Review: Slingsby Hornets "Something Old Something New"

Jon Paul Allen (a.k.a. Frank E. Slingsby) is the veteran of the English blues boom/Brit invasion whose career has spanned nearly 3 decades. His third album under the moniker Slingsby Hornets is aptly titled "Something Old Something New". The title is spot on because he expertly blends modern power pop with guitar tones and song structures from the golden era of classic rock.

A distinguishing feature of Slingsby Hornets that will jump out at you immediately is the use of the signature Brian May (Queen) guitar sound. He's nailed the tone and does plenty of those trademark guitar harmonies. Some of the riffs sound like they could have been used in those Bill and Ted movies. Beyond the pleasant nostalgia, Allen does a fine job keeping the atmosphere fun and light on this one, making "Something Old Something New" a real treat from beginning to end. Vocally, he's got that raspy tone that reminds me of Donnie Vie (Enuff Z'Nuff).

Standout tracks include "Elevator", "Gettin' Better", "She's The One", and "Are Friends Electric?". Odds are you'll find something to groove to no matter when you were born - there are elements of the past (Queen, T. Rex, Sweet) as well as the present (Enuff Z'Nuff, Teenage Fanclub, Jellyfish). See what the buzz is about and check out the Slingsby Hornets today!

iPOD-worthy: 2, 3, 5, 8, 10

Slingsby Hornets on MySpace. Official site.

Review: Lifehouse "Smoke & Mirrors"

Lifehouse is back with a new record, "Smoke & Mirrors", the follow up to the strong "Who We Are". "Smoke & Mirrors", their fifth album, has already earned distinction as being the highest charting Lifehouse record yet, debuting at #6 on the BillBoard charts.

It is hard to believe that their smash debut, "No Name Face", landed in 2000. After ten years, you would expect a band to have perfected their chemistry and know exactly who they are - such is true for Lifehouse. If anything, the band has been steady and consistent, always delivering a batch of succinct, radio-friendly rockers and acoustic driven ballads. Why would a band want to risk screwing around with a formula that has been so good to them? Bearing that in mind, "Smoke & Mirrors" has no new tricks up its sleeve and is yet another CD full of more of the same. Like Collective Soul, the latest Lifehouse albums are largely indistinguishable. There is only one moment of deviation in the 'trying too hard to make you dance' "Here Tomorrow Gone Today", and its miserable failure is strong evidence why Lifehouse should do nothing but what made them famous in the first place.

Producer and AOR star Jude Cole is back on board to lend his expertise on "Smoke & Mirrors" - he also plays, sings, and co-writes extensively on this record, so they should just make him a fifth member of the band. Other guests include Daughtry on "Had Enough", which was co-written by Richard Marx. The infectious first single, "Halfway Gone" is the clear stand out on the record, but other notables include "All In", "Falling In", "By Your Side", and the title track. "Wrecking Ball" marks bassist Bryce Soderberg's first lead vocal with the band - his style and tone is very similar to Jason Wade, so most listeners may not even notice the switch. Lifehouse seemed to struggle in writing a compelling ballad like "You and Me" this time around, but the introspective mid-tempo closer, "In Your Skin", is quite good and ends the record on a high note.

The "deluxe" version features a second disc with 4 extra songs that were probably not deemed strong enough to make the original release. I despise this shameless tactic of milking fans for more of their money while being wasteful in making an entire second CD to hold a paltry 4 tracks that would easily fit on the main release. Even worse is that the only track on the deluxe version worth hearing more than once is "Crash and Burn".

In short, "Smoke & Mirrors" is another solid, by-the-book effort from Lifehouse, a band that is consistent but opening themselves to criticism that too many of their albums all sound alike. The 'deluxe' version is not worth the extra money - curse the record labels that engage in this greedy and wasteful practice!

iPOD-worthy: 1, 3, 4, 7, 8, 11, 12

Lifehouse on MySpace. Official site.

Check out the video for the first single, "Halfway Gone":

Review: Frontiers roundup - Treat, Crazy Lixx, Auras

Here we present a roundup of new hard rock and AOR releases coming soon from Frontiers Records.



Treat – “Coup de Grace”

True to their name, Treat is a treat…for the ears. The new CD from this Swedish melodic rock band comes out April 6 and will be called “Coup de Grace”. Any fan of catchy hard rock needs to mark their calendars for this one.

