Kneejerk: Saw 3D Soundtrack – Good Charlotte

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


Various artists “Saw 3D Soundtrack”

What type of music comes to mind when you watch the wildly popular slasher flick, “Saw”? We don’t have the eerie orchestral stabs of Psycho, or the chirp chirp –pa pa pa sound of Friday the 13th, or the frantic and haunting piano of Halloween...we have blistering hard rock. Whatever you think of this tired movie series, “Saw 3D Soundtrack” may as well be a “Now: That’s What I Call Hard Rock” CD. The “Saw 3D Soundtrack” is packed with great artists, some of whom we have previously reviewed on BMF like Krokus and Kopek (why Kopek is not huge by now I have no idea). Others on this record even better known to modern rock fans include Saliva, Hinder, and Saving Abel. There is even a smattering of progressive bands like Karnivool and techno-rock bands like Nitzer Ebb. The key question – are these tracks just sloppy seconds by these artists or do they synergize and make for a good soundtrack from start to finish? I’d have to argue for the latter – this powerhouse of a soundtrack is more consistent than most, with the worst “songs” (virtually just abrasive noise) tacked onto the end as almost an afterthought. Best tracks are Hinder’s “Waking Up The Devil”, My Darkest Day’s “The World Belongs To Me”, Default’s “Turn It On”, Adelita’s Way’s “Scream”, and of course Kopek’s “Love Is Dead”. Tracks by Saliva and Boom Boom Satellites were disappointing.


Good Charlotte "Cardiology"

I’ve always enjoyed this Maryland band, ever since their breakthrough hit “Lifestyles of the Rich and Famous” from 2002’s “The Young and the Hopeless” tore up the charts. Good Charlotte is classified by some as emo, pop punk, or what have you…but it is safe to say they specialize in radio-friendly pop rock with an edge. “Cardiology” is the band’s fifth effort and is supposed to sound like Blink-182. Well, why not just sound like Good Charlotte? The record gets off to a reasonable, albeit predictable, start with staples like “Let The Music Play” and “Counting The Days”. The middle of the record is quite lame with cliché by-the-book tunes like “Sex On The Radio” and “Last Night”, and an occasion misstep into dance rock territory with head scratching songs like “Like It’s Her Birthday”. Saving the record somewhat is the inspirational power ballad “Standing Ovation”, the jovial acoustic strumming in “1979”, and pop rocker “There She Goes”. Lyrically, the album is surprisingly empty and dull. “Cardiology” is good – but not heart stopping good. For a band that is heading into their second decade, a little more growth than this is expected.

Review: Dom De Luca “A Bell I Gotta Ring”

Dom De Luca is a singer/songwriter based in Ontario, Canada, who has released “A Bell I Gotta Ring”, a record following his 2008 folk effort called, “Birds Of Worry”. Influenced by the likes of Bob Dylan, Townes Van Zandt, and Wilco, De Luca croons his way through acoustic-driven stories of love and hardship. As the album cover suggests, De Luca is all heart, and it is obvious these songs are his babies and mean the world to him.

The problem most people are going to have with De Luca is that he is not a polished singer. His tone is a mix of Jack Johnson and Eddie Vedder, which will charm for a song or two, but doesn’t have the appeal that will get you through an entire record in one sitting. He sings with all the enthusiasm of Ben Stein. The voice does better when the music is full, but when a song that is stripped down (like on “Such A Good World”), the vocal shortcomings are too pronounced. The strong suit that De Luca brings to the table is that he does write some catchy and memorable folk rock songs. First single “Brother, Brother” is the standout track possessing a winning combination of melody and solid production, providing an environment that suits De Luca’s vocals. Unfortunately, there isn’t much else on the record that thrills like this track. Fans of reggae might want to check out “Lovin’ You So”, and if you need an encouraging pick-me-up, check out “Chin Up Babe”.

All the heart in the world is no substitute for vocal talent, and I think this is what is going to keep “A Bell I Gotta Ring” largely unheard. But don’t miss “Brother, Brother”.

iPOD-worthy: 1

Dom De Luca on MySpace.

