking the time to chat. Let’s go back to the beginning; we’d like to hear about the time it first dawned on you that music was your calling…

Read the full interview now at Rock and Roll Report.

Our review of "The Distance Calls" is here.

Review: Nazatron “Fork In The Road”

“Fork In The Road” marks the debut release of an artist known as Nazatron, and comes to us through Rees Street Records, an independent record label from Melbourne. The music of Nazatron can be best described as a cross between alternative pop and electro rock.

Nazatron, which sounds like an 80s arcade game, is Genaaron Diamente from Australia. He’s always had a love for both music and computers, which explains everything about his style and probably has something to do with the title of the record. Listening to the nine tracks immediately call to mind Seal. There are a few moments of scorching guitars rising above the otherwise electronic noise, which may also bring forward comparisons to 90s electro-rock pioneers Garbage. Consistent with the mix of rock and contemporary computer-generated sounds, Nazatron’s vocals either adapt to the grit or lay softly within the beat. In this aspect, he is a versatile performer. Most songs have a tremendously dramatic feel, rich with orchestral stabs and sweeping strings.

Highlights for me include the soothingly cool feel of “Cordial Girl” and the terrific rock jam, “Hypersomnia”, which inches into Nine Inch Nails territory. But honestly, the heavy use of fake drums, electronic gibberish, and even auto-tune give “Fork In The Road” an overly synthetic sound that does not sit well with my ears. If there are great hooks and melodies lurking underneath all these distractions, he has hidden them too well.

iPOD-worthy: 3, 5

Nazatron on MySpace. Official site.

Kneejerk: The Gracious Few – Gin Blossoms

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


The Gracious Few “The Gracious Few”

Mix three parts Live (bassist, drummer, guitarist) and two parts Candlebox (vocals and guitarist) and you get The Gracious Few. The sound is pretty much what you would expect, but thanks in no small part to vocalist Kevin Martin, The Gracious Few sound pretty much like Candlebox. One is tempted to retort that The Gracious Few sound like Live without vocalist Ed Kowalczyk (his solo effort is reviewed here by the way), but that is inaccurate because Live could write good songs that generally did not bore you to tears. I was really looking forward to this collaboration, but there is little here to fuel any fire. The guys are trying to modernize the sounds of their 70s rock heroes but the results are anything but gracious, with wasted riffs and vocal talent rarely congregating around an engaging hook. The exceptions to this tragedy include “Sing” and “The Rest Of You”.


Gin Blossoms “No Chocolate Cake”

Everyone’s favorite pop rock band from the 90s returns once again with “No Chocolate Cake” – the follow up to the acclaimed comeback record “Major Lodge Victory” from 2006. The title “No Chocolate Cake” might seem to suggest this record is not a decent dessert to follow "Major Lodge Victory" – but this band can have its cake and eat it too. Their latest contains 11 more high-calorie tunes packing plenty of sugary melodies and sweet sentiments. There’s no new territory explored here, save the horn-laden “Dead Or Alive On the 405”, but to venture into new ground for a band like this would be a slap in the face to their fanbase. So the Gin Blossoms deliver what they do best. Standouts include driving rockers like “Don't Change For Me”, the built-for-radio single, “Miss Disarray”, and the acoustic-driven “Wave Bye Bye”. But don’t underestimate the pull of their mellow side, especially the breezy “I Don't Want To Lose You Now”, “Something Real”, and their best ballad in a long time, “If You'll Be Mine”. With a sagging middle bringing the record down a bit, I’m not sure it will be the first Gin Blossoms record I reach for when the mood strikes…but it is a worthy addition to their catalogue.

I don't know how long it will last, but you can download the new Gin Blossoms album in its entirety for only $3.99 at Amazon - well worth it! Click here.