Treat’s acclaimed debut album “Scratch and Bite” was actually released 25 years ago, during the heyday for this type of music. 25 years later, “Coup de Grace” is their sixth effort, and it is a whopper. “Coup de Grace” is filled with one solid catchy rocker after enough. I can see myself going back to listen to this one time and time again. Older and wiser, the boys in the band embrace this and write intelligently about what dads and husbands with serious responsibilities might want to hear. Treat prove that a band can age gracefully and still rock the paint off the walls without singing about the same old tired themes of drinking, partying, and nailing groupies.

The record gets off to a bit of a questionable start, with a nondescript intro track and the first rocker, “The War Is Over” is less than memorable. But then you’d better hold on because the ride doesn’t let up with a long string of crunchy catchy tunes like “All In”, “Paper Tiger”, and “Roar”. “A Life To Die For” is a superb power ballad with a seductive chorus and glorious bridge that brings the best of Journey to mind. A CD stacked with so many great tunes up front usually fades away by the end, but not so with this one – the record ends on a climatic high note with “All For Love” and “Breathless”. As for favorites, my picks are “Paper Tiger”, “Heaven Can Wait”, and “No Way Without You”.

The band writes decent lyrics compared to most of their counterparts in this genre, unafraid to do politically charged songs. In this way, they remind me of White Lion, but other comparisons that come to mind include Europe and Firehouse at their rocking best. For those missing high-quality guitar and keyboard driven melodic rock of the late 80s, “Coup de Grace” is a treat indeed.

Coming soon - my interview with Nalley, the bassist for Treat!

iPOD-worthy: 3, 4, 5, 6, 9, 11, 12, 13, 14

Treat on MySpace. Official site.



Crazy Lixx – “New Religion”

Formerly considered "The New Wave of Swedish Sleaze", Crazy Lixx has now refined their sound to 80's influenced hard rock. They remind me of the style and caliber of the second-tier hairbands like Faster Pussycat, Kix, or Danger Danger. In fact, Danny Rexon’s vocals often remind me of Ted Poley. One strong-suit is that the guys can definitely write a bombastic chorus, with rich harmonies that will draw comparisons to the majestic choruses of Def Leppard. As you might expect for such a band, lyrics are generally about rock music, warning fathers to lock up their daughters, and partying like you’re still 21. Their sophomore CD, “New Religion” comes out April 6.

As a whole, “New Religion” is a decent listen all the way through, but not quite enough to stand out in the crowd yet. However, their potential to do so is revealed in highlights such as the groovy tribute to their genre, “My Medicine”, their ‘live for the day’ anthem, “21 ‘Til I Die”, and the catchy “Blame It On Love”. Crazy Lixx drop the party atmosphere on occasion to show a more serious side, such as when they sing about the horrors of child abuse within the church in “Children of the Cross”. The requisite power ballad is “What Of Our Love”, which is pretty good, but not stellar.

iPOD-worthy: 2, 3, 4, 6, 9

Crazy Lixx on MySpace. Official site.



Auras – “New Generation”

Auras is a Brazilian rock band influenced by Journey, Survivor, Toto, and Chicago. They were formed by Gui Oliver (lead vocals) and Ferpa Lacerda (guitars) in 2007, and got to meet their idol Jimi Jamison (Survivor) during a gig they played in their hometown of Curitiba. Jamison remarked that Auras songs took him back to the eighties and the reminded him of the great bands of that period. Just a few songs into “New Generation”, you are undoubtedly going to agree.

Full of songs about love, dreams, faith and hope, Auras are an AOR band to the core. The vocals sound a lot like Steve Perry (Journey), or at least Steve Augeri (Tall Stories, Journey)! Things get off to a great start with a trio of terrific melodic rockers in “Beauty of Dreams”, “Forgive and Forget”, and “Never Give Up”, any of which would have fit comfortably on the Karate Kid Soundtrack. The record then offers a number of good songs, but they just don’t have that something special that made the first three such a treat. A couple exceptions are the excellent “Forever In Your Eyes” and “Keep On Lovin’ You” (not an REO Speedwagon cover). I also really liked the interesting “That’s The Way Love Goes”, which is a unique track on the record serving to break things up to give the listener something a little different. It maintains a good sense of melody but has a marimba flavor that will make you think someone is calling you on your iPHONE.

“New Generation” is a solid debut and I trust that Auras is going to get even better and with time.

iPOD-worthy: 1, 2, 3, 7, 9, 10

Auras on MySpace. Official site.

Review: No Second Troy "Colors"

Washington DC's No Second Troy is out to blur the line between indie rock and pop with their upcoming release, "Colors". Surrounding classic introspective indie rock lyrics with melodic sensibility, No Second Troy is in position to make this a successful merger.

