Review: Jerzey Street Band “Jerzey Street Band” [EP]

Rock/Americana
It is understandable why you might think this band is from New Jersey, but they’re actually from the other side of the pond: Manchester, England. However, the band members were raised on the soulful American sounds of the Counting Crows, Bruce Springsteen, Bob Dylan and Tom Petty. Jerzey Street Band (JSB) manage to tightly pack all of these influences into the five songs gracing their self-titled EP out this May.

Formed by JSB front-man Dave Wrobel, the band characterizes their sound as a “freight train rock band…an Americana band with one eye firmly fixed on an ambitious wide-screen future and one eye on a glorious historical musical heritage.” And there is more of a connection to Jersey than being influenced by The Boss. The band’s 7-piece line up supported the likes of New Jersey legends Southside Johnny & The Asbury Jukes, Alabama 3, Sandi Thom and Jon Allen before recording this EP at the start of 2009.

These five tunes show superior craftsmanship in both structure and delivery, with thought-provoking lyrics and tuneful melodies. The vocals and musical style straddle the more melodic side of early Wilco with the grit of Son Volt. The first single, “Wasting Time” is an atypically sparse acoustic number that sounds more like a demo and doesn’t grab me as immediately as the sizzling rocker “Cold Feet” or mesmerizing ballad “Give The Rivers Back To The Rain”. “Rebels” is another highlight – an upbeat rocker infused with harmonica and harmonies that leave a lasting impression.

Jerzey Street Band on MySpace.

Listen to “Cold Feet”

The Best Albums You Never Heard

By Kurt Torster

Strangeways “Native Sons” (1987)

1987 - It was about this time in my life when I had two habits that were both essential to my life and ultimately, ridiculously expensive. First, my weekly fix of heading into the city (New York City that is) and haunting a dozen or so record stores where a $20 bill would let you walk out with about 19 brand new albums, all *cough cough* promo - not for sale *cough cough*. Secondly, my bi-weekly fix of reading what was then my musical bible, Kerrang! magazine. These two combined led me to amass close to 2000 albums over a very short period of time, most of which are those gems that have become AOR cult classics that outside of a small circle, very few even know exist.

Leading the way as a diamond in a very large rough is “Native Sons” by Strangeways. Headed by session vocalist Terry Brock, this is about as close to a Journey album as one can get without Perry, Schon and Cain performing it. Brock’s soaring vocals on a song like the mid-tempo never was hit “Only A Fool” only cement this fact and put him in a pretty small group of singers that to my ears can do no wrong.



But it’s all about the songs here, which still deliver almost 25 years on. Whether you’re looking to scratch that arena rock itch (with the driving “Where Do We Go From Here” or “Empty Streets”) or romanticize in the bombast of sentiment (the exceptionally written “Goodnight LA” or “Shake The Seven”), you’ll find it on what is a canvas of melodic perfection.





Research this one and you will find glowing reviews and high placings on almost every “best melodic rock” list around, including a #4 showing on Kerrang!’s all important fan voted best AOR of all time. All too often albums in this genre are tagged as “essential,” this is one of the times it’s every bit deserved.

The band would go on to record another exceptional album with Terry Brock, “Walk In The Fire,” before attempting one without him and calling it a day...until last year when they reunited for the Eagles-sounding “Perfect World.” Brock in the meantime has recorded a few solid solo albums as well as handling lead vocals on the last album from Giant.

Review: The Cars “Move Like This”

Rock/Power pop
Who would have thought we’d be treated to a new record from The Cars in 2011? Fans have waited a long, long time for new material from the champions of new wave power pop. Just how long have they waited? The last studio album from the Cars was “Door To Door”, released in 1987.

The new album has been percolating since 2009 as singer/songwriter Ric Ocasek contemplated what to do with his latest batch of songs - those crafted since his 2005 solo outing entitled “Nexterday”. Ocasek soon realized that his best option was the three players with whom he had the most symbiotic relationship. “I just thought, it’s been a long time since I played with these guys,” Ocasek says, “but they’re the ones that will do the best job. They’re the ones that I wouldn’t have to explain things to, they wouldn’t have to get used to the way I write, they’re already inundated with all that. I’ll just put out a feeler and see if they’d be interested in doing it.” He reached out to Greg Hawkes, Elliot Easton, and David Robinson, each of whom were excited at the opportunity to play together again. “It totally clicked immediately,” Ocasek says. “Everybody got right into it as if we had never stopped playing. After two days I thought, ‘Oh yeah, this is going to be cool.’”

It is easy to have lofty expectations and think the band might deliver another iconic release like their 1978 self-titled debut or the 1984 blockbuster “Heartbeat City”. You can’t go into “Move Like This” with that attitude or you’re going to be deeply disappointed. The record immediately projects the classic Cars sound, with that trademark quirky keyboard out in front of the riffing guitars, but you’ll soon realize that those big fat 80s hooks that permeated the choruses of the monster hits simply aren’t there. And that is a shame. While the record is a good listen that mixes nostalgia with a contemporary edge, I’m not finding myself wanting to sing along with a lot of these tracks.

Some of the new songs, such as “Blue Tip” and “Sad Song” (the first and second singles, respectively) provide examples of The Cars forging new lyrically territory, taking on topics such as multimedia conglomerations and how they influence our perceptions and opinions. These songs also best capture the signature Cars sound – they could almost have been included on their late 70s albums. “Too Late” is another pleasant and peppy track that comes close to the excellence we know these guys are capable of. “Keep On Knocking” is one of the heaviest tunes the Cars has recorded – the riffs are meaty, but the song doesn’t really go anywhere special. “Soon” is the first ballad on the record, a gentle albeit sleepy tune that lacks the charm of predecessors like “Drive”. “Drag On Forever” injects a little bluesy feel into the record, but the title says it all – the song is only 3:38, but just creeps along like a car with flat tires. “Take Another Look” is the second ballad – superior to “Soon” - but still sounding like a throwaway track pawned off to an 80s movie soundtrack.

The new record is an intriguing addition to the band’s discography, but unfortunately I don’t see it denting the charts. It is a grower that should satisfy most die-hard Cars fans, but most others are going to think the band is just spinning their wheels on this one. “Move Like This” comes out today.

iPOD-worthy: 1, 2, 5

The Cars – official site.

Check out the video for “Sad Song”

Classic melodic rock CD of the week

By Stephen Kasenda

RATT "Out Of The Cellar" (1984)

From the frantic prowling of "Wanted Man" to the blasting celebration of "Round and Round", Ratt epitomized the glam metal breakthrough in 1984. The twin guitar attack of DeMartini-Crosby and the slutty sleazy voice of Pearcy established a new genre called Ratt n' Roll. "Lack of Communication" has their trademark dirty rhythm and "Back For More" is so freakishly addictive, you’ll want to keep coming back for another listen. Other worthy tracks that were estranged and buried six feet under are "The Morning After", "She Wants Money", and "Scene of The Crime".

