"David Cook is the new American Idol for season 7. He is a great musician and a good friend. I have had the privilege of being his friend for over five years, thus I own every CD that he has been involved in. This CD, “Alive in Tulsa”, is Axium’s only live album. This album was recorded at The Venue, at 18th & Boston in Tulsa, OK on Valentine’s Day 2004. I was there at the show working with Axium and MidWest Kings. It was an awesome show—I have seen them play live many times and was so happy that they recorded a CD! Axium is the first big band David was involved with in Kansas City. I hope you enjoy the album as much as I have! This CD does not contain any inserts and comes in a plastic jewel case. This is how I received the CD from David and rest of Axium in 2004.
1. Bastard A** Yellow Light 2. AC 3. Clean Break 4. Feed Your Ego 5. Incarcerate 6. Creep – Radiohead cover 7. Thought You Knew 8. Truth is a Gun"
What an unfortunate title for this CD, the 2003 solo effort from the Lemonheads frontman. It is just too easy to use it against him to sum up the listening experience.
Let's start with the good news...it won't take long. "It Looks Like You" is a snappy number, with Evan actually sounding like he wants to be in the studio recording this one. Great harmony vocals strengthen the chorus hook, overlaid atop the kind of nice acoustic guitar work we'd expect from Evan Dando. The track after this one is also pretty interesting, entitled "The Same Thing You Thought Hard About Is The Same Part I Can Live Without". You'd think it was a Smiths song from the length of the title, but it actually sounds good when vocalized by Evan in the chorus of this neat little tune. The only other track worth mention is "All My Life", a slower acoustic-driven track with some of the best, personal, and heartfelt lyrics on the record. "All my life I thought I needed the things I didn't need at all".
The rest...well, unexciting is an understatement. Evan's vocals largely sound deep and muted, soft and uninspired. The production also sounds tired (bored?), but his acoustic numbers are immune to this. This is a solo effort that makes you think Evan really misses playing with his Lemonheads. I'd rather listen to the worst Lemonheads record (plenty to choose from!) than spin this one again in its entirety.
iPOD-worthy: 7, 8, 10
Evan Dando seems to be allergic to the Internet - no links. Here is one to Lemonheadssite.
Mr. Mister released one of the finest AOR records in the 80s with their 1985 smash, "Welcome to the Real World". Can you really be a true fan of AOR without this classic in your collection? Their subsequent release, "Go On", took a turn down a less commercial road and suffered the monetary consequences, but was a solid record in its own right.
Richard Page, the powerful voice and primary writer for Mr. Mister has released only one solo record (although he writes lots of tunes for other folks). "Shelter Me" surfaced in 1996 and sounds nothing like the glory days of Mr. Mister. With "Shelter Me", Page dives head first into the calmest of adult contemporary waters. In other words, many will find this record intensely boring. This is the kind of sleepy, unmelodious generic AC junk that one-time AOR luminaries Richard Marx and Kenny Loggins developed a penchant for in the late 90s. The disappointment with these guys is beyond words. At least Kenny redeemed himself with a great comeback with "How About Now" last year.
Everything on "Shelter Me" is cookie-cutter, and the studio musicians are just devoid of any sort of passion. There is a world-music flair in some of these tracks, which would be fine if there was a catchy hook to grab on to. There are only two tracks that stick out as being less than yawn inducing: "The Best Thing" and "A Simple Life".
Matt Williams is the multi-talented mastermind behind The Brigadier, and his new 2008 release, "The Rise & Fall of Responsibility" will have fans of 70s pop jumping out of their orange and yellow sofas for joy. This is one of the most genuinely retro-sounding CDs I've heard in a long time; Matt is a man who knows how to pay tribute to his influences, which include everything from Abba to the Zombies.
The Brigadier specializes in buoyant 70s-style pop, with vocals subtle and hushed, but that swell into a brilliant climax during the plentiful harmonies. He is not unlike Elliott Smith or Teenage Fanclub in this regard.
Things get started with the first part of the mini-concept album within these 13 otherwise independent tracks. "Growing Up Is Hard To Do" is divided into two parts, the first part being a straight ahead pop rocker with 70s flair (complete with hand claps and harpsichord). Part two near the end of the CD is more epic in scale. The haunting "Envy" also boasts astute lyrics that stand out over the gentle acoustic strumming.
