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Friday, July 11, 2014

Jukeboxer - Man Throughout the Ages

Name: Jukeboxer
Album: Man Throughout the Ages
Year: 2002
Style: Ambient Electro-Pop
Similar Bands: Stereolab, Belle & Sebastian, Camera Obscura, Ambient Brian Eno
"One-Word" Review: Moog Pop
Based Out Of: Brooklyn, NY
Label: Memphis Industries
 Man Throughout the Ages - Cover, Record, Mail In Form
                                                                      Man Throughout the Ages - Cover, Record, Mail In Form
Man Throughout the Ages (2002)

  1. Man Throughout the Ages 2:18
  2. Even Little Stunts 3:59/
  3. Won't You Sing With Now I Know My 3:21
  4. Sea Chantey 4:39

Album Rating (1-10): 7.5

Members & Other Bands:
Noah Wall - Vox, Composer, Electronics, Guitar, Keyboard (Tall Firs)

Amy Jones - Vox (Tuffy)
Tim Barnes - Drums, Mastering (Silver Jews, Neil Michael Hagerty, Essex Green, Jim O'Rourke, Tower Recordings, Matt Valentine, Sonic Youth, Text of Light, Beth Orton, Wilco)
Ben Piekut - Pots & Pans
Guy - Mastering

I’ve never heard of this band. I do like the cardboard cover, and the imagery/artwork, so that was a nice start. Made in UK label does not mean much, but it feels exotic. It is only an EP, so not much of an effort to decipher. Overall, I was just interested in what this record had on it.

Album Review: Jukeboxer is basically just the name for Noah Wall, an extrodinary musician who can play many many instruments. One account said that he writes more in a classical structure than pop-song. Overall the songs feel earthy, yet electronic. Ambient, but full of direction. The vocals demand the listener’s attention.

“Man Throughout the Ages” starts out with a carousel style steel drum, and a fun, playful sing song melody. The female vocals begin, and are fey, polite, and acute. Tt sounds like something from Belle & Sebastian or Camera Obscura on the slower side. Or even Saturday Looks Good to me. The organ is very important to the song, tying it all together. There are male vocals layered below toward the end. The song just feels too short, but it is very precise.
“Even Little Stunts” feels like a chrismas carol in the beginning with sleighbell percussion. This quickly changes with the addition of electronic fuzz and grinding, screeching guitars full of feed back. The song restarts itself with a carousel organ melody, and what sound like a variety of bird chirps. The light, pretty female vocals, couples with the male vocals set back bring an elegance and direction to the melody, which is ever-evolving without the vocals. A chaotic arrangement of different sound effects are layered over and under the main driving rhythm of  marching drums. The end of the song just features melodic feedback and the closing in march of percussion.

“Won't You Sing With Now I Know My” has echoing watery guitars like deep chimes in the begging. Following this up are moog-like electro notes ascending, then descending. A rattle symbolizes a radio station change, and the eerie female vocals begin. It still has a Belle & Sebastian feel to it, perhaps visualized through an Aphex Twin filter. The song finds its groove and becomes repetitive to the point of droning on, like a loop entrancing the listener. The song ends with an emphasis on the main hill/valley hook present in the song.
“Sea Chantey” starts with a ringing untuned guitar chord that is slowly strum. A general ambient ringing fades in and out, like a lighthouse beacon slowly rotating. The mood is sullen and dark: sad and brooding. Then out of the darkness comes an acoustic guitar bringing a warbley racket ball like effect in the background and the song takes shape and direction with a slightly upbeat melody. The darkness is still there in this instrumental. The bass line is perhaps the most interesting, and immediately catching element of the song, even after other Atari Break Out effects are added, it still stands to be reckoned with. Those elements fade, as if our boat has passed the lighthouse, and interesting town, and is now back out to sea. I’m just using the sea as a point of description because of the title, but the sounds, the now lonely ambient drips that sound like underwater whale dialogue, lend themselves to life on the sea.