Going triple platinum is not an easy task but they sealed it - and thankfully they went big and positioned many newer bands…otherwise glam wouldn’t have lasted that long. Seeing Crosby's long time girlfriend Tawny Kitaen crawling in her lusty torn lingerie actually made it easier to spot this record in the local store. A truly influential album that you have to buy and listen to before you die!

Read more of Stephen’s features at MetalMusicArchives.

In keeping with Mother's Day, some videos...

Review: Carus Thompson “Caravan”

Singer/songwriter
The new album by Carus Thompson “speaks of his time on the road split over two Continents”. “Caravan” was recorded between studios in England, Germany, and his native Australia, and it is sure to add to the 30,000 CDs he’s sold independently so far. Despite being recorded in so many different locations, it is amazing how cohesive “Caravan” sounds.

As a struggling independent musician, Thompson is always feeling the heat of being up against the wall. This “do or die” philosophy permeates his music, providing the backdrop for many of the stories he tells in song. “Caravan” sparkles with clean and crisp acoustic guitars, and emotive strings placed in all the right places. His vivid lyrical imagery is also a cut above the rest. Thompson would appear to feel most comfortable around a campfire singing his ballads, but what I am drawn to the most on “Caravan” are the handful of upbeat numbers. Thompson’s melodic hooks have sharper teeth when the pace picks up, most notably on tracks like “You Can’t Find Me” and “You Made Me”.

This is not to discourage anyone from losing themselves in his slower material. “Imperfect Circle”, with its breezy mandolin juxtaposed against gritty lead guitar, and “Whistleblower”, with its gorgeous string accompaniment, are two prime examples of his gift for balladry. It is just my personal bias to gravitate to the peppier stuff.

Very much aligned with the likes of Damien Rice, Jack Johnson, and Neil Finn, Carus Thompson is clearly worth adding to your coffeehouse music playlist. Thompson is the real deal.

iPOD-worthy: 2, 4, 5, 12

Carus Thompson on MySpace. Official site.

Check out the video for “You Can’t Find Me”

Review: Skyler “Take You Away” [EP]

Pop rock
There are a whole lot of people – especially musicians - who would scoff at the idea that they could learn something from a 19 year old “kid”. But Maine’s pop rock sensation, Skyler, could really take them to school. Since third grade, Skyler has been working to make his musical dreams come true. By sixth grade he was a multi-instrumentalist, and just one year later had converted his bedroom into a recording studio. By ninth grade, he released his debut full-length album, followed by four more prior to graduation. He’s played 250 gigs to date and even found time to excel at Berklee College of Music for a year.

His latest EP, “Take You Away”, which arrived this April, is poised to catapult this young man into superstardom. With a voice and vibe that just makes you feel fuzzy and warm all over, Skyler is the tonic for troubled times. The EP begins with the shimmering “Empty Rooms”, a nifty little anthem that impresses with a memorable chorus and lyrics that demonstrate Skyler can write to universal appeal despite his young age. The mood grows sober with the acoustic picking at the beginning of “Hold On (Pray)”, but this song of encouragement swells with lucidity by the time the sparkling chorus rolls around. With uplifting strings and an infectious backbeat, the title track – quite the serenade - is guaranteed to win over the heart of any girl. The proper ballad is “It Kills Me”, complete with dazzling backing vocals during the guitar solo, which comes straight out of the 80s power ballad songbook. The party ends too soon with “Sentimental”, a worthy upbeat closer with breezy verses sandwiching yet another catchy chorus.

Skyler’s music is modern pop rock at its best – “Take You Away” will appeal to fans of Ryan Cabrera (whom he’s opened for), Lifehouse, and Michelle Branch.

Skyler on MySpace. Official site.

Listen to “Empty Rooms”

The Best Albums You Never Heard

By Kurt Torster

Loud & Clear “Disc-Connected” (2002)

In the early 2000’s, for a genre as dead as melodic rock (or AOR, hard rock or whatever else you want to call it), there were a fair amount of great albums released then that no one, save a small yet devoted following, would ever know about. A lot of them would find homes on many of the various European specialty labels at the time, and seemingly the cream of the crop was German house MTM. To go it one further, the cream of the MTM crop was this release from Loud & Clear.

The trio, hard rock at their core, took many cues from the sounds of the day and released an album vibrant, fresh and ultimately ignored. Using Van Halen like riffs, Def Leppard shout along bombast and boy band pop melodies, the album has a very familiar feeling from first listen. Yet, its repeated listens where gems like “Fly Away,” “Time To Let Go” and “Lovers In The Night” really begin to shine as the hits that could, nay should have been. This is all compounded by the fact that the boys can play and sing with the best of them.



With anthems like “Tell Me Why” or “When I Feel Like That” it’s so easy to reach for the volume knob and push it past any sort of healthy levels, especially when the weather is warm and sunny.



Sometimes when I sit back and think about the disc I am listening to for this column, it just boggles the mind that most are 10 years or older. As time has progressed, technology has gotten more and more in the way, yet here was a release that used it to its advantage. Some synths here, some purposeful auto-tune there and it still sounds contemporary and special.

Amazingly, this band seemed to be nothing more than a hobby as lead singer Jess Harnell has a nice day job as one of the premier voices for animation, television and film (including key parts in Animaniacs, America’s Funniest Home Videos and the Transformer movies). Lead guitarist Chuck Duran is also big in the voice over department while drummer Alex Track is a well known audio engineer, winning a Grammy in 2006 for his work.

Together, the band continues as hard rock mash up specialists Rock Sugar, who released a rather wicked covers disc “Re-Imaginator” in 2010 and tours incessantly to packed houses wherever they play.

Review: The Poodles “Performocracy”

Hard rock/AOR
The Poodles are a hard rock band from Sweden pumping out vintage 80s AOR covered in a modern sheen. The band has achieved some notable accomplishments in their home land since forming in 2005 and even wrote the Official Swedish Theme Song for the Olympic Games in Beijing 2008.

Despite the band’s ridiculous name, The Poodles have bite. Sonically the CD sounds terrific – these guys have taken the glam rock influences they’ve grown up with and infused them with modern guitar tones, so the songs sound less dated. Unfortunately, what they don’t have in abundance are memorable hooks, and sometimes the lead vocals go up into a range that only dogs should be able to hear. I found my mind wandering far too often and had to force myself to pay attention to many of these songs. Some of the exceptions include rockers like “Cuts Like A Knife” and “Bring Back The Night”, and the power ballad “I Believe In You”. I also really enjoyed “Father To A Son”, which is lyrically a cut above the rest and also features a kicking chorus.