Review: Joshua English “Lay Bare Your Bones”

Musicians like Joshua English draw more inspiration from the road than anything else. English calls two places home – Portland and Boston, but in reality he spends more time in-between these cities enamoring audiences with his brand of modern folk rock. His latest, “Lay Bare Your Bones”, could not have a better title…this collection of cohesive and laid back tunes are stripped down to the bare essentials, and allow English’s lyrics to come to the forefront.

“Lay Bare Your Bones” is a brutally honest look at life’s ironies, but every once in awhile English throws a hint of optimism with his “stick to your guns” message. His songs lack the processed bells and whistles common in modern music, but the skeletal nature of the arrangements gives the record an earnest and organic feel that is true to what English is all about. The simple style puts focus where focus should be – one the melodies and words. Exposed like this, one runs the risk of becoming too monotonous and sleepy, but English avoids this on highlights such as “M-LV”, “Nickel In”, and “Danny Drugs”. As for most of the other tunes, they would have been better if built on sharper hooks.

English has toured extensively with Frank Turner, Ben Nichols, and Jonah Matranga. If you like understated roots rock and folk with spicy lyrics akin to John Wesley Harding, be sure to give Joshua English a spin – it only takes 30 minutes.

iPOD-worthy: 3, 6, 8, 11

Joshua English on MySpace. Official site.

Classic melodic rock CD of the week

By Stephen Kasenda

BAD COMPANY “Here Comes Trouble” (1992)

“Here Comes Trouble" marked the end of Brian Howe's era in Bad Company after 8 years with the band since he replaced Paul Rodgers in 1986. For those who haven't heard of him before, Howe possessed a smooth pop-rock and laid back vocal which is a bipolar opposite of the bluesy voice of Paul Rodgers. The album itself is very different ...in contrast to their early hard rock roots you'll feel a breezy blow of the thick AOR winds, thanks to the major contribution of Brian Howe.

"How About That", the first track of the album, was their biggest hit, spending over six weeks on the chart. I found this song to be an enchanting and beautiful showcase of Howe's majestic voice. The next single, "This Could Be The One", is another acoustic power ballad gem, but "Hold On To My Heart" is definitely the best pick on the album. Looking for an uptempo track here is a tough job as most of the songs are slower but "Take This Town" and "Stranger Than Fiction" are great examples of Howe's songwriting capability. Avoid "Both Feet In The Water" and "Brokenhearted", but take a close look at the other great songs such as "What About You" and "My Only One".

The swansong release of Brian Howe in Bad Company is a forgotten jewel of '92, especially if you're fond of melodic rock and AOR genre. The production is warm with the highlight being Howe's voice and the superb compositions. I recommend you pick this up for those singles alone but you'll be swarmed with at least 7-8 wonderful songs inside, so how about that?

Read more of Stephen’s features at MetalMusicArchives.

Review: ISSA “Sign of Angels”

ISSA is a melodic hard rock band featuring the remarkable vocals of 26 year old Isabell Oversveen, an exceptionally gifted singer from Norway. Producer Ronny Milianowicz (Saint Deamon) is at the helm, and the project features masterful players such as Peter Huss on guitar, Uli Kusch (ex Masterplan, Helloween) on drums, Nobby Noberg on bass and Tim Larsson (Nick Lachey) on keyboards. ISSA is described as “Brother Firetribe meets Treat with tons of melodies, class and attitude”.

ISSA’s debut, “Sign of Angels” is a collection of highly enjoyable modern AOR. Her soaring vocals work well whether she is accompanied by shredding guitars or the sweeping strings of an over-the-top power ballad. The production is incredibly slick, almost to the point where the music sounds like it couldn’t have been performed by mere human beings, and they overdo the orchestral stabs in some places. The songs deliver the stereotypical themes of encouragement, love, and mild angst that you’d expect on an AOR release, but ISSA delivers the messages in style, shrouded in layers of solid hooks and harmonies. Lots of great tracks to choose from, but for me the cream of the crop consist of “I’m Alive” and “Closer”. For those of you who think there is still plenty of room in the world for more power ballads, be sure to check out “Give Me A Sign”, “Unbelievable”, and “It’s Not Me”.