While these tracks showcase the more thoughtful and introspective side, there is plenty of stuff written purely for fun. Like the best track, "This, Is Why...", a simple love song with one of the catchiest hooks on the record, sounding like a musical ghost of a Captain and Tenile hit written by Elton John. A close second is "The Box in the Back of My Mind", another upbeat highlight with shimmering guitars, hand claps, and optimistic lyrics. "Une Soiree" is an interesting track with a bouncy, carnival-like chorus that would not be out of place in an Abba song. Finally, there are a couple of tracks that sound VERY much like T. Rex, such as "The Language of Love", which dials the fuzzy guitars to 10 when they are not interspersed with some tickling of the ivories. Some tracks are more experimental, like the brief closer "Facade", which reminds me of Mr. Rogers Neighborhood during Halloween.
All things considered, "The Rise & Fall of Responsibility" is a hugely enjoyable effort from a very talented songwriter and musician. If you are a fan of diverse genres swirling around a power pop core, you would be doing yourself a disservice by not checking out The Brigadier.
Those of you who frequent the top power pop blogs are no stranger to Chewy Marble, which features Brian Kassan formerly of the genre faves, The Wondermints. We have not heard from Chewy Marble since 2001's fantastic "Bowl of Surreal", but I am happy to say they are back in top form with their third CD, "Modulations".
Six years is a long time to write and polish songs, so fans are going to be expecting some spectacular stuff and...(drum roll)...I predict that fans will be very pleased with "Modulations"! All of the elements that fans would expect are present once again: super catchy songs, smart melodies, and lofty Lennon-esque vocals. They also delve into some psychedelic pop for a couple tracks (check out "Somewhere Else"). But what separates this CD a bit from the previous ones are the more personal and pensive lyrics. Additionally, a couple of intriguing instrumental jams break things up: "Mental Toothache", which has a bossa nova lounge feel, and "Moments", a sweet acoustic ditty.
We start things off with the infectious single, "She Roxx", an amusing mid-tempo pop ode to rock chicks. "Cross-Hatch World" is another instant favorite of mine, a pleasant and catchy number with a jangle pop feel. Some of the more melancholy tracks include a couple stripped down acoustic gems..."Flicker" covers the universal struggle to fit in - "When I'm in a room of people I wish I'd stayed at home", and "My Dad", a tear-jerking tribute to fathers that is one of the greatest since Bread's "Everything I Own".
But don't let me mislead you by highlighting the more serious and reflective pieces...the majority of the CD is light hearted and upbeat. An excellent release. Let's just now hope that a fourth CD will appear in less than 6 years this time!
Now: "Eternal Beach Boy Dennis Wilson's much sought-after 1977 solo album, which Mojo Magazine has heralded as a "buried treasure", will return to circulation on the occasion of its 30th anniversary, and the 25th anniversary of Wilson's untimely death in 1983, at age 39. The double-CD PACIFIC OCEAN BLUE – LEGACY EDITION will arrive in stores June 17th on Caribou/Epic/Legacy, a division of SONY BMG MUSIC ENTERTAINMENT. A vinyl edition of the LP will also be released at the same time, on the Sundazed label." Full story.
Sometimes you take a chance on something in the ol' bargain bin and it exceeds all of your expectations. That could be said about this 2003 release from Living Colour called "Collideoscope"...it sucked far more than I ever expected.
After the failure of their third record, 1993's "Stain" the boys in Living Colour took a break. Unfortunately, they thought it would be a cool idea to reunite a decade later to put out a heavy, dark, and utterly unmelodic collection of noise. The production sounds like crap, the songs are not memorable, and even the guitar solos make no sense - like they are being played independently of the music. There's a horrendous cover of AC-DC's "Back in Black" that sounds like a bunch of drunk frat guys doing karaoke.
On the plus side, Living Colour stayed true to their roots in that their lyrics are smart and poignant, and they mix musical styles that run the gamut. But they left out the most critical element of all...the hooks they could crank out on their first two releases.
If you are going to check out any of the tracks, try "Song Without Sin" and "Holy Roller". Queensryche fans may want to check out the track "Operation: Mind Control." And check out "Back in Black" just for the laugh.