Another plus for the band is vocalist Jeff Wharen, who has that perfect tone for a rock singer - reminds me somewhat of Anthony Caleb Followill (Kings of Leon). The rest of the band is tight, effortlessly threading elements from across multiple musical genres into a fresh new tapestry.

One of my favorites on the record is "The Black and White Movie", both musically and lyrically. Keyboardist Mike Beach explains, "'The Black and White Movie' is an acknowledgment that we overanalyze our relation-ships and foolishly seek the perfection we see in Hollywood movies, thereby having our relationships fall into one of two categories - bliss or something inadequate, in other words, viewing the world as a black and white movie and failing to see all the colors and nuances."

The gentle and beautiful "Leap of Faith" is another strong cut, with Wharen showing his vulnerabilities in an earnestly touching performance. The back end of the CD is almost as captivating as the first half, with powerful standouts such as "Wake Up" and "Let It Go". "Golden Age" is another moving lyric about fatherhood, but it sounds like a demo and doesn't do the song justice.

No Second Troy's "Colors" will be available on iTUNES April 27. Check them out if you like The Fray, Coldplay, or U2.

iPOD-worthy: 3, 4, 6, 7, 8

No Second Troy on MySpace.

Review: Gary Hood "Gary Hood and the Last Show Ever" [EP]

Faithful readers know that we are nuts about Andy Goldberg (of The Goldbergs, see review here). He has produced and performed on a new five song EP by friend Gary Hood, entitled "Gary Hood and the Last Show Ever".

Gary Hood is a roadie and guitar tech who has worked with Lou Reed, Sean Lennon, Steve Earle, and - yes - Justin Timberlake. But he has his own musical ambitions and aspirations, playing impromptu acoustic gigs wherever he can while on tour with fellow musicians. Hood's own sound is an eclectic blend of folk, blues, and rock, at times recalling Bob Dylan, Todd Snider, The Band, or Wilco - no Justin Timberlake. A couple of tracks clearly have Goldberg's distinct pop sensibilities in the mix, most evident in the harmony vocals he contributes, which never fail to disappoint. The five songs that grace this EP are pure and organic, usually with harmonica and bouncy bass to make you feel like you're in a roadhouse. My favorite cuts include "Ice Cream" and "Space Age Blues".

"Gary Hood and the Last Show Ever" should be available on iTUNES by April.

Gary Hood on MySpace. Official site.

'50 MUSICIAN MUGSHOTS' (BillBoard)

(from BillBoard) "It's been a busy week for our less law-abiding celebrities. Not only did Lil Wayne finally begin his long-time-coming prison sentence, but D'Angelo got nabbed for soliciting sex from an undercover cop. Sucks for them ... but they're not the only famous faces who've been nabbed by The Man. Whether they're hip-hop gangstas, country crooners or squeaky clean pop tarts, history has proven time and time again that no musician, no matter how famous, is out of reach of the law's long arm.

With that in mind, we decided to look back at 50 of the most memorable musician mugshots. Some stars are dapper, some are demented-looking, most are just damn angry ... but they all fought the law. And the law won."

SEE THE '50 MUSICIAN MUGSHOTS' GALLERY

Review: On The Rise “Dream Zone”

Good AOR is hard to find these days, but the Italian-based Frontiers Records is keeping this flame alive. Specializing in the release of new AOR groups, as well as new releases from classic AOR artists, Frontiers Records fills a unique niche in the music marketplace.

One of the acts on this label that has caught my ear is On The Rise, whose new 2009 CD “Dream Zone” is a musical time machine, taking you back to the days of Survivor, Toto, and Night Ranger. Amazingly, On The Rise is virtually a one-man band! Norwegian Terje Eide writes the songs, sings the lead and backing vocals, plays all guitars, keyboards, and bass. Eide has been active in the music scene since the 80s, getting his start when he was only 16. And while he may be older now, his love of the trademark 80s melodic rock sound has not changed a bit.

“Dream Zone” is the long-awaited sophomore effort for On The Rise, which first took shape 10 years ago. Eide sings his songs with conviction, with lyrical themes that are straight out of the AOR playbook – a handful of love songs, handful of inspirational “don’t give up” anthems, and so on. His vocal tone and musical style reminds me of 80s-era Tommy Shaw.

The 13 tracks provide over 50 minutes of AOR bliss, largely guitar-driven melodic rock with some tasty keyboards and harmonies in all of the right places. The beginning and the end of “Dream Zone” are particularly strong, setting a very high bar that the middle of the record generally fail to meet. The best cuts include the driving opener, “Lifeline”, the peppy “Lost Your Track”, and the very catchy “Why Wait Another Day”. On The Rise is highly recommended for fans of Vertigo, Mecca, and Two Fires.

iPOD-worthy: 1, 2, 6, 10, 12, 13

On The Rise on MySpace. Official site.