ISSA is like a female-fronted Journey and, for a fan of AOR, I can think of no better compliment. "Sign of Angels" will be released in the US/ Canada on October 12th 2010.

iPOD-worthy: 1, 2, 3, 6, 7, 9, 11

ISSA - Official site.

Powerpopaholic CD of The Week - The Orbans

We're back with another exciting installment of the Powerpopaholic CD of The Week! Aaron Kupferberg (from Powerpopaholic) tells us about some of the best new power pop records by way of an audio review. This week's featured CD is "When We Were Wild" from The Orbans - just click below and enjoy!

Kneejerk: Weezer - Anberlin

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...



Weezer “Hurley”

Weezer is back with “Hurley”, which finds the prolific band revisiting the classic hooks of their more successful records. Fuzzy and crunchy guitars intermix around the band’s characteristic pop rock sound, making most of “Hurley” a worthy addition to the Weezer discography. Wonderfully upbeat and catchy tracks like “Memories”, “Ruling Me”, and “Trainwrecks” perk you up right away. Famed songwriter Desmond Child contributes to “Trainwrecks”, elevating this track to being one of the most commercial sounding on the record. The band lay their limitations bare on sparse acoustic tracks like “Unspoken”, but quickly cover them up with heavy riffs and sugary choruses like those on “Where’s My Sex?”. “Smart Girls” is a crazy dance-inspired track that provides a generous dose of the quirky lyrics and indie rock that we’ve come to expect. “Hang On” and “Brave New World” are also welcome invites to this high energy 30 minute party hosted by Weezer. As you can see, I found a lot of redeeming qualities about “Hurley”, and it is one of their most consistently fun releases in years.



Anberlin “Dark Is The Way, Light Is A Place”

Anberlin seems to be getting better and better with each release, realizing that in order to put a sustained mark on the musical landscape that you need more than heavy riffage and powerhouse vocals. Anberlin is poised for a major breakthrough with their latest record, which puts their talent to good use by writing memorable melodies and harmonies. The records rushes out of the gate with indisputable winners like the radio-friendly lead single “Impossible”, energetic cuts like “We Owe This To Ourselves”, “Closer”, and “To The Wolves”, and a crowd pleasing midtempo ballad, “Take Me (As You Found Me)”. What darkens my cheer about this record is the abundance of slower, less compelling tracks in the middle and at the very end. But, there are more winners than losers on this one, and the winners are truly some of the band’s best to date.

Interview: The Americans

The Americans’ Charlie Klarsfeld on working with Sean Lennon, The White EP, and the coming year

On November 16, modern pop band The Americans will release their sophomore effort, The White EP. The Americans have recruited none other than Sean Lennon to lend a hand with the new EP, which contains six genre-defying songs. It could even be argued that no one since Prince has blended rock, pop, and soul so masterfully as The Americans. Recently, lead singer Charlie Klarsfeld took a few moments to answer some questions about the EP, The Beatles, and the coming year.

Q: Thanks for taking the time for this interview! So, tell us how The Americans came together…

Read the rest of my interview with The Americans at Rock and Roll Report!

Read my review of their upcoming EP here!

Review: Kurt Baker “Got It Covered” [EP]

As you might surmise from the title, the latest from Kurt Baker, “Got It Covered”, is an EP of cover tunes. With this effort, Baker does justice to seven wonderful tracks from the early 80s. You can feel Baker’s love for these songs and artists shining through in his respectful versions. Filled with upbeat and catchy song choices, the EP plays like a party and Baker has the vocals and attitude to match. “Got It Covered” is a jubilant ride down memory lane and a great introduction to Kurt Baker. He even dresses for the part!