The Poodles are not ‘Best In Show’, but some tracks will make you sit at attention. Others will make you roll over and play dead. Throw them a bone if you’re a fan of Motley Crue, Dokken, or Hinder. “Performocracy” arrives May 3 on Frontiers Records.

iPOD-worthy: 3, 4, 5, 10

The Poodles on MySpace. Official site.

Check out the video for “I Want It All”

Review: Black ‘N Blue “Hell Yeah”

Hard rock
D-list 80s rockers Black ‘N Blue have become a bit of an underground favorite and on May 13 we’ll see their first new album since 1988 arrive on Frontiers Records. Entitled “Hell Yeah”, the record strives to exude the party time atmosphere that summed up 80s melodic rock. The band’s biggest “hit” was “Miss Mystery”, a hugely catchy lost gem in AOR circles. Lead singer Jaime St James (who also fronted Warrant after Jani Lane) reunited the group several years ago to finish material for the long shelved “Hell Yeah”.

“Hell Yeah” doesn’t have anything that matches their favorites from the past. The band has done an admirable job updating their sound, but they left their melodic hooks behind. The album is a failure because there are simply no memorable choruses, even more forgettable verses, limp solo work, and cringe worthy sleaze lyrics. It is a shame these guys could not recapture the magic that produced “Miss Mystery”. Only two tracks come close – the energetic single “Target” and the melodic “So Long”.

But all things considered, “Hell Yeah” should have just been named “Hell”.

iPOD-worthy: 2, 8

Black ‘N Blue – MySpace.

Classic melodic rock CD of the week

By Stephen Kasenda

COLD SWEAT "Break Out" (1990)

Cold Sweat was a major surprise to me when I first heard them years ago. Their only album, "Break Out" was released in 1990, a year when so many average bands were competing in the market. Fortunately, Marc Ferrari and the gang put out an extraordinary, classy album. Almost everything here deserves applause, from the gritty superior voice of Rory Cathey, the mind-boggling song composition, the killer shredding riffs of Ferrari and Gamans, and the balanced variety of musical styles.

"Four On The Floor" opens big with an up-tempo and cracking rhythm, a great verse, and a wonderful chorus. "Cryin' Shame" displays a bluesy attempt for the band, and a good one. "Waiting In Vain" is the mandatory ballad but this one is truly beautiful. "Take This Heart of Mine" and "Let's Make Love Tonight" are both sparkling commercial gems with punchy, sing-along choruses. Cold Sweat also explored some melodic heavy metal territory, just like the old days of Keel and Dokken, and it's portrayed in the tracks "Riviera / Long Way Down", "Fistful of Money", and "Jump The Gun".

Cold Sweat is totally underrated and they deserved a much better appraisal than what they got. If you're a big fan of glam, I don't think you should miss this one, and if you're a fan of traditional heavy metal, I’m still pretty sure the band has a lot to offer you as well. A superb release!

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax: Mr. Mister "Hunters Of The Night"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is "Hunters Of The Night" by Mr. Mister from their 1986 album, "I Wear The Face".

Review: Ravishers “Ravishers”

Indie rock
Portland, Oregon's indie-pop outfit Ravishers release their self-titled full length debut on May 10 on Timber Carnival Records. Three years in the making, “Ravishers” is a follow up to the EP, "Singles for Singles", and some of the EP tunes have been tweaked for this LP.

Songwriter/frontman Dominic Castillo has a voice that is warm and lucid, quite soothing over the sparse arrangements consisting largely of crisp piano and/or tasty lead guitar supplied by Jonathan Barker (a jazz musician turned rock guitarist). Despite the deceptively slacker-styled arrangements, there is a great deal of admirable craftsmanship in these tunes in both the lyrics and music. When asked to sum up Ravishers, Castillo is quick to joke, "Fine purveyors of hand crafted songs." He's happy to elaborate, too. "Seriously, what we try to do is a great song. We're still naive enough to think that rock songs matter, in some way. For us that usually means a thoughtful arrangement that has some harmonic complexity and a touch of wit, along with the message of the lyrics. Also, there's a distillation process that's been happening over the course of the album. The more you make music, the more your musical personality hopefully concentrates. I like the idea of just becoming more of what you are artistically. Hopefully Ravishers shows that."

While some may not grab your ears right away, I advise you to exercise a little patience: the hooks are anchored there and make their way to the surface by the end of the song. The best examples you should explore include “I’m Him”, “The Chase”, “Cruel Love”, and “Keep You Around”. Fans of The Shins, Spoon, Fleet Foxes, and similar indie pop/rock bands, you need to check out Ravishers.

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

Ravishers on MySpace. Official site.

Check out the music video for Ravishers' first single, "Underachievers." The concept behind the music video is simple - a day in the life of Ravishers' guitarist, Jonathan Barker.

Ravishers - 'Underachievers'

Ravishers | Myspace Music Videos

Review: Poplord “Poplord Vs The Universe”

Powerpop
We last heard from Poplord back in 2008 with their release “Full/Filled” (review here), but in 2011 they are ready to take on much more…the entire universe in fact. A band against the world - make that all worlds - “Poplord Vs The Universe” rebels against current musical trends to deliver traditional pop and rock to their fanbase.

The epic battle with the universe started small…in the living room of keyboardist/singer Tom Magill. With the help of Stan Schaffer (drum, vocals, lyrics) and Craig Daniel (guitar, vocals), the trio has crafted another mix of melodious and quirky pop confections. The first two tracks are spectacular and have “universal” appeal. Poplord blasts off the launchpad with one of the most rocking tunes they’ve recorded, “Flower Bomb”. There are super harmonies and a killer hook – every member of the band is firing on all cylinders here. Another track that is out of this world is “Miss Universe” – just listen to the attention to detail in this song…flanged guitars, a space-age keyboard tone, and a transient house beat inexorably linked to beauty pageants, all of which tie in perfectly with the lyrical theme. On the lovely “Descending”, the band apes their most important influence – The Beatles. “Descending” features a Lennon-esque psychedelic chorus and a weepy Harrison-styled lead guitar. The ELO-flavored “Drilling For The Sun” leaves a great taste in your mouth towards the end. Unfortunately, the rest of the tracks – which are generally less upbeat - pale in comparison to these standouts…not because they are bad songs, but because the others are so good. There are flashes of brilliance in almost every song in the form of masterful harmonies, a groovy retro tone, or a witty lyric.