Stand Out Track: Man Throughout the Ages

Noah Wall's page
Absolutely Kosher
Noah's Bandcamp
Forced Exposure

The Johnston Bros. - S/T

Name: The Johnston Bros.
Album: s/t
Year: 1980
Style: Country Pub, Bluegrass
Similar Bands: Charlie Daniels Band
"One Word" Review: Small Town Country Grass
Based Out Of: Philadelphia, PA
Label: n/a
The Johnston Bros - Cover & Record
 The Johnston Bros  - Back & Autographed Sleeve
The Johnston Bros. (1980)
  1. Oh My Love 3:13
  2. Disco Lady/Country Boy 3:01
  3. Show Me A Sign 3:45
  4. This River's Too Wide 2:27
  5. Honey, You Been on My Mind 2:18/
  6. Runnin' Away From the Game 3:17
  7. All of Your Love 3:35
  8. Reflection In Your Eyes 2:58
  9. For What I Am 3:25
  10. Soldier's Joy (traditional) 3:37
Album Rating (1-10): 5.5
Members & Other Bands:
Arthur DuHaime - Bass
Mark Johnston - Drums, Vox
Kurt Johnston - Guitar, Banjo, Pedal Steel, Vox (Bon Jovi)
Wayne Johnston - Guitar, Harmonica, Vox (Lucky Oceans, Susquehanna River Band, The Hawks)
Lionel Cartwright - Piano
Gene Galligan - Piano, String Synth
Johnny Cuningham - Fiddle
Phillip Cunningham - Accordian
Wendy Britton - Backing Vox
Ellen Britton - Backing Vox
Bob Mignogna - Engineering
Marie Caron - Engineer
Jack Murray - Album Design / Cover Art
Dave Motko - Photos
Unknown-ness: I’ve never heard of this band. But I like the clean cover of just the logo on the black surface. Looks like it will be Pub Rock all the way. I like the simple and centered back, very clean and well laid out. Looks like they are from the Philadelphia area, so that’s an added bonus. And it is from 1980, so again, a big plus in potential.
Album Review:
So this is basically a straight forward country record. Honestly, this is not in my comparative wheelhouse, so I’m not going to do very good here. As for the band, later in life, the lead guitar player became a god rocker, and toured with Bon Jovi in the mid to late 90’s. They still come back to the Philadelphia area and play out, as recently as 2004 in Lansdale (which is already 10 years ago…never mind about that recent part). And one lives in Georgia; 2 in PA.
“Oh My Love” sets the tone immediately with slide guitar and harmonica. Straightforward country music, from the swagger in the vocals, and boot clicking drum beat to the bouncy bass line. The chorus is nicely harmonized. After two cycles, the harmonica comes on for a spotlit solo, followed by the pedal guitar. The harmonized vocals come back for a little and the song ends on a guitar note
“Disco Lady/Country Boy” features some bold drums and a disco intro that almost rocks. Then the country vocals come in and take the song over. I’m sure hearing this song live in the middle of the set started with looks of concern with the amount it changed the style, only to relieve patrons when the song shifts into a straight forward rhythm banjo played country song. There is a brief moment of “Devil Went Down To Georgia” spoken-singing, then it heads back to the pub-style country song. This song was surely a sign of the times, and a product of a cultural collision.
“Show Me A Sign” is a slower country ballad, sounding more like real, classic country in melody and theme. This song shows their god-roots, as the song asks their god to show the sign, rather than the preconceived notion that it would be about a girl. The different country instruments take their turn showcasing a western “on the range” feel. I guess that’s the style and imagery they chose for singing about being “alone without their god’s direction”
“This River's Too Wide” is a much more fun, honky tonk banjo pluckin’ barnstormin dance. There is a tinge of god in the lyrics, but it is covered by saying somebody, rather than shouldering the burden entirely on their god. But the harmonies and bluegrass structure of the song makes it somewhat fun.
“Honey, You Been on My Mind” is a fast played bluegrass number. The chorus of the title is nicely harmonized, and the song is just a runaway banjo and guitar number. The melody is incredibly simple but catchy. This travels the fine line between Blue Grass and Country, but again, when it falls, it hits the Bluegrass side, thanks mostly to the tempo.
“Runnin' Away From the Game” takes side two back to the ballad side. The vocals are from a different brother: these are deeper, even a like a tamer version Randy Newman. If this was cleverer, it could have been on Ween’s Golden Greats album. It’s toe tapping catchy, and has that steel element in the lead guitar, and a very light production for the acoustic rhythm guitar.
“All of Your Love” has quite a soulful beginning, nearly sounding like Motown, complete with a very catchy lead guitar hook. The vocals change the direction of the song nearly 180 degrees, with the country swagger and even the bass line is still there, the song lost all of the energy it had in the intro. The theme of the song is being loyal to one and only one woman, giving all of your love to one person. Toward the end repetition and interpretation of the chorus/title, a female backing chorus adds a good depth to the song, but it never turns back around from quite an impressive 20 second intro.
“Reflection In Your Eyes” is another slow side to side swaying ballad, with slide guitar, and dopey bass line. This sounds like a countrified version of an older boy vocal group song.
“For What I Am” starts with vocals only. As the song stirs awake, it brings an acoustic guitar and evokes a sort of fantasy dream vision. It could also be mistaken for a Bee-Gees song, minus their same level of harmonic achievement. This is a lighters in the air arm swaying ballad.
“Soldier's Joy (traditional)” is their bluegrass take on a traditional folk song. The banjo stands alone for a while in the beginning, followed by a fiddle mimicking the melody. Then the bass comes in for a measure, then the drums kick in. Once they are all in place, the various instruments make matching, meshing melodies of their own. The harmonica is added, replacing the fiddle at one point. But this is another barn dancing song. An accordion is added into the mix, And as each lass would have their chance to do their own dance in the middle of the floor by watching, clapping and cheering their co-dancer on, the instruments take their individual turns in the spotlight. In true dance form, they all converge together at the very end, and a drummer boy beat fades the album out.
Stand Out Track: Honey, You Been on My Mind