Kurt Baker is a singer, songwriter and rock n’ roll performer from Portland, Maine who has always gone by the famous saying “Have a Good Time All the Time”. He was the founding member of the notable pop/punk outfit the Leftovers, who formed in 2002 and have released many acclaimed records and have toured all over the United States, Europe and Canada.

The seven tunes Baker takes on for this solo EP include: “Let Me Out” (The Knack), “Hanging On The Telephone” (Blondie), “Pump It Up” (Elvis Costello), “I’ve Done Everything For You” (Rick Springfield), “Is She Really Going Out With Him?” (Joe Jackson), “Cruel To Be Kind” (Nick Lowe) “Turning Japanese” (Vapors). It is hard not to like any of these, but I must say Baker’s version of “Let Me Out” and “Hanging On The Telephone” were especially enjoyable. The project also features guest appearances from Kay Hanley (Letters To Cleo) and Adam Marcello (Katy Parry).

Kurt Baker on MySpace. Official site.

Check out the video for “Hanging On The Telephone”:

Classic melodic rock CD of the week

By Stephen Kasenda

TRIXTER "Trixter" (1990)

This New Jersey pop metal act actually had been playing together since 1985, but in 1989 they landed a good deal with MCA and went to Hollywood to record their debut. I heard a lot of Bon Jovi influence in their music and it is probably not a coincidence since they were raised in the same town as Jon. Honestly, Trixter can be considered a late comer on the scene and, with an average musicianship, there’s nothing really spectacular about them. But Trixter came out to have fun, to give you a lot of fun, and I catch their spirit throughout this album.

The first single, "Line of Fire", didn't hide their intention of borrowing Bon Jovi's arrangement. A decent track, but when "Heart of Steel" came into play, that's when I started to like them. With memorable lines sweeping across the sing-along chorus, this came out as their best offering. The first video release of "Give It To Me Good" rewarded them a top spot in an MTV show - the song is quite good, but the second video, "One In A Million", is much better and one of my all time faves. Loran's vocal is okay, Brown's guitar is good, but their weakness clearly is the drummer, Mark Scott. His play sounded a bit dull and weak and that's just sad. "Only Young Once" and "You'll Never See Me Cryin" are great as well, but the rest are largely forgettable, even though nothing's totally horrible.

Sound production is slightly below average, but thanks to several radio-friendly singles, this album went gold and Trixter enjoyed moderate success. Don't look for any virtuosity or complex songs inside - this is the type of album you want to play when you're out with the boys, for some casual fun getaway, or to get completely wasted.

Read more of Stephen’s features at MetalMusicArchives.

Urge Overkill - free mp3 download of new song

"In a span of about three years in the mid-'90s, Chicago rockers Urge Overkill dropped a hotly-tipped major label debut, 1993's Saturation; released a wildly popular cover of Neil Diamond's "Girl You'll Be a Woman Soon" on one of the decade's most beloved movie soundtracks, Pulp Fiction; then, on the verge of breakout success, flamed out and broke up. Now, fifteen years after their last album, they're back with a brand new album -- get a taste by downloading "Effigy" below!"

Story here. Free mp3 download here.

Review: Quakers On Probation “Every Living Thing”

You might think you’re seeing double when reading the list of band personnel for Quakers On Probation. Daniel Craig appears twice because this Yakima, WA band is a father-son venture, joined by Graig Markel and a number of other highly talented guests, including the late Grammy Award winning keyboardist Larry Knechtel. Their latest record is called “Every Living Thing”.