Here’s a video for you:

Review: Koot Hoomi "The Dark Side of Hall and Oates"

Koot Hoomi (self-proclaimed Hall and Oates mega-fans) have set out with a vision of not only covering some of their beloved favorite songs, but also, as they put it, "re-imaging the catalog as it might exist in an alternate universe." Their creation, playfully titled, "The Dark Side of Hall and Oates", comfortably lies somewhere between George Harrison and Middle Eastern-infused, dirty, indie folk. The project was largely recorded in living rooms and basements, using cheap instruments and an old-school Tascam 488 analog tape recorder, giving it a entrancing, low-fi allure. In addition to tackling the songs that actually spent some time on the Billboard charts (ie: "Maneater", "Kiss on My List", "Out of Touch"), Koot Hoomi has also reinterpreted a number of deep cuts and b-sides, going all the way back to Daryl Hall and John Oates’ earliest Philly demos.

There's something oddly fascinating about a Hall and Oates tribute album that includes Tuvan throat-singing, sitars, and an the interpretation of songs that feel sort of like Ravi Shankar meets Sufjan Stevens meets Francis Ford Coppola's "Apocalypse Now".

Highlights include their acoustical renditions of "Say It Isn't So", "Maneater", "One On One", and "Back In Love Again" - the understated beauty in these sparse arrangements truly speak to the brilliance in Hall and Oates' songwriting. Koot Hoomi also has some guts - taking liberty to turn "Adult Education" into a Beastie Boys-styled rap is going to seem sacrilegious to some fans. But whether you like these lo-fi and eclectic interpretations or not, one thing is undeniable: you've never heard Hall and Oates songs performed like this before!

iPOD-worthy: 2, 3, 6, 14

Koot Hoomi on MySpace. Official site. Go here to order.

Review: Jonathan Seet "The End Of The Beginning" [EP]

Canadian Jonathan Seet, one time bassist for Luke Jackson (review here), has released a new CD of arty Brit pop called "The End Of The Beginning". These 8 tracks make for a consistent listen and, along with his previous releases, lend support to his importance as an evolving songwriter.

The core songwriting themes explored on this EP are "redemption, re-invention, and the replenishing of innocence". With a voice somewhere between Dan Wilson (Semisonic) and David Mead, Seet is perfectly suited for sending these soothing melodies into your ears. "If The Last Kiss Made You Cry" is my favorite in the batch, but you are not doing yourself any favors by skipping over the somber title track and the epic "Down By The Bay", which builds slow to a hair-raising climax. "The Lost Week" is also a pleasant track, with acoustic guitars accompanied by keys from the 70s.

Seet will satiate fans of sophisticated pop with this one; those who need more instant gratification may not appreciate it until the third spin or so. Recommended if you like Radiohead, Elbow, or Travis. Note this is a digital only release - available on iTUNES.

Jonathan Seet on MySpace. Official site.

Review: Blanc Faces "Falling from The Moon"

Brothers Robbie and Brian La Blanc are Blanc Faces - they made a stunning impression on the AOR world with their self-titled debut back in 2005. Expectations have been running high for their follow-up release, 2009's "Falling from The Moon" (Frontiers Records).

Blanc Faces is a throwback to the hey day of 80s melodic rock: big hooks, abundant harmonies, and straightforward lyrics that typically say either "I love you" or "You can do it". The brothers La Blanc make no apologies for their dated sound and style because they know it is exactly what their fans want. Fortunately, this is also the kind of music the brothers want to write and perform, so it is a win-win situation for the band and the fans alike. The sheer joy that these guys have while playing this genre is palpable in their music.

The CD begins with a rousing opener called "I Come Alive", which easily could have been on a Rocky soundtrack at one point. I even think the La Blanc brothers must have raided Jim Peterik's keyboard closet for this one. The melodies keep coming with the peppy title track and the driving devotional, "I Swear To You". After a lackluster power ballad break, the boys come back with a couple of pleasant mid-tempo numbers called "It's All About Love" and "Goodbye Summer Goodbye". The mid-tempo pace continues for a couple more tracks, but rock kicks back in with "Like A Believer", and the CD closes strong with the electrifying sound of "I Will" and the epic ballad, "Fly", performed in perfect stereotypical 80s tradition.