“Poplord Vs The Universe” is the first release on the band’s own Fowl Tone label, a nod to the small farming town of Fowler, California, where the band is based. Fans of powerpop – be sure to get Poplord on your radar.

iPOD-worthy: 1, 2, 4, 9, 10

Poplord on MySpace.

Check out the video for “Change In Time For Monday”:

The Best Albums You Never Heard

By Kurt Torster

The Orchestra “No Rewind” (2001)

Growing up in the mid to late 70s, and looking back now, I really had two bands that I would count as favorites of that era: Queen and the Electric Light Orchestra. In fact, I remember saving all my miscellaneous change and taking it down to the record store in the Styretown Shopping Center in Clifton, NJ to buy ELO’s “Out Of The Blue” set. As a pop minded 11 year old though, I don’t think I ever got past side A of record one until at least 15 years later. And as the late 70s become the 80s, my musical mind eventually turned to heavier and more riffier fare, leaving the orchestral grooves of ELO far behind.

Sometime in the 90s, as I discovered bands like Jellyfish, I also rediscovered my love of ELO and started to go beyond the hits. Though I would rank their 1979 effort “Discovery” as one of my all time favorites, I can now find the genius in not only their 80s discs but even the “Xanadu” soundtrack. I also discovered the rather tasty discs from the Electric Light Orchestra Part 2 offshoot as well as the next progression, The Orchestra.

Containing members of both versions of the band as well as a few “new guys,” this set is a proud and worthy addition to the band’s legacy. Recorded strictly on the band’s own dime, but you’d never know it as all the ELO trademarks are there, from big bouncy choruses and huge orchestrations to the almost Beatlesque layering of tracks, it sounds like a million bucks. Even though there’s no involvement from Jeff Lynne (other than some legal action!), you can even hear traces of his production stylings with George Harrison and The Traveling Wilburys.

Songwise, it’s so easy to press repeat of tracks like “Jewel & Johnny,” “Can’t Wait To See You” or “I Could Write A Book.” They have a very upbeat 70s pop feel without sounding like it’s completely stuck in the past. And with an epic like “Over London Skies,” it’s frankly about as close to the ELO sound as anyone could get without involving Jeff Lynne.



Judging by my personal enjoyment of this disc as well as the sold out crowds the band is still playing too, I’d say there’s still something of a market for grandiose pop and roll. With the addition of ex-Styx man Glen Burtnick and a never ending tour, I’m hoping chances are good that a new album will eventually see the light of day.

Review: Eleven Dollar Life “Shatter The Silence”

Rock/funk
I’ll be frank – I’m not a big fan of schizophrenic bands. Most musicians simply aren’t talented enough to blend two genres – let alone more than two. The mix often results in a mess weighted down in endless self-indulgence that might have been fun to play, but not fun to listen to.

Eleven Dollar Life is a five piece band trying to create a storm in the Windy city, stirring together all sorts of musical influences from rock, funk, blues, and even jazz, hoping to create their own identity in the end. The band is making some admirable strides by landing high prolife gigs thanks to their blossoming reputation as high energy performers. They generated some buzz in 2007 with an EP called “The Problem”, with their mix of funk and post-grunge rock drawing comparisons to Red Hot Chili Peppers and Incubus.

The aptly named “Shatter The Silence” marks Eleven Dollar Life’s full-length debut. “Wisconsin” starts things off with handclaps and a 1-2-3 go! Gets your blood pumping, but 3 minutes into this 5+ minute tune and it has already worn its welcome. “The Problem” is a more digestible meal – a feisty rocker with a driving beat and funky groove. “The Problem” is the shoe that fits the band best, and could walk them up to greater heights. “Acronym” is another attention-grabber, built on the catchiest guitar riff found on the record. The accurately named “Relief” is an acoustic-driven ballad that serves as the eye of the hurricane. Despite the dreadfully muddled tone of the strummed acoustic guitar, the tune is capably sung and features the most attractive melody I heard on the album. Most of the other tunes have some great individual elements and laudable ideas, but the band needs to iron out the wrinkles. The band seems to go out of their way to impress you with their diverse talents, even bringing in horns on occasion (“Zee”), but the hook gets lost in the chaos.

I’ve no doubt that Eleven Dollar Life put on a rousing live show, so try to check them out if you can. The fun they have on stage is likely to be contagious – I have to hope so, because I am not sure the music alone would be enough.

iPOD-worthy: 2, 4, 9

Eleven Dollar Life on MySpace. Official site.

Listen to “The Problem”

Review: Deep Dark Robot “8 Songs About A Girl”

Rock
Deep Dark Robot is an L.A.-based duo comprised of singer/songwriter Linda Perry and drummer Tony Tornay (Fatso Jetson). Described as “French garage pop”, the latest EP “8 Songs About A Girl” is exactly what the title suggests. Subtlety and riddles are not what Deep Dark Robot is about. As Perry says, “Deep Dark Robot is an artificial agent trying to be human. Aren’t we all just trying to be human?” Tornay adds, “The more people become isolated by technology, the more that technology begins to feel.” OK then...

If the lyrics are reflective of what humanity is like, Perry is not providing much incentive to become human. This is a dark and angry record plagued with redundant riffs and mundane melodies, assuming you can find a melody at all. Of course you don’t expect an abrasive record to be bright and poppy, but you can still use other tactics to make the songs memorable besides a monotonous riff. The other setback are the blunt and inane lyrics – yeah, you’ve been burned, we get it – but even teenagers can come up with something more poetic than “F*** you, stupid bitch”. With more F bombs than Eddie Murphy’s “Raw”, the record comes across as juvenile, bereft of grace and artistry.

Perry’s vocals are muscular and gritty, and she can wail with the best of them – reminds me a bit of Johnette Napolitano (Concrete Blonde). “I’m Coming For You!” has a promising start – bit of a retro groove a la Jet, but the riff is overplayed and the lack of dynamics makes you tire of it too soon. The best track is “No One Wakes Me Up Like You Do”, a beautiful song that reveals the tender side of Perry’s voice before it climaxes into the husky growl. Everything is firing on all cylinders during this song and I wish there were more like it. “Can’t Getcha Out Of My Mind” shares that classic rock vibe and boasts a decent chorus, but the pedestrian verses prevent this song from rising to greatness. Another flash of brilliance appears on “Speck”, which features some gorgeous piano and a refreshingly understated yet heartfelt vocal delivery.

iPOD-worthy: 2, 7

Deep Dark Robot on MySpace. Official site.