Quakers On Probation is an Americana, roots rock and folk outfit that is strongly influenced by the greats from the 60s and 70s, particularly the Beatles and Beach Boys. They call it “twanglepop”, and it is a spot on descriptor of the band’s sound. But in addition to strong melodies and expert musicianship, the lyrics are a true standout on “Every Living Thing”. The opening track reflects on human behavior and revenge with lines such as “You said if you pay it forward, well I say pay it all back”. “Yard Sale” is a solemn and bittersweet reflection of how certain material things are like living things that we cannot easily let go. “Lament for the Aging Rocker” is another treat, full of references to familiar acts now losing their hearing and hair, providing a tongue-in-cheek analysis of the egos interrupting the art. The tune asks if the boys in Def Leppard are going deaf, wonders who will outlive who (one of which has been recently answered), and righteously concludes that Cheap Trick will always be cool. The tune is a must for any rock music fan. Other highlights include “Your Favorite Song”, “I Know A Woman”, and the title track.The record closes with “Chevy Van”, a bonus track featuring a guest vocal appearance from NW folk legend Colin Spring. “Chevy Van” is a cover of Sammy Johns 1974 hit, which Knechtel originally produced.

“Every Living Thing” is one of those rare records you can listen to in its entirety and still want more. Indeed, a great way to “spend your Sunday stretched out on your couch.”

iPOD-worthy: 1, 2, 4, 5, 6, 10, 11

Quakers On Probation on MySpace. Official site.

Interview: Ingram Hill

Ingram Hill’s Justin Moore talks new album, label change, best band name ever, and reveals his Milli Vanilli-loving days

Ingram Hill is a pop rock trio based in Memphis, TN, excited to release their third album, Look Your Best, on September 28. Look Your Best is their first record on the Rock Ridge Music label, following 2004’s June’s Picture Show, which yielded the hits “Will I Ever Make it Home” and “Almost Perfect”, and 2007’s excellent, but underrated, Cold In California. We had the honor to ask Ingram Hill’s Justin Moore about the band’s new record and recent label change, and discover his secret Milli Vanilli-loving days.

Q: Thank for taking the time for the interview. I understand you and [guitarist] Phil have been friends since kindergarten, so I would guess that by now you almost read each other’s minds – How has your lifelong friendship factored into the songwriting for Ingram Hill?

Read the rest of my interview here.

Read my review of Ingram Hill's latest, "Look Your Best", here.

Review: Air Traffic Controller “The One”

“The One” is the debut album release for both Air Traffic Controller (ATC) and Sugarpop Records, and was produced by power pop/rock maestro Bleu. The main man behind ATC is Dave Munro, who has served in the US Navy as a real-life air traffic controller. The record was born while Munro was overseas, "Making music, at that time, was merely a way of coping with homesickness and a long distance relationship.” He recorded some demos and sent them home, not realizing that he was accumulating a fan base in Boston already. Not before long, an acoustic demo of "Don't Tell Me What To Do" charmed the pants off Bleu, who quickly signed on as producer for this full-length debut. ATC continues to generate additional buzz through a nod from MTV, a performance at the Boston Garden, and finally signing with Sugarpop Records.

“The One” is an impressive debut and, while it has Bleu’s fingerprints all over it, there is clearly a great talent shining through in Dave Munro. Munro has terrific instincts for pop rock and pens lyrics that are earnest and thoughtful. Munro’s voice is vibrant and well-controlled, sounding somewhere between Deathcab for Cutie and The Fray. The record begins with the haunting “Don't Tell Me What To Do”, which creeps up on you with acoustic guitars and quiet vocals, then morphs into a sweeping ballad with dramatic strings. The title track marches straight into your ear with an upbeat melody and catchy “mmm”s for backing vocals – an obvious standout on the record. “You Think You Know” is another perfect pop rock hit waiting to happen, and fans of Jeff Lynne are going to think he’s resurrected the Traveling Wilburys on “Can’t Let Go”. “Rain Song”, a Tom Petty-styled ballad, and “God Had A Plan” are additional highlights to sink your teeth into.

Air Traffic Controller is flying high with this one, so don’t miss it! I’ve been given permission to post "Can’t Let Go" as a free downloadable track for you, so go check it out now (download here)!

iPOD-worthy: 1, 2, 4, 5, 7, 10

Air Traffic Controller on MySpace.