Um, OK. I've read quite a bit of positive press on various power pop blogs about this Under the Influence of Giants self-titled debut CD, released in 2006. Yes the music style is fresh and unlike a lot of what is out there today. Yes there are some parts that sound like disco-era E.L.O. or Bee Gees. Yes it is hip and makes you want to shake your booty. I agree with all this...but can't stand it! And where are all these hooks I've read about?
I guess their style of music just inches way too far into the dance realm for me, and the falsetto gets old after awhile. I've spun the CD more times than I should and I'd still rather go hunting with Dick Cheney than hear another track from Under the Influence of Giants.
For my readers who are into the more dance-oriented pop and funk (a la Maroon 5 or Scissor Sisters), you will probably get something out of this one. I'd point you to "Got Nothing" and "In the Clouds" to test the waters. The slower track "I Love You" is benign but nice, and the silky smooth vocals fit just right.
All of the other bands who have sent me their CD and who are waiting patiently for a review...you can blame my tardiness on Craig Marshall's new 2008 CD, "Point of View". The CD has been in heavy rotation in my house this holiday weekend. I can't bring myself to eject it and listen to something else right now. It is THAT good.
"Point of View" is my introduction to Craig Marshall, so rest assured I will be checking out his previous 2 solo releases and even his time in Lucky Strikes as soon as I can. "Point of View" is the epitome of infectious, melodic rock, and is jammed packed with 10 timeless masterpieces that just get better and better with each listen.
Craig Marshall lists influences from the Beach Boys to Matthew Sweet; you'll hear the full span of 30+ years of pop rock history in his tunes. Vocally, he sounds a lot like John Wesley Harding and Buffalo Tom, with a hint of Elvis Costello. This makes his songs, which have a lot of structural similarities to hits from the 60s and 70s, sound very contemporary.
Craig Marshall crafts the music to fit the words when appropriate. Take "Lost in Space" for example, which sounds very atmospheric - like the band is floating towards some sort of temporal anomaly. Oh yes, they are approaching the year 1979 and Cliff Richard is singing, "It's So Funny, We Don't Talk Anymore"!
Standouts for me include the eye-opening opener, "Difficult", the gracefully elegant ballad, "Paper Cut", and the gentle and catchy epilogue, "Small Reminder". But what knocked me out of my chair was the upbeat pop perfection of "I Know What It's Like." Brilliant...just brilliant. Hit written all over it.
Howie Day is a singer/songwriter akin to modern artists like Rhett Miller, Pete Yorn, or Matt Nathanson. "Stop All the World Now" was released in 2003 and eventually went gold, no doubt propelled by the success of the breathtaking ballad, "Collide". The CD is dirt cheap these days, even the deluxe special edition.
After playing the first three tracks, I was patting myself on the back for taking a chance on this CD, but then it all rapidly fell apart. I was nearly asleep until track 7, which is the likable minor hit "She Says". But the jolt from my slumber was short lived as the rest of the disc flows back down a river of boredom. I am not opposed to ballad-heavy CDs, but the other slow tunes are nowhere near as compelling as "Collide".
Howie Day has a good voice - sounding like Bono or Thom Yorke at times. Speaking of Radiohead, fans of that band should check out the closing track "Come Lay Down".
The bright yellow-orange sunrise (sunset?) over the hill could not be more fitting to describe the shimmering power pop delivered by Shake Some Action!. These boys are from Seattle, so I'm guessing in reality that they do not see a lot of sunny days. But they have a knack for compensating for the rainy city by creating bright and crisp pop rock in the studio. This release, which drops on June 17, is sure to lighten up even the darkest skies.
Musically, many of the songs are jangly Rickenbacker pop, packed with harmonies akin to The Meadows or Rembrandts. If you are a fan of la-la's and oh-ah's, you'll love it! But some of the tracks dig deep with crunchy guitars and just flat out rock, like the scorching lead off track, "Get It Together". Vocally, lead singer James Hall sounds a lot like the dude from They Might Be Giants, Robyn Hitchcock, or Dave Faulkner of The Hoodoo Gurus - get the picture? Some people are going to complain that this type of vocalist clashes with the smooth pop sheen of the music, but others will find it a refreshing change of pace.
The band lists influences such as the (surprise!) Hoodoo Gurus (James Hall is Australian), Teenage Fanclub, and the La's, and they honor their idols very well by hybridizing their sound.