Check out the video for “Brother, Brother”:

Classic melodic rock CD of the week

By Stephen Kasenda

BANGALORE CHOIR “On Target” (1992)

Bangalore Choir is a short-lived melodic rock act comprised of former Accept frontman, David Reece, and also ex-members of Hericane Alice. Playing with the typical sound of Bon Jovi and commercial Whitesnake, "On Target" is a sanctuary for melodic ears, but the real strong element inside is the Coverdalish singing style of Reece. His vocal performance is blazing and flawless on many varied tracks inside, from the fast-tempo rockers to the acoustic ballads.

"Angel In Black" will grab your attention instantly. This unreleased Autograph track was enhanced with the band's uplifting rhythm, and somehow turned out to be surprisingly awesome. "Loaded Gun" is the band's MTV-hit, a great commercial tune. "If The Good Die Young" is really a wonderful power ballad, one of their strongest tracks. The other ballad, "Hold On To You", is also quite okay, even though not nearly as great as the former. "All Or Nothin" and "Slippin' Away" are definitely their best tracks. The quick pace of intense hard rock rhythms combined with superb choruses and beautiful hooks are simply genius. The last track, "Just One Night", is also an underrated gem with an unbelievably majestic chorus. "Doin' The Dance", written by Jon Bon Jovi and Aldo Nova, ironically is the worst of a bunch.

After folding the cards, Reece resurrected the band in 2010 with their latest release, "Cadence". Apart from the fact that it's a good album and showed the band's heavier side, there's no doubt that "On Target" remained their best release. For fans of Bon Jovi, Warrant, or 80s Whitesnake, the recently remastered disc should be on your top-priority buy list if you don’t have it yet.

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax - Bricklin "Fear of Life"

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 by Bricklin from their self-titled debut album. This underrated 80s band had a great pop rock sound and even landed a song on the soundtrack to Bill and Ted's Excellent Adventure. The brothers Bricklin later became Martin's Dam and released a couple great CDs under that name.

Listen to "Fear of Life"

Review: Archie Powell and the Exports “Skip Work”

Archie Powell and the Exports impressed us in 2009 with his “Loose Change” EP, a terrific little romp through roots rock and pop territory (review here). Archie and the gang are back with a full-length release entitled “Skip Work”, which, despite having four songs cc’ed from “Loose Change”, is markedly more towards the powerpop end of the spectrum.

There is still plenty of that raw, do-it-yourself attitude coming through on “Skip Work”, so longtime fans should not feel alienated. And while the record’s title might indicate that these guys are slackers, one thing that they take very seriously is their music. As rough and boisterous as it sounds, these melodies are very meticulously crafted – to the point where I’d almost think they came out of Squeeze’s songbook. Speaking on the concept of the new record the band states, “The material bears many faces with raucous garage rock, pop sensations and slow burners abound. All of which are held together by a pervasive sense of dark humor and twentysomething restlessness.”

The amusing tale, “Milkman Blues”, starts things off before some grungy guitar driving “Enough About Me” introduces us to the more traditional Archie Powell sound (video below). “Enough About Me” has great sing-a-long quality, with a close second being the gritty pop anthem, “Moving To The City”. “Skip Work” is one of the catchiest tunes against the 9 to 5 world and the midtempo “Follow Through” has an irresistible melody too. But almost as if Powell purposely saved the best for last, “Down and Out” is my favorite in this remarkable batch of songs.

Powell’s vocals are well-suited to this rambunctious pop rock, even reminiscent of Paul Westerberg at times. There is only one minor complaint – the use of distorted vocals! A little on occasion – when well placed – can be effective, but Powell uses it too often and throws in so much distortion that he is virtually incomprehensible. But the band’s sound is consistent from start to finish, making “Skip Work” one of those rare albums you can play straight through without skipping a track.

Check out Archie Powell and the Exports if you like Fountains of Wayne, Weezer, or The Replacements. So call the boss and say you’re sick, take a holiday, and get lost in this record.

iPOD-worthy: 1, 2, 4, 7, 8, 9, 10, 11

Archie Powell and the Exports on MySpace. Official Site.