Here is the video of “Can’t Let Go”:

Classic melodic rock CD of the week

By Stephen Kasenda

WINGER "In the Heart of the Young" (1990)

Winger extended the success of their debut and eventually reached their height with this album. "In The Heart of The Young" was also certified platinum and featured a more serious approach in the lyric department and displayed a more complex composition as well as even better guitar playing by Reb Beach. Three singles that became their hits back then are also among my all time fave Winger tracks. "Can't Get Enuff" is such a huge uptempo rocker, "Easy Come Easy Go" blows high with its catchy groove, and "Miles Away" is definitely their best ballad ever written…but funny thing is that the author of the track isn't Kip Winger, who basically wrote almost all of their songs.

There are two other great power ballads inside: "Rainbow In The Rose" that featured the trumpet of Chris Botti and Beach's fantastic outro solo, and "Under One Condition", although this one isn't as good as the others, it is still a very good emotional piece. "In The Day We'll Never See" is also an underrated uptempo tune - it has the big power and hooks. However, tracks like "Little Dirty Blonde" or the title track are relatively weak and can be considered filler. "Baptized By Fire" actually is quite good and I highly admired the insane intro, but when the weird rap came in, it's all over.

Winger is one of the few bands that never disappointed me. I love all their albums and this one is also surely loved by many glam fans. If only a couple of the tracks were better, I wouldn’t hesitate to give this a perfect five stars. Reb Beach is the ultimate highlight of the band but Kip Winger's warm voice is unique, calming, and comfortably blended with their music. Great stuff and four-stars is warranted, I just can’t get enuff of this classic!

Read more of Stephen’s features at MetalMusicArchives.

Kneejerk: Sara Bareilles - Crowded House

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Sara Bareilles “Kaleidoscope Heart”

Sara Bareilles is responsible for one of the most recognized piano pop tunes of the last decade, but without any memorable tunes after “Love Song”, most people have probably written her off as a one-hit wonder (read our review of her last record, “Little Voice” here). But I wouldn’t be so fast. While I don’t hear anything grabbing my ears as immediately as “Love Song” did, “Kaleidoscope Heart” has its dazzling moments. There is plenty of bouncy piano pop that fans have grown to love, with “Uncharted” and “King of Anything” leading the pack, and a couple of unexpected pleasures like the acoustic ballad “Basket Case” (yeah, I was hoping for a Green Day cover too, but it’s not!). “Hold My Heart” and “Breathe Again” are two more sweeping ballads that are very well done. I think Bareilles has delivered a follow up that is even better than “Little Voice” and in a just world she’ll avoid the one-hit wonder label.


Crowded House “Intriguer”

I’m always routing for Crowded House. A fan since their huge debut in 1986, I have long been enchanted by the subtle melodies crafted by Neil Finn (and his brother Tim). But to be honest, I got limited enjoyment out of the 2007 reunion album “Time On Earth” and I am even less thrilled with “Intriguer”. With the disclaimer that I usually don’t appreciate the songwriting genius of Neil Finn until a few spins later, I have to say this one is a real snoozer. “Saturday Sun” and “Inside Out” are about as peppy as they get this time around, and unfortunately the many ballads here are not as engaging as I had hoped. While some will argue this one is perfect for a rainy day, I’d much rather replay my Finn Brothers record from 2005, “Everyone Is Here”, instead.

Review: Dan Miraldi "Tease" [EP]

You may recall the name Dan Miraldi as the man supplying keyboards and vocals to the DC band Silver Liners, which we reviewed back in June (review here). "Tease" is his latest solo effort - a high octane, three song EP that follows his 2009 debut, "Thirsty" (produced with award-winning Jim McKell). "Tease" was recorded with producer-engineer Kyle Downes.

Miraldi has also been in Cleveland-based bands such as Cherry Flavored Elevator and Exit Suburbia prior to his current stint in the Silver Liners. He cites his influences as "women and booze", but his musical style was forged by listening to Beatles and the Rolling Stones, and modern day acts such as the Format and Green Day. Consequently, he writes pop songs that have a garage rock vibe.