Vocally, these guys will knock your socks off. To my ears, the vocals are remarkably like those from Glass Tiger. My favorite cuts include "I Come Alive", "I Swear To You", and "I Will" - these were hard to select, though, given that the CD is an excellent listen from beginning to end. You'll have trouble getting these songs out of your head.

In short, "Falling from The Moon" is just about as good as the debut and is a terrific slice of AOR that fans will want to sink their teeth into. Like its predecessor, the production is immaculate, making these strong songs even more of a thrill to hear. Both CDs by Blanc Faces are simply must-have items for fans of Survivor, Glass Tiger, or Journey.

iPOD-worthy: 1, 2, 3, 5, 8, 9, 11, 12

Blanc Faces - more info and CD ordering at Frontiers Records.

Review: Sunrise Highway "Sunrise Highway"

I am going to take a wild guess that the studio Sunrise Highway used to record their self-titled CD is full of windows that let in generous amounts of sunlight. I make this assumption because "Sunrise Highway" just sparkles with sunshine. It radiates a warm, feel-good vibe that makes you feel like you are chillin' under the sun with an ice cold lemonade by your side and no cares in the world.

The Sun gods have been appeased, and Greg Schlotthauer and company have recorded a gem of pop genius. Sunrise Highway sounds remarkably like the Beach Boys for a new generation - breezy riffs, shimmering guitar tones, bouncy piano, and loads of amazing harmonies. It makes for a great mellow listen the whole way through, but standouts for me included "Endless Summer", "Baby Be Good", and "Lonely Guy". If you dig classic pop from the era of the Beach Boys, or if you just want a good spring and summer record to lift your spirits, you cannot miss Sunrise Highway.

iPOD-worthy: 2, 3, 5, 7

Sunrise Highway on MySpace. Official site.

Review: Dashboard Confessional "Alter The Ending"

I must confess: Dashboard Confessional is not normally a band that drives me wild. Yeah, I enjoyed their radio songs, but found many of their previous CDs uneven. However, with each CD they've released, it sounds to me like they move further and further away from the banal indie and alternative rock and closer to a more melodic and memorable sound. And with their 6th CD, "Alter The Ending", the band has finally hit their stride and put out a record that I look forward to hearing time and time again.

I wasn't under this impression after the first track, "Get Me Right", but right after that they launch into a fantastic streak of catchy pop rock tunes that changed my mind about these guys. "Until Morning" and "Everybody Learns From Disaster" are awesome preludes to the monster single, "Belle of the Boulevard" (although I can't get the tappers out of my head when I hear that song - Tap Tap Revenge fans know what I'm talking about here!). The infectious tunes keep coming with the peppy "I Know About You" and title track. Soon you realize these guys were just getting warmed up after they deliver one of the catchiest tracks they've even written, "The Motions", where they tattoo the following into your brain: "If this is chemical, then I am not afraid to be bound to the impulses of science." The record ends on a couple more very strong notes with the infectious "No News Is Bad News" and power ballad, "Water and Bridges".

Some might attribute the victory that is "Alter The Ending" to the masterful producers, Butch Walker and Adam Schlesinger (Fountains of Wayne), and no doubt this is partially true. But I believe that after six albums, the guys have matured, refined their songwriting chops, and found their groove. "Alter the Ending" is an example of the magic that happens when all the stars are in alignment.

I received the "Deluxe" edition, which includes a second CD of acoustic renditions of all the tracks on the studio release in the same order. It is a good listen - not just vocal and acoustic guitar like you might expect - the guys spice it up with piano, strings, and percussion. Definitely worth the little bit of extra money.

iPOD-worthy: 2, 3, 4, 5, 6, 7, 9, 10, 11

Dashboard Confessional on MySpace. Official site.

Check out the video for "Belle of the Boulevard":

Review: Keel, Wig Wam, Jaded Heart

The rise of grunge in the early '90s catalyzed the demise of many beloved (and equally bemoaned) glam 'hairbands'. It was a time of bonehead lyrics, ridiculous guitar solos, and even more ridiculous outfits...but it was also a time of big fat hooks, sticky melodies, and boatloads of harmonies. The songs were carefree rock that in many cases was just plain fun to listen to. Like them or not, their popularity at the time cannot be denied. As most of these million-selling artists were suddenly driven from the Billboard charts and shunned by their record labels, a small label called CMC International stepped up to become the afterlife for hairbands. This allowed a handful of them to continue releasing records through the 90s, but many groups caved to musical fads, attempting to incorporate grunge and alternative rock at the expense of the sugary melodies and easy to understand lyrics that earned them fans in the first place. By the end of the '90s, big hair rock was clearly dead and it seemed to take AOR with it.