Thursday, July 10, 2014

Holy Rollers - As Is

Name: Holy Rollers
Album: As Is
Year: 1990
Style: Garage, Indie-Core, Rock/Punk
Similar Bands: Bad Religion, Fugazi, Screaming Trees, Helmet, Life Of Agony, Animal Bag
"One Word" Review: Alternative Punk Metal
Based Out Of: Washington DC
Label: Dischord
 As Is - Cover, Record, Sleeve Photo, Dischord Order Sheet
                                        As Is - Back, Record, Sleeve Lyrics, Dischord Order Sheet
As Is (1990)
  1. Eleventy 3:09
  2. Freedom Asking 2:27
  3. Head On 2:36
  4. We 2:09
  5. Machine 3:08
  6. Dahlia 2:45 / 
  7. Opus 2:41
  8. Poison Lung 2:22
  9. Everlast 2:52
  10. Ode to Sabine County 2:54
  11. Sacred Minds 2:08
  12. Johnny Greed 2:25

Album Rating (1-10): 5.5

Members & Other Bands:
Marc Lambiotte - Vox, Guitar

Joe Aronstamn - Bass, Vox (Grand Mal)
Maria Jones - Drums, Vox (Broken Siren)
Juliana Luecking - Spoken Word
Geoff Turner - Producer, Vox, Guitar, Organ
Richard Robinson - Engineer
Jeff Nelson - Graphics
Peter Hayes - Logo
K. Sayengo - Typeset
Underwood & Underwood - Front Photo
Naomi Petersen - Band Photo
James Cohrssen - Hand Photo

Unknown-ness: I’ve never heard of this band. From the cover and back, I imagine some overly fuzzed out droning wall of sound music that couldn’t find a genre in the mid 90’s. This is based on the logo font, and the dual-colored bamboo forest cover and Graveyard monument band picture on the back. I know this is not popular, radio music, but 1990 was the year music changed. Just look at the 1990 MTV awards, and you will see it was the year that went out with the old, and in with the new. In any case, as a discount record bin purchase, I’m interested to hear what it contains.

Album Review: So the Holy Rollers got their start opening for Fugazi in a basement in DC somewhere, and are label mates with them and Minor Threat. They are politically charged bridge between punk and alternative rock.

“Eleventy” starts of the album with clanging metal cymbals, dark bass, and screeching guitars. Then fuzzed out guitars begin a wall of sound. The vocals are relaxed, and harmonized, as all members of the band sing. As this was before the majority of alternative music took off, it sounds like it fits in perfectly with zuxxed out rock tracks like Screaming Trees or Flowerhead. There is a musical change toward the end of the song, if only for a few seconds, where the song’s momentum speeds up, like the song is coming out of the darkness, then the bass drags it back down.
“Freedom Asking” has a fast driving guitar, followed by drums that remind me of helmet. The momentum breaks for the chorus, and it sounds a little British, like a dense version of the Posies. I could see this being a fun song to see live. This song possesses a weird hybrid between jangle pop and speed metal.
“Head On” has a funky intro with fuzzy guitars. Vocals are female, but powerful and driving in a monotone fashion (a little like Devo). It has a good prog-metal chorus of vocals for the chorus.
“We” is a driving song with unappealing vocals (to me at least). The revving guitar chords are good.
“Machine” has a watery bass hook at the start, and pounding, pressing drums that are matched by heavy guitars. There are some interesting vocals echoing in the background, but overall, the song kind of drags along. It’s just missing one element to make it really punch effectively.
“Dahlia” has whiney I don’t care vocals at the outset, that build with a melody all their own, into a head banging, metal number, reminding me of the less melodic Life Of Agony stuff. The end of the song feels unnecessarily rushed toward the end.