Check out a video of “Enough About Me”:

Enough About Me - Archie Powell and the Exports from Jon Kline on Vimeo.

Review: Matt White “It's The Good Crazy”

Matt White seems destined to make musical history - his grandmother was the first female orchestra leader in the country and his great grandfather was responsible for giving Frank Sinatra his first violin. White is fixing to climb to a higher branch on the family tree to pop rock stardom, and his new sophomore releases, “It’s The Good Crazy” might just get him there.

The son of a psychiatrist, White has a deeper understanding over human nature than most, and this is reflected in his lyrics. Vocally, White’s voice is on the higher end of the spectrum, allowing him to effortlessly slip up into an angelic falsetto that he frequently puts to good use. His vocals are similar to Adam Levine (Maroon 5), but White lacks the high polished pop sheen, resulting in a more authentic and less processed sound. But the real standout talent is White’s ability to tap into our emotions through song, and his instrument of choice is usually the piano. The result is a superior collection of tunes that make you think as much as they make you feel.

Opening track, “And The Beat Goes On”, is by far and away the favorite for me, an ambitious crowd pleaser in the style of “Bennie and the Jets” - could be one of my favorite songs of the year. White quickly shows another side with his comparatively mellow single, “Falling In Love (With My Best Friend)”. The song is driven more by acoustic guitars, addressing a universal subject with finesse. Even tenderer is the chilling ballad, “Taking On Water”, which allows White to showcase the vulnerability in his vocals. Other highlights include the easy going groove of “Colorblind” and “Honeymoon Phase”, which sounds like it was written by Paul Simon. Be sure to stick around to the end, because “Sunshine” is another perky piano rocker - White doing what he does best.

“It's The Good Crazy” is not without its missteps. Despite a rousing vocal delivery, “She’s On Fire” does little to ignite the soul, and the quirky verses combined with the sustained falsetto in the chorus of “Off My Wall” wears on the ears. But all in all, this album is a very impressive effort. Fans of The Fray, Sara Bareilles, and Elton John…do yourself a favor and check out Matt White.

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

Matt White on MySpace. Official site.

Listen to “And The Beat Goes On”

Review: Will Hoge “The Living Room Sessions” [EP]

About this time last year, I was listening to the latest from roots rocking road warrior Will Hoge called, “The Wreckage” (review here). He’s back again so soon with an EP aptly entitled, “The Living Room Sessions”, which consists of new versions of five songs from “The Wreckage” as well as the tune “All Night Long”, a favorite from Hoge’s 2003 landmark record, “Blackbird On A Lonely Wire”. And yes, they were all recorded in his living room.

The six songs are stripped down to bare essentials, but by no means do they sound boring or dull. The organic nature of this format is perfectly suited to nearly every song Hoge has ever put to tape. Indeed, one could argue that his songs sound better this way than with a full blown band and highly polished sheen. “The Living Room Sessions” is like a love letter to fans, but also serves as an appropriate introduction to the world of this talented yet criminally underrated Nashville rocker.

“I like acoustic recordings that try to be different from the album version,” says Hoge. “We just got together and camped out at my house for a couple of days…it’s not a home studio, no real fancy set-up or multi-tracking. The console was a laptop on a card table, and that same table also served simultaneously as the keyboard stand. There were no real overdubs or re-dos or pitch correct. We just did it ‘til we liked it and let it be…not out of laziness, it just seemed to fit.”

Don’t miss Hoge on the “Anything and Everything” tour with (!) Shinedown (an unintuitive combination if I’ve ever heard one) from November 4 – December 9. “The Living Room Sessions” EP is available now.

Will Hoge on MySpace. Official site.