Listen to “No One Wakes Me Up Like You Do”

Classic melodic rock CD of the week

By Stephen Kasenda

NIGHT RANGER "Midnight Madness" (1983)

Kelly Keagy probably never had a thought that a simple story about his younger sister which was lyrically portrayed in "Sister Christian" could have propelled Night Ranger's name to the sky and boosted "Midnight Madness"' sales to their biggest selling album of all time. But this album is not all about that ballad; in fact, there are several real rockers that will steal your attention such as "(You Can Still) Rock In America", a classic concert anthem with Fitzgerald's fingers dancing swiftly on his keyboard and the Watson/Gillis duo unleashing superb rhythm and solos. "Why Does Love Have To Change" is an underappreciated huge melodic rock tune - check out the beat-pumping chorus after the grandeur verse…simply stunning. "Chippin' Away", a song that's rarely seen in their set list, carries big potential behind its back as well.

Going back to that ballad, I always think that "When You Close Your Eyes" is far superior compared to "Sister". With its killer arrangement and memorable chorus, this track is a sure winner, but nevertheless, both served as the important keys of this album. Two tracks that I think are subpar here are "Touch of Madness" and "Let Him Run", but "Rumours In The Air" and "Passion Play" are among the highlights and serve as great examples of Night Ranger's capability of molding fine compositions.



Night Ranger's first three records are undoubtedly their best and since their formation in 1980, the band hasn't been able to produce any better output than this, and that also includes Jack Blades' side project, Damn Yankees. But I always look out for their latest release as I'm secretly hoping that they will be able to push their limit and boundaries and knock this album down from the top, a respectable position of what I called 'their best album to date'.



Read more of Stephen’s features at MetalMusicArchives.

Rare Trax: Company of Wolves "My Ship"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is "My Ship" by Company of Wolves from their excellent self-titled 1990 album, which I consider to be one of the last "classic rock" records ever made. "My Ship" is one of the catchiest cuts off the record. You just can't resist feeling better after hearing this song - an optimistic anthem about turning a corner and "dropping your anchor away". I wish the band's ship would have come in, but sadly it was lost at sea.

Review: The August Infinity “Voices Of A Generation”

Rock
The band’s tagline is: “Too hard to be considered pop but way too pop to be considered hard rock; seriously kids, this is how America writes music”. Even I couldn’t come up with a better way to describe my primary musical preference, so I had to take note of this Brooklyn band called The August Infinity.

The August Infinity is an American five-piece rock band that came together when drummer Ian Pierce discovered singer Joshua Hawksley at the 42nd street subway stop, where Joshua first made an impression on New York City as a one-man subway performer. The band has since honed a catchy hard rock sound playing off the added talents of bassist Chris Moss and guitarists Peter Strzelecki and Frank Grullon. The August Infinity has toured extensively throughout the Northeast, and has shared the stage with a number of national acts including the platinum selling band Hawthorne Heights.

The August Infinity definitely has a hard edge and Hawksley has one of those scratchy voices heard all over the radio during the glam metal days (honestly, he keeps reminding me of Taime Downe from Faster Pussycat). But what is going to pull you into this band’s orbit are the terrific hooks. Super catchy tunes like “Push Pull Shove” and “The Faster That You Run” help this band stand above the crowd. (There’s also an acoustic version of “The Faster That You Run” worth checking out). Other highlights including “Purpose In Life” and “The Promise In The Misery Line” are slightly less melodic, but still worthy rockers that will help you wake up in the morning. Most of the other cuts aren’t bad, but lack that magical ingredient that makes them effortlessly memorable.

To my ears, I’m hearing a lot of Chronic Future, Hawthorne Heights, and Story of the Year. If these bands make you happy, you can’t go wrong with The August Infinity. The band recently wrapped up production on their follow up EP, “To Whom It May Concern” expected later this Spring. In the meantime, catch up by getting into “Voices Of A Generation”.

iPOD-worthy: 2, 4, 5, 10, 12, 13

The August Infinity on MySpace. Official site.

Listen to “Push Pull Shove”

Neil Nathan Releases Earth Day A/B Side

Neil Nathan Releases Earth Day A/B Side
Featuring "What A Wonderful World"
To Raise Funds for Reverb & Earth Day NY

NEW YORK (April 22, 2011) — "Indie pop rocker Neil Nathan can always be counted on to provide a song for a holiday," says Snob's Music. Whether it's his April Fool's Day release of his "original version" of "Honkytonk Woman," or his darkly comic "Santa Claus is Coming To Town" charity video, or his Valentine's Day Video for his ode to undying love, "You're Mine," Nathan is always looking for an excuse to celebrate.

This time he sets his sights on Earth Day with an A/B side entitled EARTH A.B. It features his breezy power popping cover of the Louis Armstrong and Ramones Classic "What a Wonderful World." Nathan enlisted the help of fellow Pirate Vinyl labelmates, Pete Sinjin and SusannaH Conn to create a Fleetwood Mac/Traveling Wilbury's influenced hippie gang vocal that riffs once more on this timeless classic. Riley McMahon co produced and Adrian Harpham played drums.

By contrast, the B side is a somber ethereal ballad entitled "What We Do." Nathan was inspired to write it during a trip to Jamaica and St.Croix. "All they played was Bob Marley on a loop, it was killing me. There's obviously nothing wrong with Bob, but there are other Reggae artists. It got me thinking about how much I love Jimmy Cliff and the melody just popped into my head. It took a lot of self control to not blatantly mimic him when I was recording the vocal."

Nathan is using the tunes to help raise funds for two green organizations. In the spirit of thinking globally and acting locally, there's Earth Day NY. And the other is Reverb, the org that greens rock tours for artists like Dave Matthews, Jack Johnson, and Ben Harper. Click on the album cover below to stream and download the songs and on the links above to make a donation. You can also download the record at neilnathan.com/free.

Review: Research Turtles “Mankiller Part 1 of 2” [EP]

Modern rock
We last heard from the Research Turtles in August of 2009 with their self-titled debut album (review here). They’re crawling back now with a new EP called “Mankiller Part 1 of 2”. The time in-between has been spent relentlessly supporting their initial release, scoring opening slots for bands as varied as Toad the Wet Sprocket, Sister Hazel, and Candlebox. The hard work has served them well – the Research Turtles were the winners of the 2010 Record of the Year Contest by Radio Six International in Great Britain (for the song “Let’s Get Carried Away”) and voted the 2010 “Best Band in Louisiana” by Lagniappe Magazine. Another recent change is the addition of a new guitarist/vocalist, Joseph Darbonne.