“Opus” begins the second side with a very watery, Ned’s Atomic Dustbin style bass that gets buried beneath metal guitars and vocals that are trying too hard, but come off a little flat. The song feels like it goes too long, then it just abruptly stops.
“Poison Lung” has a complex driving melody with a couple layers of guitars, a funky bass line, and a solid and steady drum. There is a bit of powerpop at the root of this song, in the chord changes. But again, the vocals just feel a little flat, and uninspired. The end has a very Janes Addiction wind down (before Janes was doing it), and the song is politically charged about the environment, so that’s good.
“Everlast” has loud droaning guitars played in a pop punk fashion. The vocals sound cold and aggressive, and the song really stomps forward with its head down. The chorus is a chanting hard core, call and response style. Immediately following the chorus, the music changes direction to be much more straight forward and driving. There is a big pause, and a much more metal (yet harmonized) chant starts. The song gets back to the initial head down stomp, and ends on a power chord.
“Ode to Sabine County” begins with single syllable chants, and driving metal guitars, which make up the verse. What seems to be an instrumental song then changes after two run throughs, and is becomes much more methodical and dark. This is the song that features the spoken/shouted word anger/political poem by their friend Juliana Luecking. After the line about a black man being beaten to death, the song cycles back to the initial chanting, and drives on to the end.
“Sacred Minds” again feels like a British psychedelic jangle song overlayed on metal guitars and bass. There are some good harmonies here, that get lost in the heavy instrumentation.
“Johnny Greed” is folksy with an acoustic guitar and cymbal tambourine percussion. This feels like a hippie demo of what is in their minds before they add all the heavy shit. This is like stage one, before a song like Sacred Mind and Freedom Asking is a hybrid, then there is the rest of the album. The song kicks it into a higher gear with the chorus of shouting, with feedback and distortion layered underneath as if to give prove to their metal cred.

Stand Out Track: Freedom Asking


Wednesday, July 9, 2014

Heum - s/t

Name: Heum
Album: s/t
Year: 2009
Style: Contemporary Jazz
Similar Bands: 80's TV Drama Themes, Vince Guaraldi
"One Word" Review: Charlie Brown Sad Sax
Based Out Of: Korea
Label: BIC Music
Heum - Cover, back and fold out
Heum - Inner Notes, Tray and CD
Heum (2009)
01. 그 극장의 마지막 상영 (The Theater's Last Show) 5:23
02. 花  (Flower) 6:14
03. 한 걸음에 두 계단 (two stairs one step) 4:12
04. Someday My Bassman Will Come 4:02
05. 일사병 (stroke) 6:50
06. 102 3:35
07. Psionic Storm 5:38
08. JJ 4:39
09. 우리도 아리랑 고개를 넘는다 (Going Over Arirang’s Head???) 4:35
10. Someday My Bassman Will Come (Soprano Saxophone Version) -  4:04

Album Rating: (1-10): 5.0

Members & Other Bands:
Choi Jung Heum - Sax
Lee Kwang Hyuk - Drums
Kang Yoo Hyun - Piano
Shim Young Joo - Bass
Carlos Manuel Navarrete - Album Art

Unknown-Ness: I’ve never heard of this band, and rightfully so, as it looks like they are from Korea. I liked the artwork, and finding it in a thrift store 50 cent bin pushed me over the edge to pick it up to try it. I’m just hoping it is something interesting, perhaps some experimental fun/noise stuff. But the packaging is a good enough sell for me.

Album Review: Instrumental Jazz is not my thing, and even though there are two songs with vocals, on the whole, this is not my thing, and makes me think of 80's TV show theme songs. So forgive me if I cannot make a well educated comparison for this album.