Listen to “Favorite Waste of Time”

Kneejerk: Fran Healy – Elton John and Leon Russell

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


Fran Healy “WRECKORDER”

“WRECKORDER” is the solo debut from Fran Healy, the lead singer and songwriter of the Scottish rock band Travis. Travis made quite the splash in the late 90s and early 2000s with their breakthrough CD, “The Man Who” and equally excellent follow-up, “The Invisible Band”. Little did we know how prescient that title was, as Travis quickly fell off the radar. The good news is that Healy’s first solo outing is more or less a return to what made Travis successful back in the day. While not a perfect record, it feels more like the legitimate successor to “The Invisible Band” than the gloomy “12 Memories”. Healy’s vulnerable voice charms on melodious tracks like “In the Morning” and “Holiday”. “Sing Me To Sleep”, a duet with Neko Case, is another atmospheric gem. “Anything” is my favorite track in this 10 song collection, a sweeping piece beautifully sung and well orchestrated. The first single, “Buttercups” is a close second, featuring crisp acoustic guitar that pairs perfectly with Healy’s vocals. Not all of “WRECKORDER” is light and easy on the ears - tunes like “Fly in the Ointment” and “Shadow Boxing” are distinctly darker in tone. Ironically, they are less interesting and forgettable. Healy begins a tour with Brandon Flowers of The Killers on November 10.


Elton John and Leon Russell “The Union”

Everyone knows Elton John, but I doubt half the number know of Leon Russell. Russell has played for just about everyone in the music business across multiple genres and had a string of modest chart successes in the 70s. Although he’s been more behind the scenes than Elton John, Russell has earned an esteemed reputation as a session player and songwriter. These two icons, both having their heyday in the 70s, have teamed up to create this record with T Bone Burnett producing and a boatload of guest talent including Neil Young, Brian Wilson, and Don Was. “The Union” generally captures many elements from 70s piano rock, and continues along the path that Elton committed himself to with the outstanding back-to-basics ethics of “Songs From The West Coast”. The two seem to play off one another, rejuvenating their vigor in the performances, which can best be felt on Elton’s enthusiastic singing of “Hey Ahab”, Russell’s sly delivery of “If It Wasn’t For Bad”. With a couple country-flavored tunes (“Jimmie Rodgers' Dream”), honky tonk (“Monkey Suit”), and the typical Elton John balladry (“Never Too Old (To Hold Somebody)”), there’s a little something for everyone here. The fun these two had in making “The Union” is contagious, providing the listener with a thrilling experience, especially those fans of 70s era rock.

Review: Dimestore Buddhas

Dimestore Buddhas are a new indie rock formed just this year in New Jersey. Led by Gene Pompilio, they are fans of “three-chord, sugar-coated bubblegrunge”.

Dimestore Buddhas are busy working on their debut release, but in the meantime they sent me an advance copy of two tracks, “Oh Yeah Baby” and “Sci-Fi Girl”. “Oh Yeah Baby” is ear candy all right, starting off with Beach Boy style harmonies that sing the title of the song. We move into an easy going verse with pleasant lead guitar interjecting between the lines. The chorus is a bit redundant, but the catchy melody is the main reason you’ll find yourself singing it all day. “Sci-Fi Girl” is another mid-tempo powerpop gem not far removed from something The Smithereens or The Knack might write. And I have a gut feeling that most of my readers will relate to the lyrics!

Be on the lookout for these guys! If these two tracks are any indication, the full-length CD promises to be huge.

Dimestore Buddhas on MySpace. Official site.

Listen to “Oh Yeah Baby”

Classic melodic rock CD of the week

By Stephen Kasenda

SIGNAL “Loud and Clear” (1989)

The late 80s rock music industry was heavily populated by many young bands trying to capitalize on the trend and, unlucky for Signal, they were lumped together with those bands, getting dropped soon under the radar without label's support. The band vanished with the wind, but to us, "Loud And Clear" never faded. Mark Free's victorious vocal on top of the sparkling compositions and flawless performances made this album a great find for the glam and AOR society.