After a sparse yet attention-grabbing intro (“Girl Like You”), which showcases the naked beauty of their vocals minus the crunchy guitars for a moment, the EP kicks into high gear with a staple for this band, “You Are So”. This feisty little tune is an irresistible fun time rocker with sunny guitar leads and a breezy break in the middle. Great dynamics and strong performances throughout. “Bugs In A Jar” is sedated, but engrossing, with moody verses and a captivating lyric. As cool as it is, I’m not sure I would have put it out as a first single to introduce folks to the band, as it is more of a grower than most of the other tracks here. “Mankiller” has a great Romantics feel to it, bristling with energy and a tongue-in-cheek attitude, and the grungy “Rhinestone Gal” resembles early Stone Temple Pilots. “Rhinestone Gal” also features one of the sweetest melodic breaks I’ve heard this band pull off to date…my current favorite off the EP.

What is most noticeable about this five song collection is the remarkable diversity of musical styles you experience in such a short period of time. “Mankiller Part 1” will be out May 31, 2011, with “Part 2” to follow later this year. In the meantime, why not head on over to their web site and download the first single, “Bugs In A Jar”, for free (until May 31)?

Research Turtles on MySpace. Official site.

The Best Albums You Never Heard

By Kurt Torster

Mr. Reality “Mr. Reality” (1992)

As the over the top decade of excess known as the 80s came to an end, the swelling undercurrent of the “unplugged” movement started to take hold. Suddenly, “every bad boy had a soft side.” Bands like Bon Jovi, Great White and Poison were all getting an extra boost by picking up their acoustics and gaining some new fans. Though the trend didn’t last long, we were fortunately left with some gems of the genre, including this superb effort from New Jersey’s Mr. Reality.

This album is almost 20 years old, and until this week, I haven’t listened to it in probably a decade. This set though is proof that solid song structure, amazing harmonies and catchy melodies are timeless.

It would be all too easy to dismiss this trio as Bon Jovi wannabe’s, as they follow the typical Jersey-style songwriting, which is big on storytelling and sweet as candy choruses, but I’d probably compare them closer to Nelson, Danny Wilde/The Rembrandts or even the Eagles (not surprising considering this was produced by famed LA producer/Don Henley sideman Danny Korchmar).

How songs like the upbeat and incredibly infectious “Anonymous,” “If I Close My Eyes” or “Jess” weren’t at least small market radio hits is beyond me. Throw in more introspective fare, like the excellent imagery of “In My Yard” or the down but never out tale of “To Leave Me Standing In The Rain” and I’m left more befuddled that this barely rates as a cult classic.



And, it would be absolutely criminal to not mention the rocking “Waiting For September,” about as sure of a hit as I’ve ever heard and sounds like it was lifted from a lost Night Ranger album.



The band would morph over the years, first into Samhill and eventually into Highway 9, whose debut also ranks as one of the “Best Albums You Never Heard.” Seems like all three are still somewhat active in music, with guitarist Gordon Brown going Nashville while vocalist Peter Scherer and bassist Rob Tanico still plugging away in their own ways.

Review: Jim Camacho “Is It Me” [EP]

Rock
I can sit here and list all of Jim Camacho’s numerous awards, such as the New Times’ "Best Songwriter" and "Best Acoustic Performer”, and tell you about his contributions to film soundtracks films, including the Grammy nominated, “Tom Dowd & the Language of Music,” Paris Hilton’s “Pledge This,” and “Fatboy,” which was nominated at the Sundance Film Festival for “Best Use of Music in a Documentary”, or tell you that his 90’s band, The Goods, released five albums including the rock opera 5 Steps to Getting Signed, which won “Album of the Year” at the Florida Jammy Awards, and how as a solo artist he has released three albums thus far winning the Gold Remi in the Music Video category at the 40th Annual WorldFest-Houston International Film Festival for the video of “Houdini”…but it is just a lot easier to just say “Trust me, get his latest EP, “Is It Me”, right now”.

“Is It Me” has five damn near perfect tunes bristling with pop rock smarts and just a hint of Americana – he’s somewhere in-between Tom Petty and Don Henley. Camacho’s songwriting skills are on par with a seasoned pro, and his vocal instincts are spot on. The EP begins with only a beautifully played piano to complement Camacho’s earnest delivery, but then explodes with the sound of a full band – this title track gives me chills every time. “It’s Over” is a straightforward rocker, not astray from the poppier side of Wilco – take note of this one, fans of ye cowbell. “Debutante” reminds me a lot of a Will Hoge ballad and sits comfortably in the middle of this batch of tunes. Even more than the other tracks, “Debutante” provides Camacho a platform to showcase his vocal dynamics and knack for emotive inflections. “Get Out” starts deceptively – quietly building into a rousing anthem of a chorus. Finally, “Say It Soon” closes the all-too-short affair with another piano-driven piece with thoughtful lyrics. In short, nothing but gold here.

The “Is It Me” EP is available now, and we look forward to a new full-length record this summer on Forward Motion Records/Broken Records.

Jim Camacho on MySpace. Official site.

Check out the video for “Is It Me”

Classic melodic rock CD of the week

By Stephen Kasenda

LOUDNESS "Soldier of Fortune" (1989)

Released in 1989, "Soldier of Fortune" was the first album with Michael Vescera after Minoru Niihara got kicked out of the band. This was done to help them break through the American market, although the final result wasn't exactly what they expected. The whole album sounded very American and has a lot of 80s glam metal influences.

"You Shook Me" stomps on the ground with Takasaki's thunderous riffs topped with Vescera's raspy screamer. "Danger of Love" is another winner and sounds like an unreleased Dokken song. "Red Light Shooter" fires away some ferocious hooks with flashy tapping. Too bad the euphoria was soon over when they struck me with the blunt and boring ballad, "Lost Without Your Love". If you're looking for a down-tempo sentimental track, "Twenty Five Days" is a far better pick - check out the unforgettable intro lines. Thankfully, they refuel the album with several heavy tracks and close it with the fantastic "Demon Disease".

"Soldier of Fortune" is a truly great album with lots of powerful songs, stellar vocals, and exceptional guitar work. Although this ain't the same Loudness as in the early 80s, Akira still deserves a glass of beer for these magical and mind-blowing compositions!

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax: The Crystals "He Hit Me (It Felt Like A Kiss)"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is "He Hit Me (It Felt Like A Kiss)" by The Crystals. One of the more interesting songs in the "oldies but goodies" file, and it speaks volumes about how much society has changed over the years (for most people at least - some could argue this could be today's theme song for women dating Chris Brown).

Review: Madison Square Gardeners “Teeth of Champions” [EP]

Rock
Maybe they could be described as the Weezer of alt country? Brooklyn’s Madison Square Gardeners have a long pedigree as backing musicians for artists like Ben Kweller, The New York Dolls and Jill Sobule, to name a few. Drawing comparisons to Wilco, the band hopes to impress with their latest five song EP, “Teeth of Champions”.