In addition to the aforementioned "Get It Together", other standouts for me include the rollicking "Looking for Someone" and delicious 70s pop throwback "Hurry Up". I'm also a big fan of the Replacements feel of the closing track, "Who Do You Love?", which is perfect for the vocal stylings of James Hall, and brings together all the best elements of Shake Some Action! into a single song.
Trivia: Yes, the band's name was taken after the song (and 1976 album) of the same name by the Flamin' Groovies.
I really hate having to write a bad review for such an iconic figure, but -dammit- you put out a piece of crap we're gonna call you on it. "Trouble in Shangri-La" (2001) is likely to please only the most die hard Stevie Nicks fans.
Stevie assembled an impressive team to help her with this solo effort, including Sheryl Crow (fresh off the heels of her successful first albums), "Heartbreaker" Mike Campbell, one-hit wonder Macy Gray (remember "I Try"?), Sarah McLachlan, and ace producer Chris Lord-Alge. And according to the linear notes, we have Tom Petty to thank for this mess, who evidently inspired Stevie to write these songs in 1995.
So what is the problem? It's a dream team but the songs are nightmares. Stevie sounds like Stevie should - commendable after all these years - but hearing her voice rasp its way through one snore of a track after another is just a heartbreaking waste. Sadly, she penned most of these snores herself, with only "Love Changes" and "Love Is" hitting a chord with me. "Love Is" features some trademark backing vocals from Sarah McLachlan, which definitely help elevate the track a bit from its slumber. The standout track, "Every Day" was written by other folks. For you Sheryl Crow fans, you may be pleased that she contributes backing vocals on a number of tracks and wrote the tune, "It's Only Love". One listen to it, though, and you'll realize why she gave it away. "Fall From Grace" is the only real rocker, but consistent with most of the other tunes, is completely forgettable.
"IRON MAIDEN - THE PILGRIM CD!! EXTREMELY RARE ITALIAN PROMO!! PERFECT CONDITIONS, CD NEVER PLAYED!! YOU WON'T SEE THIS ANYWHERE ELSE, SO DON'T LET THIS CHANCE PASS BY!!"
"wow ! long out of print..this is like a relic from a forgotten era ! unopened still in the shrink-wrap long box Metallica " Kill ' Em All " catalog number 7559-60766-2 dated 1983 this has been kept upright in my climate-controlled music room all its life has " cut-out" nicks in top and bottom side of box"
I am willing to bet that most of you are not familiar with Adam Marsland, or his late-90s outfit, Cockeyed Ghost. The bad news is that you’ve been missing out on 10 years of some of the wittiest power pop put to tape this decade. The good news is Adam has made it easy to catch up thanks to this 2008 release of self-proclaimed “greatest hits”. Even if you already own Adam’s discography, you’ll be interested in this release as all the songs have been remastered, and the disc contains seven exclusive new tracks to boot.
So what does this guy sound like? You’ll hear hints of Joe Jackson and Ben Folds, but also Matthew Sweet and Dave Grohl at times. Adam’s voice is perfectly suited for his quirky - yet undeniably - catchy brand of pop rock. He has a falsetto that would make Lou Christie proud (seriously, check out "The Big Bear"), but he’s also smart enough not to overuse it. The plentiful harmony vocals are reminiscent of the Beach Boys, so it comes as no big surprise that Adam has worked with Mark Linett, the Grammy-award winning engineer who has worked on Brian Wilson Presents SMiLE.
Adam is a true multi-talent to admire...he sings, plays guitar, piano, and - of course - the clavinet. It is all too easy to get caught up in the infectious melodies and sing along without thinking…but you would be doing yourself a great disservice because Adam pens some of the most captivating and humorous lyrics of our age. There are too many ace lines to quote - take my word for it - the guy is a true poet with the wit of a modern Whitman. Adam reminds me of what Dennis Miller might have been like if he had started a band back when he was still funny and relevant.
Standouts for me include "Other Than Me" (comic genius), "Ginna Ling" (wonderfully fun chorus), "The Foghorn" (here we see a more serious side as Adam contemplates the big question), and "My Kickass Life". "My Kickass Life" should be a daily listen for each of us taking the quality of our lives for granted. As Adam sings, "I had food on the table and easy demons to fight, I wanna thank you for my kickass life."