“The Theater’s Last Show” begins with a simple, klezmer –like sax, which is the primary instrument in this piece. There is a simple jazzy bass line in the background and minimal piano and drums. It is a fun, playful tune with an underlying sadness. Toward the end of the song, the sax takes a break, and the piano moves to the front, following the same ascending and descending melody. Around 410, the sad sax comes back, holding a final note for about 30 seconds
“Flower” has a twinkling piano intro, and is followed by a bluesy sax, painting a naive, yet slightly sinister picture. The tempo and momentum shifts, and the song graduates to a steady swagger as it progresses forward. A steady, toe tapping rhythm sections keeps the tempo moving forward. The true freedom to the song’s structure lies solely in the improve sax performance. In the verse, the sax feels like a slowed down Toejam and Earl Funkatron video game theme song.
“Two Stairs, One Step” starts with low, shady notes from a sax, and minimal piano played like a metronome, keeping the tempo. Light drums come in slowly, adding a bit of texture to the slowly developing song. The sax picks up the intensity and octave, yet the piano slowly plods along in the background.
“Someday, My Bassman Will Come” creates a smoky jazz club vibe with a low sax and tinkling piano that seem out of time with each other. This song has low vocals as well, nearly whispered. The vocals are replaced with the higher pitch sax, and the sad takes on a sad yet romantic shape. It reminds me of Stevie Wonder playing a slow Italian standard. The vocals come back in near the 3 min mark, and carry heavy sorrow with their quiet delivery.
“Stroke” is a bit of a driving jazz song. The bass and pianos create a repetitive ground, where each instrument overtakes the other. The sax has a confident sorrow in how it is played. Shortly after the 2 min mark, the bass has a chance to take center stage with a break out performance that sounds every bit as much as vocals as the vocals did before. Toward the end of the song, the sax answers, and brings the attention of the listener back from a bit of wandering time with a simple yet sharp melody.

“102” features a rolling sax melody played over minimal piano, and even more minimal bass. The start-stopping of the notes again make me think of a good many theme songs to office/city oriented tv shows in the 80’s. The melody is repetitive, but easy to follow along with, and does actually vary slightly as the song progresses.
“Psionic Storm” starts with a spastic multi layered horn, and a dark, brooding bass line, with wood block percussion that grows into the densest and complex drumming on the album (but is still not that complicated). This song feels the closest to a straightforward rock/pop song, thanks to the rhythm section. An organ is added to the mix, guiding the bridge along over two repeating, held notes. The organ gets moe complex, and create a somewhat psychedelic tone in the pit of this driving rock song. Past the 5 min mark, ti feels as if it could go on forever, then it just stops.
“JJ” sets out to reconcile the previous song, taking it back to the smooth jazz standards of piano and metronome percussion. This song features a soulful, R&B vocal between male and female vocals. It is kind of like a slowed down, less energetic version of Jamiroquai’s Virtual Insanity.
“Going Over Arirang’s Head(?)” has echoy bongo drums to start out, and it is a slow piano ballad. The sad sax is added in, and the piano sounds or stereotypical oriental melody.
“Someday, My Bassman Will Come (Soprano Sax)” returns us to the 4th track, but rather than a smoky lounge, the sax carries the song along with a less somber mood. It is more reminiscent of daybreak than the dark tone the original song created. But the song comes to a very slow and drawn out conclusion with held notes and a final walk off into the sunrise.

Stand Out Track: JJ

BIC Music

Monday, July 7, 2014

Boogie Boarder - Pizza Hero

Name: Boogie Boarder
Album: Pizza Hero
Year: 2009
Style: Instrumental Prog/Indie
Similar Acts: Chomolodeon, Man Man, Mr. Heavenly, Holy Fuck, Cornelius
"One Word" Review: Surf Prog
Based Out Of: Brooklyn, NY
Label: Famous Class
 Pizza Hero - Cover and Back
 Pizza Hero - Inside Cover and Inside Back
 Pizza Hero - Pages 1-31
Pizza Hero - Page 32 & CD
Pizza Hero (2009)

  1. Sparks 3:46
  2. Bio Hassle 4:17
  3. Pig Pile Part One 2:33
  4. Pig Pile Part Two 4:24
  5. Bummers Begin 4:09
  6. Little Giants 4:58
  7. Dirty Gary 0:59
  8. USRA 4:48
Album Rating (1-10): 7.0

Members & Other Bands:
Cyrus Lubin - Drums
Willie Miesmer - Bass
Paul Gladstone - Keys

Unknown-ness: I don’t know anything about this band. Just saw the ‘zine in a thrift store 50 cent bin, and thought it was worth the look & listen. I’ve always been a fan of artwork to accompany the music: I think that’s just the way to fully experience the music: to take in visually what the artist wants to link to the audio. And this is why I don’t subscribe to the MP3 game. It’s easier and more accessible in general, but music loses a lot of its artistic value standing alone. So with a band called Boogie Boarder, plus a juvenile album name like pizza hero, combined with the cd inside a ‘zine, I’m really not sure what to expect. Perhaps something zany and experimental.