This little EP packs quite a punch and leaves a good first impression. Mixing breezy laid back guitars with skull-blasting bursts of energy, Madison Square Gardeners are masters of balance. More good news – they are no strangers to writing good hooks and placing harmonies in the sweet spot. “Little Bit of Heart” is very Tom Petty and the Heartbreakers – a slow burning mid-tempo rocker that builds up to an infectious chorus. “Record Store” is even better, boasting timely lyrics and a terrific sing-a-long chorus. I found the most accessible song to be the instantly catchy “Stand By You”, which features a wonderfully bright and upbeat chorus set to a propelling drumbeat. The EP leaves us with “Miracle Mile”, which starts off laid back then…wait for it…ends with a thundering coda that makes you want to go right back and replay the whole EP again.

The Madison Square Gardeners EP “Teeth of Champions” is available now – definitely worth sinking your teeth into.

Madison Square Gardeners on MySpace. Official site.

Listen to “Stand By You”

Review: Marissa Levy “63 Songs About Joe” [EP]

Pop rock
Silly love songs – what’s wrong with that? Nothing, if Marissa Levy is the one singing them. Born in my home state of Maryland and honing her songwriting and musical chops in New York, Levy is a pop rock dream come true. But the first thing you’re probably wondering is how short these songs must be if she squeezed 63 of them onto a single EP? Well, she may have written 63 songs about Joe, but only 5 made the cut here.

It has been five years since Levy’s last effort, “Charmed and Dangerous”. For her new EP, she recruited power pop guru Mike Viola, who has been featured here on BMF many times. Viola’s talents are the perfect match for Levy’s songwriting skills – the production is excellent and the backing vocals are outstanding. Viola has cast the same magical spell on Levy’s craft that he’s done for Kelly Jones and Mandy Moore – pure pop wizardry. Levy’s vocals are sweet as chocolate and you’ll hear copious amounts of Beatles and Beach Boys influences in her tunes.

You couldn’t ask for a better springtime song than the perky feel-good opener, “A Love Song”. Levy’s folky side leaks through to good effect on the milder “Growing Up To Do” – her fragile yet firm vocal, the backing vocal accents, and enchanting melody make this one another favorite. She could be mistaken for Lisa Loeb on the tender and catchy “Heartbreak Liar”. “The Magic” is also beautifully crafted with a mild retro feel and more trademark Viola harmonies. Rounding out this set is “Breathing Fire” – a perfect example of how an artist can get a little darker without compromising on melody.

There isn’t a bad apple in the bunch. All I can say to sum up…bring on the other 58 songs! “63 Songs About Joe” was released on April 5 - you can order it through her web site.

Marissa Levy on MySpace. Official site.

Listen to “A Love Song”

The Best Albums You Never Heard

By Kurt Torster

Drake Bell - It’s Only Time (2006)

One of the secret joys about being a parent is being able to watch kids shows without any feelings of guilt whatsoever. One show that my boys watch over and over is Nickelodeon’s Drake & Josh, and I’m there with them every time. Just puts me in the mind of an 80s sitcom, a genre sadly missing from the television these days.

We bought this disc as a gift for my youngest and he would play it night and day, loudly. But, I sure as hell took notice because this was far from what I expected it would be. Obviously the boy was raised right musically because it would have been all too easy for him to release some over processed, auto-tuned mess rather than this power pop blast of goodness.

Seemingly inspired by Jellyfish, Paul McCartney and Cheap Trick, it’s standard three chord rock that far exceeds any sort of expectations. Not that I’m complaining, because it’s so easy to hit repeat on a track like the riffy and oh-so-hit-worthy title track, which not only reaches for the rafters but proceeds to blow the roof off. The same could be said for the sunny day 70s pop of “Makes Me Happy” or the acoustic take of the Drake & Josh theme song “I Found A Way” which continue this poptastic streak.





But, it’s songs like the vaudevillian opener “Up Periscope,” the pure piano pop of “I Know” or the deep Beatlesque “Fool The World” that elevate this far above typical teen idol fare.



On the musical front, Drake has been awfully quiet other than some live shows (where he actually covers Jellyfish’s “Joining A Fan Club” and nails it). I heard a new track from an album that’s been forever due and though it has an almost industrial touch shows a lot of promise and still very much in the power pop world.

Pop/retro
Sarah Elizabeth Foster creates contemporary music infused with nostalgic melodies popularized in the 50s and 60s – and she even looks the part too. Born in Texas and having vocal coaching in Germany, her music is big and bold, and her voice is captivating.

It is hard not to find a better mood while hearing something like “Go Home Alone” – the song structure harps back to those carefree chord progressions of the Golden Era of rock and pop, and the vintage organ over that backbeat helps develop that mood to the fullest. Her voice shines above it all, making this track an instant favorite. “Line ‘Em Up” borrows heavily from Nancy Sinatra’s big hit, but it is really an interlude that ends almost as quickly as it begins. The other highlights from this short 7 song record include the pretty mid-tempo number “Waiting For Love” and happy go lucky closer, “Little Love Affair”, which also exhibits just a touch of funk. “Preach To Me” is a soulful and stunning ballad with weepy strings and an affectionate vocal delivery – sounds like it would have been a hit for Aretha Franklin back in the day.

Part B-52s and part Norah Jones, the music of Sarah Elizabeth Foster is smack-in-your-face good.

iPOD-worthy: 1, 5, 6, 7

Sarah Elizabeth Foster on MySpace. Official site.

Listen to “Go Home Alone”

Classic melodic rock CD of the week

By Stephen Kasenda

XYZ "XYZ" (1989)

Not to be confused with Jimmy Page's XYZ, this band actually hailed from L.A. and became one of the house bands for the Whisky Club at Sunset Strip. Don Dokken saw that they had big potential and produced the first album, spawning the minor hit "Inside Out", which I think is a decent song compared to the more superior tracks such as "Maggy", "Take What You Can", or the soul-cleansing acoustical-thang, "After The Rain".

My other fave tracks are "What Keeps Me From Loving You", which sounds very Whitesnake-ish and "Nice Day To Die", a tune that races the rhythm to the limit - a speedy Dokken-style song. The highlight of the band is the monster vocals of Terry Ilous, who sounds very close to Don Dokken himself, only better in some aspects. This album is a dazzling and distinctive release in 1989 featuring a whole lotta killer tracks by a superb band.



Read more of Stephen’s features at MetalMusicArchives.