"Arms of A Stranger" is definitely the best track and truly sensational. The incredible voice, the dreamy composition, the climatic chorus…almost everything from A to Z on this song is just perfect. For those who are looking for uptempo tracks in the vein of this track – you’re probably going to be disappointed. Signal chose the tender path by stuffing a lot of ballads inside, such as "Does It Feel Like Love", a typical pop-rock ballad, "This Love, This Time", which sounds like a lost Foreigner track, or "Could This Be Love", an immaculate power ballad that is stunningly beautiful. The remaining songs are also pretty much enjoyable, from the potential hit power of "You Won't See Me Cry" to the Toto-meets-Bon Jovi tune, "Go". The only exception is "My Mistake", which is the worst track of the album.

"Loud And Clear" is a feast to the ears, especially if you like songs that are immersed in abundant melodies and catchy choruses. Most of the tracks are memorable and emotional. Not until 20 years later has the world been able to listen to this again, thanks to a string of high-quality Frontiers release, including the highly-anticipated return of Mark (now Marcie) Free with Unruly Child in 2010 (read the BMF review here). “Signal” belongs on the short list of classic AOR releases - a remarkable achievement, and it is a shame they never got the appreciation they deserved. Superb!

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax - Europe "Wish You Were Here"

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

This week’s track is by Europe from their 2009 album, "Almost Unplugged". How many of you knew that they did a cover of Pink Floyd's "Wish You Were Here?" Check it out...

New Rock The Vote video from Neil Nathan - "So Much More"

Neil Nathan, a former high school history teacher, may no longer work at New York's Martin Luther King, Jr. High, but he's still always looking for opportunities to inspire and educate. The upcoming Election Day is just one of those opportunities. "So Much More" was written for "the angels of American democracy" and is all about the power of individual citizens to bring about positive political change. The video is filled with inspiring images that make any viewer want to rock the vote. "So Much More" can be found on his debut LP, "The Distance Calls".

Nathan was featured on the cover of American Teacher magazine for directing Martin Luther King, Jr. High School's Arts Education program and providing inner city kids with opportunities to intern and attend performances at New York City Opera, Guggenheim Museum, and Jazz at Lincoln Center. His favorite teachers turned rockers are Gene Simmons and Bob Pollard.

Read our review of Neil Nathan's latest record, "The Distance Calls" here.

Review: Brooke Fraser “Flags”

New Zealand-born singer/songwriter Brooke Fraser is running a new one up the pole called “Flags”. Once called "The Kiwi Norah Jones”, Fraser signed with Sony Music in 2002 at just 18 years of age and her debut record, “What To Do With Daylight” went to number one on the New Zealand charts and quickly went gold, then 8x platinum. She toured in Australia and New Zealand with John Mayer and David Bowie. She is pinning hopes that “Flags” continues to expand her audience, and she seems poised to do so with a debut on the Billboard Top 200 Albums Chart at #59.

Fraser has an angelic soprano voice that floats upon dreamy soundscapes as she spins yarns of varied characters. “I’ve never used as many characters or as much narrative in my songwriting as I have on this record,” Fraser says.

The upbeat opener, “Something In The Water” is the standout track (video below), combining straightforward pop with a bit of country folk swing. The chorus is catchy, helped by a memorable chant from backing vocalists. Unfortunately, most of the rest of the record generates about as much excitement as that boring cover art up there. The tunes are beautifully sung and the record has fine production value, but the songs are just far too sleepy. Even “Here’s To You”, presumably a celebratory drinking song, comes across with weighted melancholy and insincerity – Fraser must be a real party pooper. Fans of Aqualung will want to check out “Who Are We Fooling?”, a duet co-written by Matt Hales. “Who Are We Fooling?” is one of the most earnestly performed, and will pull at the heartstrings of those stuck at similar romantic crossroads. Another highlight is “Sailboats”, which features a sparse acoustic and string arrangement that allows Fraser’s delicate voice to shine throughout this lovely piece.

Check out Brooke Fraser if you are a fan of Sarah McLachlan, Dolores O’Riordan, or Paula Cole. “Flags” is a record best played for relaxation or if you are suffering from insomnia.

iPOD-worthy: 1, 4, 8

Brooke Fraser on MySpace. Official site.