So here we are ten years on and we're seeing new labels like Frontiers Records, based in Italy, proudly releasing AOR and glam rock like it was still 1989. This is a real treat for those who miss the days of Slaughter, Poison, and Warrant, and there is a niche of 30- and 40-somethings that will gladly shell over their cash to hear some new blood bring life back to this genre. Frontiers Records champions new bands that have taken up the glam baton as well as "classic" bands that are still alive and kickin'.

I've reviewed a number of Frontiers artists before, including W.E.T., The Murder of My Sweet, Blackwood Creek, Jimi Jamison. Today we're going to cover new ones from Keel, Jaded Heart, and Wig Wam.

KEEL "Streets Of Rock & Roll"


Ron Keel and his entourage is back with a record that sounds like the proper sequel to their breakthrough 1985 release, "The Right To Rock". 25 years later, Keel still delivers the goods with powerhouse twin guitars (from Marc Ferrari and Bryan Jay) and thundering bass and drums (from Geno Arce and Dwain Miller). Ron Keel sounds ready as ever, with his characteristic growl omnipresent throughout the vocals. The boys have updated their sound a bit, but not to the point where it would alienate longtime fans.

"Streets Of Rock & Roll" kicks off with the title track, one of the strongest in the new bunch of 12 arena-ready rockers. Guitars come at you from all directions, swirling around one of the most infectious choruses Keel has ever written. Despite the slump to bonehead lyrics, "Push and Pull" is an enjoyable slice of sleaze rock in the finest late '80s tradition. In stark contrast, the album gets a bit more serious with the excellent power ballad, "Does Anybody Believe". The record ends particularly strong with a great pair in "Hold Steady" and "Live". "Live" is arguably the catchiest tune in the dozen, with riffs reminding me a bit of White Lion's "Wait", and has become my personal favorite - this one would have been all over the radio back in the day. In short, I am finding "Streets of Rock and Roll" to be one of the best releases Keel has ever done.

Don't miss this one if you are a fan of Motley Crue, Kiss, or W.A.S.P.

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

Incidentally, Frontiers Records commemorated the 25th anniversary of Keel's “The Right To Rock" with a "25th Anniversary Edition" - don't miss that too!

Keel on MySpace. Official site.

JADED HEART "Perfect Insanity"


The German band Jaded Heart gravitates more towards the true heavy metal end of the spectrum, but they compromise on the melodies. No one can knock the musicianship, but it often feels like they go out of their way to avoid writing a good hook. So it probably comes as no surprise to many of you that I just couldn't get into this one as much. "Perfect Insanity" works well when you need to get your blood pumping, though. These guys have been going strong since 1990 and they have clearly mastered their craft. I would recommend this one for fans of heavier and less melodic bands like Queensrÿche, Dokken, or Heaven and Hell. Fans of classic metal such as Judas Priest will also appreciate Jaded Heart.

Jaded Heart on MySpace. Official site.

WIG WAM "Non Stop Rock & Roll"


I honestly didn't know what to expect from this band - from Norway, they kind of look like a nightmarish cross between Marilyn Manson, Brad Paisley, and Enuff Z'Nuff:



As if that weren't 'enuff', they call themselves Glam (vocals), Teeny (guitars), Flash (bass), and Sporty (drums)! But looks and goofy nicknames aside, these guys sound as glam as glam can get, so if you crave the long lost days of fun-filled rock and roll with huge juicy hooks and radio-friendly riffs, Wig Wam is gonna make you grin like a kid in a bubblegum candy store. In the context of this genre, Wig Wam does a superb job. Glam (the singer) sounds a bit like Vince Neil and CJ Snare (Firehouse). You'll almost want to chuckle with nostalgia at the opening gang chorus of "Do Ya Wanna Taste It". The party is just beginning, and if track 1 failed to move you, the thumping "Walls Come Down" will surely lift you out of your chair. "Wild One" and "C'mon Everybody" represent another one-two punch of melodic rock perfect for rocking your joint. "C'mon Everybody" features a riff reminiscent of Motley Crue's hit "Dr. Feelgood", and the groove won't let you go. "From Here" is the power ballad of choice on this CD. "All You Wanted" and "Rocket Through My Heart" are a couple more highlights from this very impressive set of sugar sweet hard rock tunes.