Review: Yellowcard “When You're Through Thinking Say Yes”

Rock/Pop punk
With their seventh album, Yellowcard has left the majors in favor of their indie roots. I’ve been a champion of this band ever since I heard their breakthrough record “Ocean Avenue” (2003), which spawned the massive hit with the same name. The post-punk band had a knack for imbuing their youthful anthems with the sun-soaked atmosphere of Southern California, and brought a unique element to the table with the use of violin amidst the crushing guitars. As unintuitive as that may sound, the band’s formula actually works and creates a sound like none other out there – modern pop punk with a virtual Celtic twist.

But the formula works only if great, catchy songs are played. “When You're Through Thinking Say Yes” gets off to a fiery start “The Sound of You and Me”. There is a great song in here struggling to be heard, but that doesn’t happen until the drummer lets up – the first half of the song is ruined with the breakneck pace of the drums. It’s almost as if he hates this song and just wants to play it fast to get it over with. The familiar violin is front and center on “For You, And Your Denial”, which was chosen as the first single. I thought “With You Around” was more accessible, though, and I would have gone with that track. Second single, “Hang You Up” is a sweet mid-tempo piece that masterfully blends the violin to set the melancholy mood here – well done. Among the other cuts, “Hide” is a respectable upbeat tune with decent backing vocals, and the similar “Soundtrack” is even better. “Sing For Me” is the token ballad that should burn a lot of butane at their concerts. While unremarkable musically, I really enjoyed the lyrics of “See Me Smiling” – a song that expresses a hopeful wish that a certain lost loved one realizes the difference they made in our life.

“When You're Through Thinking Say Yes” is a solid effort sure to appease fans who have been thirsting for new Yellowcard for over two years – it’s another slice of the same cake they’ve been serving for the past seven albums. But it’s just not the Yellowcard record I’d reach for first when I get the craving for an emo-violin mash up – this time out it seems the band has come up a bit short in the melodic category. For fans of Jimmy Eat World, All-American Rejects, and All Time Low.

iPOD-worthy: 3, 4, 7, 8, 9

Yellowcard – official site.

Check out the video for “For You, And Your Denial”:

Rare Trax: Acoustic Hits "Love Bites"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

In keeping with Kurt Torster's piece on Def Leppard this week (see here), I thought I'd spotlight a cover of their hit "Love Bites". This stripped down version, featuring just a single acoustic guitar and a female vocal is from the digital album "Acoustic Hits: A Def Leppard Acoustic Tribute" found here. There is a whole series of these "Acoustic Hits" releases, but finding information on the people performing the tunes is challenging. The vocalist on "Love Bites" really nails it - her delicate and earnest delivery puts the song into a whole new light...very nicely done. Can anybody tell me who it is?

Small Change: Alexi Lalas “Ginger”

Small Change spotlights great, often overlooked CDs that you can get for cheap. Just because the economy sucks, it doesn’t mean your music has to.

By Lee @ REAL GONE
ALEXI LALAS “Ginger” (1998)

Most of you will know Alexi Lalas as “that American soccer guy”. In 1998, Lalas released the album ‘Ginger’ (his third, I believe) and it’s a fantastic record, full of power pop gems.

On the album, he not only wrote and sang all the songs, but played guitar, bass and drums. Lalas is a fine vocalist, but rather more importantly here, he proves himself to be a superb songwriter. You won’t find any deep or life-changing lyrics, but then that’s not what ‘Ginger’ is about. The opening number ‘Goodnight Moon’ sets the tone with its upbeat jangle, sure to please fans of Gin Blossoms etc. However it’s the album’s second track which really makes the listener realise they could be onto something a bit special; musically, it’s got a similar vibe to the opener, but a catchy, simple guitar riff gives it edge. The lyric “hey hey hey, just another cliché, too much too fast and it slips away” would suggest Lalas more than understands the fickle nature of the music industry (and fame in general) and come what may, he’s getting maximum enjoyment from his work – and that’s something which really comes across in most of this album’s performances.

‘Drive-by Serenade’ has a more mature sound and slows thing down a little. It feels less throwaway than some of the album, but somehow that doesn’t make it better. If you want a comparison, this fits snugly into the late 90s alt rock mode again and wouldn’t sound too out of place played up against the likes of Far Too Jones. It holds its own with the best music of that style. ‘Sonic Lullaby’ tears by in full-on rock mode - and is gone in under three minutes. ‘This Should Be’ is perfect Gin Blossoms style jangle-pop. I may even dare suggest it’s better than some of the material on their second album! ‘Vacancy’ is another slower number which combines both acoustic and electric guitars and is very reminiscent of Five Easy Pieces – another great and largely unknown band from the late 90s.

The songs on offer are so strong; ‘Ginger’ is an album with no unnecessary filler and at approximately 37 minutes playing time, it leaves you feeling like you need to give it that second spin when it’s done, just to help keep up the good vibes. If you’re a fan of ‘Hang Time’ era Soul Asylum, Goo Goo Dolls or Gin Blossoms (and particularly their side project Gas Giants), then you need this record. As far as largely ignored albums go, this is one of the greatest.

Get it.

Review: Ten “Stromwarning”

AOR/Melodic rock
I’ve always had mixed feelings about the band Ten. Loved by many fans of AOR and melodic rock, their songs have always struck me as overly long, infused with aimless prog rock that is probably fun to play, but not so fun to endure listening to. That said – there is rarely a Ten album that I can’t find at least a couple tracks to love.

After listening to their latest, “Stormwarning”, their ninth full-length studio effort, my attitude towards the band is not going to change. Singer and principal songwriter, Gary Hughes recruited Neil Fraser on lead guitars and Mark Sumner on bass, in addition to long-time members John Helliwell on guitar and Paul Hodson on keyboards. Mark Zonder (Fates Warning) takes care of all the drum duties, rounding out this version of Ten to create “Stormwarning”. Sonically speaking, the album sounds wonderful, but I am here for the songs.

“Endless Symphony” is the perfect illustration of what disengages me from the band…an over-the-top opus that clocks in at nearly 7:30 minutes – endless indeed. Lots of redundant riffs and runs that – while clever at times - do not lead to a satisfactory conclusion, making the song ultimately forgettable. “Centre Of My Universe” at least has a semi-solid hook in the chorus, but another 6 minutes later leaves me thinking I could have listened to 2 or 3 really good songs instead of 1 mediocre one. Highlights that I found to be worth the five plus minutes of my attention span include the sweeping title track and the rocking “Invisible”, as well as the infinitely more accessible “The Hourglass And The Landslide” and the lovely, Beatlesque closer called “The Wave”.

iPOD-worthy: 5, 6, 8, 10

Ten on MySpace. Official site.

Listen to “The Hourglass And The Landslide”