I hope "Tease" is a prelude to a full-length record because it surely whets the appetite. The three energetic songs play to his strengths and deliver a memorable hook while flaunting his fondness for alternative and indie rock. The title track and "The Holy Roller Stone Revival" are my favorites, but the laid back "Lucinda" provides a nice break between the two. I recommend Miraldi if you like Material Issue, Posies, and The Knack.

Dan Miraldi on MySpace. Official site. Get it.

Review: Bucket and Co. “Guitars, Beers, and Tears”

Best known as the long time guitarist for Bad Company (beginning in 1990 with their blockbuster comeback, “Holy Water”), Dave 'Bucket' Colwell has just released his first solo album, “Guitars, Beers & Tears.” Bucket has surrounded himself with good company over the years, and many of his friends are featured guests on his record. The list is long, but worth articulating. We have Iron Maiden's Adrian Smith lending vocals and lead guitar to “Make Up Your Mind” and vocals on “Reach Out” (he sounds a lot like Sammy Hagar here), Edwin McCain on “Why You Call” and “Survive”, Steve Conte from The New York Dolls singing “If You Need Me At All”, Spike from The Quireboys on “Girl of My Dreams” and “I’d Lie”, Danny Bowes from Thunder on “Life”, just to name a few. To say that “Guitars, Beers, and Tears” isn’t comprised of one of the most diversely talented groups of musicians and vocalists is an understatement. The first concern is that Bucket and Co. is going to sound like a disjointed mess, but the record plays like one big all-star party straight through. It is surprisingly cohesive despite the revolving door of players and singers because nearly every song is centered on a strong rock hook with Bucket’s distinctive guitar licks taking it to the next level.

Bucket has a long and storied career in the music business and has appeared with many artists including Bon Jovi, Slash, Lynyrd Skynyrd, and ZZ Top to name a few, and you’ll hear bits and pieces of their influence and others throughout “Guitars, Beers, and Tears”. There are lots of excellent tunes that blend classic rock and blues with those sweet AOR melodies from 80s rock. Colwell is a terrific songwriter trying to bring fun, memorable melodies back into rock. My favorite cuts include “Make Up Your Mind”, “Why You Call”, “If You Need Me” and “Life”. The only tracks that didn’t work so well for me are those sung by Spike – sorry, but the guy’s voice is shot. He still sounds OK on a rough and tumble rocker, but he simply isn't suited for softer songs or ballads – it makes about as much sense as blowing your nose with sandpaper.

In my opinion, “Guitars, Beers, and Tears” is one of the most pleasant melodic rock surprises of the year. This is Dave 'Bucket' Colwell’s self-proclaimed labor of love, and it is a record that demands to be on everyone’s bucket list.

iPOD-worthy: 1, 3, 4, 5, 6, 7, 10

Bucket and Co. on MySpace. Official Site.

Review: Poobah "Let Me In"

Ripple Music once again dips back into the proto-metal time capsule to yank out another overlooked gem. The debut album from Poobah, “Let Me In”, originally released in 1972, has become a highly sought after classic. Poobah is an essential piece of hard rock history. The six songs on the original LP are restored here in their full jam band glory, in hopes that Poobah no longer remains one of the best kept secrets in rock music history. Ripple Music has bundled in twelve bonus tracks, from previously unreleased tunes to short on stage antics. “Live To Work” is my favorite song and has already been added to my Monday morning drive to work playlist. Poobah specialized in fuzzy hard rock and lengthy jams, and will appeal to fans of Cream, Black Sabbath, and Deep Purple. Guitarist Jim Gustafson and the rest of the band were ahead of their time and it is no wonder Poobah was called "the most collectible psych rock band in the world" by Goldmine magazine.

Poobah on MySpace. Official site.