Check out the video for “Something In The Water”:

Review: Jonah “The Wonder and The Thrill”

Three years ago the Portland band Jonah won over fans and critics alike with their second record, “Trust Everyone Before They Break Your Heart”, even getting a nod in SPIN magazine. After starting some families and replacing their bassist, Jonah is back with “The Wonder and The Thrill”, a new record that is described as having a more mature sound with intentionally sparser arrangements.

“The Wonder and The Thrill” will be released November 9 and is a wonderful autumn soundtrack. Generally the songs are low key and overeasy, gentle on the eardrums yet retaining enough pizazz to thrill. Frontman Henry Curl exhales the lyrics like Matt Hales (Aqualung), sculpting his vocal performance to match the mood of the song. The record was recorded and engineered by Jordan Leff at Secret Society Studios and mastered by Kevin Nettleingham, who has produced similar records for Elliot Smith as well as Spoon and Hollipollock. The music falls like leaves on the windshield during an October drive through the park.

While most of the record is on the softer side, with tracks like “Please Let Go” and “No One Left To Blame”, there are some tunes with muscle, like the superb songs “The Old High School” and “The Wonder”. Then there are tracks like “Bees”, which lacks sting at first but starts to sound like honey after a second listen. Other highlights include “New Start” and the slow burning closer, “Sycamore”. My favorite track is the most accessible, “Diamond”. “Diamond” shines as a pleasant mid-tempo track with a strong hook and lush chorus that you’ll have in your head for days.

The hooks are subtle and take a few spins, but their harmonies alone will make you want to come back for repeated listens. Check out Jonah if you enjoy Dan Wilson, Coldplay, or Travis.

iPOD-worthy: 2, 3, 4, 6, 8, 9, 11

Jonah on MySpace. Official site.

Listen to "Diamond":

Review: Fantazzmo “Enter The Fantazz”

If there is one message made abundantly clear on the debut record from Fantazzmo it is that he loves himself. The question is – will anybody else love him as much as he loves himself?

Songwriter, guitarist, and vocalist Sergio Bedolla christened his alter ego Fantazzmo, which I thought was one of the characters in Mario Brothers, but perhaps not. Bedolla used to be in an L.A.-based band called Anima/Idle, who was featured in Spin and even secured a slot opening for Blink-182. As Fantazzmo, Bedolla is out to mix just about every rock, pop, soul, and hip-hop genre together. Some of the music on his debut record “Enter The Fantazz” is compelling, but most of it is going to be unappealing to people expecting consistency in their music. Listeners should be prepared that “Enter The Fantazz” is a wildly schizophrenic record.

While the musical styles are all over the map, the lyrics are not – Fantazzmo has a one track mind that is limited to sexual conquest. The tracks that don’t involve sex are either instrumentals (the Pink Floyd-like “Eternal Abyss” and “Cancion De La Gitana”) or a glorification of violence (the horrifying “Fear In Me”). There’s nothing wrong with writing about sex and violence of course, but Fantazzmo is simply too blunt and pornographic – there’s none of Steve Tyler’s humorous innuendo or Mick Jagger’s machismo. Fantazzmo’s lyrics are shockingly juvenile, degrading, and cringe-worthy.

The only two tracks that work here are the radio-friendly “I Know You’re Mine”, an excellent pop rocker, and “Drown Your Lies”, a reggae rocker that sounds like the single 311 has been trying to write since their last hit. If Bedolla can focus the energy and innovation in his music and write more with his brain instead of his hormones, maybe the rest of us will get a rise out of hearing Fantazzmo.

iPOD-worthy: 2, 3

Fantazzmo on MySpace. Official site.