I would argue that if anyone could initiate a resurgence of '80s pop metal, Wig Wam is up to the task. Wig Wam will appeal to fans of Poison, Warrant, and Ratt. Unbelievably catchy, upbeat, and ready to party, Wig Wam is a winner for good ol' glam and roll.

iPOD-worthy: 1, 2, 3, 4, 7, 9, 10

Wig Wam on MySpace. Official site.

Interview: Crash Kings

My interview with Crash Kings - now on tour with Jet - is now posted at Rock and Roll Report. Go check it out.

See my review of Crash Kings new CD here.

Review: W.E.T. “W.E.T.”

W.E.T. is a new supergroup, the acronym standing for Work of Art (Robert Sall), Eclipse (Erik Martensson), and Talisman (Jeff Scott Soto). W.E.T. is perhaps the lamest band name since M.S.G., but we won’t hold that against them when weighing in on their music.

The self-titled debut album from this trio of AOR superstars delivers exactly what you'd expect - slick, high-gloss melodic rock. What separates this one from the pack is the extraordinary combination of talent on board - the pristine vocals of Jeff Scott Soto sound even more amazing when backed by musicians of this high caliber. These guys have an excellent chemistry and, best of all, they brought some very memorable songs to the studio that follow the classic AOR formula - driving verses, an arena-ready chorus, and astonishing guitar solos.

The hi-octane crunch in the meaty opener, "Invincible", effectively foreshadows the melodic rock goodness that is to follow. The guys come out swinging, serving up additional crowd pleasers like "One Love" and "Brothers In Arms". "Comes Down Like Rain" is an early favorite for the best power ballad on the record, but I prefer the spectacular "One Day At A Time". Additional highlights include the awesome mid-tempo rocker "I'll Be There" and "My Everything".

If you enjoy the other bands these three artists have graced, there is no doubt in my mind that you will want this debut. W.E.T. is also going to give fans who love Journey, Pride of Lions, and Giant something to smile about.

iPOD-worthy: 1, 2, 3, 6, 9, 11, 12

W.E.T. on MySpace.

Check out the video for "One Love":

Cover tune catastrophe: When A Man Loves A Woman

In this ongoing series, I will uncover some of the WORST cover tunes ever recorded. We’ve all encountered that unsettling feeling upon hearing a beloved song redone by another artist. What were they thinking? How dare they try to redo this song! While we are powerless to prevent these clowns from trashing the originals, we can call them out on it.


Michael Bolton – “When A Man Loves A Woman” (Percy Sledge)

When a man loves a woman, is he supposed to appeal to her as if he is in the middle of a proctology exam that has gone horribly wrong? When a man loves a woman, is he to have more fabulous hair than she? When a man loves a woman, is the best way to her heart to utterly ruin classic R&B? Check out this video of his live duet with Percy Sledge: the side by side comparison makes my point and then some.

Review: Adam Ezra Group "View From the Root"

The Adam Ezra Group is an organic roots rock band creating quite the buzz in Boston and beyond. They've opened for John Mayer, Jason Mraz, Cracker, and more, building a steady following along the way. After listening to their first release, "View From the Root", I can happily add my name to this following.

"View From the Root" contains a bounty of tracks - 17 in all - but it feels like a split record to me. The first half strikes me as the proper studio release, but the latter half feels more like a rarities and outtakes disc. While some of the more experimental or stripped down tracks on the tail end of the CD have their charm, I think that more often than not I'm going to stop the CD at track 8. One cool experience, however, was the genuine coffeehouse feel of "She's Just A Girl", recorded live and preceded by a spoken word intro.

So let's get to the highlights. The best song for me is the opener, "Katie", a sweet and innocent appeal that finds the band at their synergistic best. This one is followed by a string of excellent root rock tunes that maintain a contagious sense of melody and leave you feeling upbeat. "Half A Hero" and "Vision" will make you move and "Have We Met" and "Another Sunshine" will make you groove. Another thing I like about Adam Ezra Group is that they are lyrically smart, whether it be through the use of clever word play to jazz up mundane love songs or their bold dives into deeper subject matter (check out "Basement Song"). Numerous times on the dics Adam seems to be writing vocal checks he just can't cash, which might be helped in the future if the band works more effective harmonies into the mix. But all in all, "View From the Root" is a terrific debut from a smart band with great chops and a bright future.

I recommend the Adam Ezra Group if you like Glen Phillips, Edwin McCain, or Todd Snider.

iPOD-worthy: 1, 2, 3, 4, 6, 8

Adam Ezra Group on MySpace. Official site.

You Were Robbed - Athenaeum

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Athenaeum. Say what? ATH-A-NEE-UM. In Latin, it is a school in ancient Rome for the study of arts. The strange name is probably one reason this fantastic band never took off...DJs were too embarrassed they would mispronounce it!