"I Can't Do This Anymore" hints at retirement for this incredible artist, but I hope it isn't so. To those in the biz: wake up! Hollywoodland drops what it don't need, but the world NEEDS artists like Adam Marsland.
Unfortunately, my CD arrived damaged and tracks 18-20 do not play. So while they are not included in the iPOD-worthy list, odds are you'll want to add them too.
1. Deeply, often wistfully or dreamily thoughtful. 2. Suggestive or expressive of melancholy thoughtfulness.
This modern rock outfit is aptly named, but their tunes are not merely "artifacts" - they are the real deal. The music is polished, lyrics are interesting, and songs are passionately performed. There are three songs on Pensive's "Artifacts" (released in 2007) that have tattooed themselves on my brain since the first listen. Everyone should have the pleasure of hearing "Red Letter Day", "Summer is Gone", and "Live Fast".
Indeed, the strongest cut is "Live Fast" - this punchy hit is instantly memorable and easily one of my favorite songs of the year so far. This remarkable tune truly displays the ultimate potential of this young band.
And then there are several songs that are heartbreakingly close to being potent hits, but fall a bit short. With a little more work devoted to refining the hook, tracks like "Forsaken" and "Come With Me" could be just as satisfying as the iPOD-worthy cuts. Similarly, "Without You Here" is an beautiful ballad, sparse and airy with only electric guitar and voice. Bush made this work with "Glycerine" in 1995, but I think "Without You Here" could be a radio hit with more dynamics as the song unfolds, building to climax with a monster power chorus - the whole nine yards.
All the ingredients are in the pot: a very good singer, quality lyrics, excellent musicianship (fantastic drums), and just the right amount of attitude. They just need to mix it up a little better. With a little more work dedicated to the pop side of their rock, Pensive will easily appeal to even wider audiences.
Pensive is for fans of Jimmy Eat World, Echo Screen, and Fall Out Boy. Check them out!
Any devoted AOR fan should know the name Tal Bachman, who achieved one-hit wonder status with "She's So High" from his self-titled debut record in 1999. Little do most people know is that Tal released this second CD in 2006 (2004 in America's hat, Canada). I figured it was ignored because it fell prey to the sophomore jinx, so put off checking it out. Then the record suddenly became quite expensive to purchase ($140 on Amazon.com today - check now), but I scored a reasonable deal from a Canadian on ebay. I could kick myself for not checking it out earlier...and I am puzzled why this record failed to make him a two or three hit wonder.
Tal is the son of Randy Bachman (The Guess Who and, duh, Bachman-Turner Overdrive). The genes of music genius have clearly been passed down the line. Tal has a versatile voice that is raspy enough for excellent AOR rockers and gentle enough for ballads to make the girls swoon.
"Staring Down the Sun" is just as good as his debut - fans of his 1999 work will delight in this virtually unheard of release. The CD is divided into three "Acts", each exploring love and relationships: Acts I and III, comprised of 6 songs total, are the strongest. These tracks are upbeat or mid-tempo, and have big meaty hooks and engaging vocals and harmonies from Tal. Act II has a couple duds that are a bit boring, but these are the exception to the rule. Standouts include the lead off track "Tomorrow", the title track, and "Aeroplane."
I wish Tal would grace our ears with more of his infectious brand of AOR pop and rock. But he's been busy on the political scene and publically denouncing his Mormon faith (good for you)! Perhaps these events will be inspiring.
Orphan Town is an elaborate ruse for Dan Weir to hear his songs performed by ringers. These include drummers Prairie Prince (The Tubes, Todd Rundgren, Dick Dale, etc) and Todd Roper (Cake, Chuck Prophet), guitarist-plus Joe Gore (Tom Waits, PJ Harvey, Tracy Chapman, eels), members of Rainmaker, singers Ray Wilcox (!Tang, Xraydusa) and Paul Daniels.
Produced by JJ Wiesler at Decibelle Recording, add'l engineering by Drew Zajicek. Mastered by Tardon Feathered at Mr. Toad. Music and lyrics by D. Weir.
For the next week or so, friends can download tracks from Orphan Town Vol. 1ABSOLUTELY FREE via MySpace. After that, they'll be for sale on iTunes, Amazon, etc.