Kneejerk: Rod Stewart – Phil Collins

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


Rod Stewart “Fly Me To The Moon: The Great American Songbook Volume V”

The resilient, forever young Rod Stewart is back again to serenade us yet another chapter of the Great American Songbook. This is the fifth one to be exact and you’re probably thinking what I am thinking…WHEN WILL IT END? There is no disputing Stewart is a pillar in the classic rock world and even put out some decent stuff in the 80s and early 90s, but his trashing of the Great American Songbook has gone on far too long. I have the same problem with volume V (!) that I have with the other four – his gravelly voice is simply not suited to the crooner genre. Would you wash your car with a Brillo pad? Use a hoof rasp to file your fingernail? Use sandpaper to wipe your eyeglasses clean? This time around he is adrift on “Beyond The Sea”, steps all over “I Get A Kick Out Of You”, and growls like a werewolf on “Moon River”. A part of me is happy that Stewart has been able to reinvent himself to remain commercially viable, but please please…somebody fly him to the moon.


Phil Collins “Going Back”

Perhaps taking a cue from Rod Stewart, Phil Collins takes a stab at covering classic Motown tunes on his latest, “Going Back”. Not an unreasonable idea considering that his cover of “You Can’t Hurry Love” (originally performed by The Supremes) conquered the chart back in 1981 and helped launch his solo career. The instrumentation on “Going Back” is of high quality, but as soon as Collins sings you’ll wish they kept it to instrumentals. What happened to his voice? Most of this sounds like Alvin and the Chipmunks Sing Motown. If I didn’t know better, I’d almost think Collins was joking. But seriously…you only need to listen to his near laughable cover of Stevie Wonder’s “Uptight (Everything‘s Alright)” to see what I mean. Collins also butchers “Heatwave”, “Papa Was A Rolling Stone”, “Ain’t Too Proud To Beg”, and, sadly, much more. “Going Back” is an unfortunate addition to an otherwise outstanding discography.

Review: Taylor Locke and The Roughs “Marathon”

How many people can put out 3 great albums in a single year? Virtually no one…no one but Taylor Locke, that is. Locke is best known as guitarist in the powerpop band Rooney, but he is quickly making his mark as a talented solo artist. It was only back in April when we reviewed his outstanding debut, “Grain and Grape” (review here). Then in July we reviewed Rooney’s latest CD, “Eureka” (review here). Now he throws a collection of 10 new songs at us on “Marathon” (review here…you’re reading it!). The most astonishing thing is that his work has been phenomenal throughout. To say the guy is on a roll is an understatement.

While most of “Marathon” is brilliant, it does get off to a false start – the epic opener, “The Honor Role” sounds like 3-4 completely different songs loosely patched together. I presume they were going for something that rivaled McCartney’s “Band On The Run” or a Jellyfish opus, but the disparate parts just don’t work together. They quickly get back into the race with a peppy acoustic driven rocker called “Jenny”. Things really start to pick up, ironically, when the band slows it down for the gorgeous “Don’t Forget”. “Don’t Forget” features moving chord changes and a terrific vocal performance from Locke. “My Only Drug” is my favorite track – powerpop at its best performed with gusto. Another highlight is the undeniably catchy “Badfinger”, which also gives the band a chance to nod to a major musical influence.

Some other tracks come close to being great, but have an irritating element or just feel like they’re missing something. For example, I would love to hear Locke slip up into his graceful falsetto on “One More Time” rather than struggle to scream it out. In fact, he screams too much on “Marathon” in general, as if he’s trying to prove he’s got what it takes to rock. You don’t need to do this, Taylor.

While not as immediately mind-blowing as “Grain and Grape”, “Marathon” is no slouch and stands heads above most of the stuff we’ve heard in 2010. But after hearing “Marathon” so soon after the debut, one is tempted to coach Taylor Locke and The Roughs to pace themselves. The band could have made a single record this year that combined the cream of the crop from each, and that record would have been an instant classic.

iPOD-worthy: 2, 4, 5, 6, 8

Taylor Locke and The Roughs on MySpace. Fansite.

Classic melodic rock CD of the week

By Stephen Kasenda

LITA FORD “Dangerous Curves” (1991)

After the somewhat blunt release of "Stiletto", I didn't expect Lita Ford to make a great return to form considering the musical climate had begin changing, but "Dangerous Curves" proved me wrong. Deliberately injected with a big amount of commercial fluid, Ford's style was stripped down to a more AOR feel rather than the typical hard rock outfit, but with around 8 enjoyable songs out of 11 presented, I guess the formula worked fine.