Athenaeum formed in Greensboro, North Carolina about 20 years ago, pulling off their first EP in 1995, known simply as the "Green Album". Some of these songs made their way to the band's first major label release, 1998's "Radiance". They had immediate success with the radio-friendly tune "What I Didn't Know", but never matched it despite the record being full of additional melodic rock gems. Their self-titled follow up was an even bigger disappointment at radio. "Hourglass" was their final album, released in 2002 - while a compilation of rare and unreleased material, it plays like another ace studio album.

The band uses intricate harmonies and sophisticated songwriting to decorate the intelligent lyrics, and their melodies stick with you for days on end. They should have been huge. Maybe it was the name. Maybe some people couldn't get used to the deep vocal tone of Mark Kano, or maybe the second record being released the week after 9/11 had something to do with it. Whatever the reasons, it isn't too late to discover Athenaeum's wonderful brand of powerful pop rock.

Mark Kano has recently teamed up with Gavin MacKillop (who produced "Radiance") once again, and the result was a stunning solo EP called "Walking on Broadway". Check out our review of it here. Don't allow Mark Kano to be robbed again!

Fans of Toad the Wet Sprocket, Gin Blossoms, and Crash Test Dummies - if you've overlooked Athenaeum, you are missing out on a new favorite.

Mark Kano on MySpace. Official site.

Athenaeum

Check out this brilliant acoustic version of their one and only hit, "What I Didn't Know":

Review: Andrew Anderson "As Long As This Thing's Flyin'"

Mix in a voice like Freedy Johnston, an attitude like Johnny Cash, and the raw sting of Social Distortion, and you get a close approximation of Andrew Anderson. It is easy to see why Mike Herrera (frontman for MxPx and Tumbledown - the latter reviewed here) took such an interest in this unique singer/songwriter from Idaho (now in Austin).

Anderson's latest, "As Long As This Thing's Flyin'", is a truly engaging piece of art. While he will dazzle you with his impeccable fingerpicking on acoustic guitar and mandolin, it is the classic punk rock arrangements and cynical tone that make each song a compelling listen. Anderson is impressively versatile with his voice - he can be bold and aggressive when he has to be, but he can also be gentle and sincere. He puts in the effort to make the voice and the music match the message in each song. Best of all, Anderson is not immune to writing a memorable melody and he doesn't clunk up his songs with throwaway lyrics.

The opening track, "Once Met A Girl" embodies all this artist is capable of, blending country, bluegrass, folk, pop, and punk to create a distinctive sound he can call his own. Another highlight, "Necessary Casualties" (video featured below), bemoans the political system that is impotent to break viscous cycles. "Damn It Man", my favorite track in the bunch, is the perfect 'feeling sorry for myself' anthem. "Hell On Earth" sounds like a lost track by a young Johnny Cash. The title track closes the album, a contemplative ballad with a surprise assortment of piano, acoustic guitar, and strings, that should leave you with chills.

Anderson aspires to be the next Hank Williams. Whether Hank was your cup of tea or not, I recommend you check out the refreshing and engaging sound of Andrew Anderson.

iPOD-worthy: 1, 3, 5, 7, 8, 10, 14

Andrew Anderson on MySpace. Official site.

Check out a video for "Necessary Casualties":

Review: The Brigadier "The Edge of Spring" [EP]

Our good friend The Brigadier, a UK-based pop singer/songwriter also known as Matt Williams, is back with yet another EP release. If anything, The Brigadier once again cements a reputation as being one of the most prolific songwriters around. You can read our past reviews of some of his releases here.

Instead of charging out of the gate with an infectious rocker, this time around The Brigadier sets a more sober stage with the gentle acoustic opener, "Song For A New Year". His strumming is pleasant and voice like an old familiar friend. The EP continues to build on the seasonal theme, as suggested by the title, and is very effective at conveying that winter blues feeling while keeping hope for a brighter spring. Two timely offerings include "Valentine's Day" and "February", which then melt into the atmospheric "The Last Day of Winter" and a rewarding closer, "She Brings The Spring". The brief quirky instrumental "Saint David's Day" connects the two periods. Devout fans of The Brigadier will no doubt enjoy this EP, but I do not find myself connecting with it as immediately as his preceding efforts. My favorites include "Song For A New Year" and "She Brings The Spring", but the tracks in-between just left me cold.

This EP is only available as a digital download - you can grab it at the official web site below.

The Brigadier on MySpace. Official site.