"Larger Than Life" begins the journey with an anthemic chorus - this track is probably the sleaziest tune and definitely an adrenaline pumper. Too bad she threw "What Do Ya Know Bout Love", which I think is far too decent compared to the next big hit, "Shot of Poison". This is one of her best songs as far as I remember and, together with "Playin' With Fire", they made a wonderful radio-friendly chart-conquering combo. "Black Widow" is also great, "Little Too Early" is good midtempo AOR, and "Holy Man" is like a lost Bon Jovi track.

While the album still suffered with some flat and dull tracks such as "Bad Love", "Tambourine Dream", or "Little Black Spider", I think this one is beautiful, especially if you can accept the commercial-fueled hard rock common in the late 80s/early 90s. Fantastic stuff!

Read more of Stephen’s features at MetalMusicArchives.

Review: Vinyl Candy “Dirty Third”

Everyone’s favorite California power pop band is back with their third release, aptly titled “Dirty Third”. The third part is obvious, but the “dirty” part also applies, as this record strikes me as a tad darker than the band’s first two releases, which required sunglasses they were so bright and sunny. I’m not saying that Vinyl Candy has gone Goth or anything, but let’s just say some of the songs feel more partly cloudy than previous efforts. And that is not necessarily a bad thing.

“Human” kicks things off, exploring human nature as only Vinyl Candy does – with an optimistic perspective. It is a rapid reminder why we love Vinyl Candy so much – instantly memorable choruses, compelling chord changes, and plenty of 70s-styled bubble gum harmonies. “Fallen” follows and, while not quite as remarkable, will appeal to members of the Vinyl Candy army. Then the clouds move in with a haunting ballad appropriately entitled “Ghost Of You” – some fans are going to dig this change of pace from the band, but others will want to skip to more predictable fare like “I Want To Be Just Like You” or “Shine”. “Just Another Movie” is a ballad bookended with a sparse acoustic arrangement with an eruption of electric guitar in the middle – the dynamics keep this song engaging. One of things I enjoyed about this track was how well Matt Corey’s vocals are suited to the acoustic sound. “On Again Off Again” is another highlight with a signature sing-a-long chorus. Of course, it wouldn’t be a Vinyl Candy record without a song about their home state, and the driving “California Georgia” does the job this time out.

Just in time for Halloween, Vinyl Candy’s “Dirty Third” is another bag of sweet treats – and a few tricks.

iPOD-worthy: 1, 4, 5, 6, 7, 9

Vinyl Candy on MySpace. Official site.

Review: Dot Dot Dot “II” [EP]

The latest EP from up-and-coming band Dot Dot Dot, simply called “II”, is a blast of fresh air. You may have caught them on “The Next Great American Band” in 2007 but, if not, one listen should be enough to convince you that they are true contenders to become a household name.

To be honest, I almost thought the opening track, “Walking In A Straight Line” sounded a bit to clubby for my tastes. Indeed, Dot Dot Dot bills themselves as a “union of rock elements cloaked in dance beats with synthy frills.” “Walking In A Straight Line” had just enough of a gritty rock edge to keep me interested…and I am very glad for that. The other four songs on “II” turned out to be some fantastic pop rockers, each with a screaming hook and full throttle rhythm section that makes you want to get up and go. “Around The World (And Back)” even has a playful 80s vibe and some “Sha la la” vocals that make it a particularly sweet guilty pleasure. “Stay” is the current single, a strategic pick that has the most cross-over potential. “Antidote” is one of the meatier tracks with heavy guitar riffing between the 80s style synths and backing vocals. “Hold You Tonight” wraps things up, another track of pop rock perfection. Any and all of these tracks could easily create a buzz at radio.

With huge choruses, superb vocals, slick production, and catchy songs, Dot Dot Dot delivers the whole package. Rock, pop, and dance may seem like a bunch of disparate dots, but this band connects them well, leaving us with a picture of what the future of music holds.

Dot Dot Dot on MySpace. Official site.

Check out the video for “Around The World (And Back):