Album Review:  
With no musical credits in the liner note, it took some searching to find out any info on this Brooklyn band. The album is still available for purchase, and with their last album streaming on band camp from 2012 (recorded in Philly), it would seem they are a still active, mostly instrumental prog-like surf band

“Sparks” begins the album with layers of fuzzy guitars Smashing Pumpkins-like guitars, and echos of other effects zooming about below. The hook repeats a bunch of times, building up momentum and releasing it after every cycle. It then returns the the prog like intro melody, with some deep echoing vocals. Single note prog rock on the electric guitar fills the bridge between “verse” melodies. This song insists on grooving head nods as the requisite dance move. An alarm like guitar played on loop carries the song out and into a low hum.
“Bio Hassle” is driven along by a catchy bass line, and “passing car” guitars are scattered (but in rhythm) across the surface. The chorus is a distorted vocal section that parallels the lead guitar melody. The song speeds up and slows down in a fun roller coaster of time changes, and again, has that progressive feel to the arrangement. Yet underneath of it, with the crashing fuzz and the chirping guitar, is the element of Surf that is not immediately recognizable, but is undeniably there. He song finishes up on a nice back and forth guitar section that feels like a reprise of the chorus guitar/vocal parallel.
“Pig Pile Part One” starts with a twinkling jangley guitar, that is part surf and part shoegazing. It meanders around, only giving hints to the catchy pure surf hook that is coming up. It really creates the image of the waiting for waves, and then the ocean sucking you out with the tide, and building to a fun carnival ride, taking the wave to the shore, then starting over again with the patient waiting. The layers are fun to peel back and examine one at a time: The pinpoint lead guitar hook, the bass answering the lead guitar, and the crunchy supportive guitar, All pulled together with a minimal drum beat. As the song moves forward, abandoning the initial melodies for bigger and more crashing sections, the intervals repeat, the momentum continues to grow and the speed builds. It then dumps us off right where the song begins with the guitar and echoing effects layered underneath. The last minute of the song builds a wall of sound until it falls away with a couple final notes.
“Pig Pile Part Two” has a back and forth guitar/bass cadence with crashing cymbals and the feeling of directionless meandering. The song speeds up and slows down on a natural cycle of its own, and again to the nature of video game music, could be played at an infinite hook, and adding in the theme of prog rock, with slight variations to those repetitions. The plucked guitar alarm-simulation melody starts out strong, but fades to the back with the soaring, echoing vocals, while layered over are head banging chord changes coupled with crashing drums. Then it stops abruptly.

“Bummers Begin” possesses a looping bass and rhythm guitar section with crashing cymbals added, as the bass line jumps up and down octaves in rotation. A minute later, the song transitions to a more driving Video Game sounding section of Mega Man proportions. Man Man “la-la-la-la” style vocals are added into the song, and the song restructures itself, and builds with ringing guitars and building fuzzed up guitars and running drums. A guitar replaces the vocal melody, and it feels very prog-like. At 3:30, it returns to the introduction loop of bass and one note played rhythm guitar.
“Little Giants” has a similar start to it as PPP1. Then the bass is added in in short call and response intervals, all the while, a shuffling drum beat keeps he song nervous and just a little jittery. This song really feels something out of Cornelius’ catalogue.  The song is very tight, with short sections played out in a well-crafted structure.
“Dirty Gary” is immediately a repetitive trip back into an early 90’s alternative world, with an In Utero sounding guitar riff.
“USRA” transitions without break, flattening the sound out, allowing a chorus of distorted vocals enter, overlaying the heavy guitar base. Once in a while the surf guitar element will be added, but mostly, this is a head down & banging, heavy guitar display. Nearing the end, the guitars and underlying support guitars speed up over hectic and chaotic drumming. They find a middle ground and set out in agreement, simplifying the melody and then changing it again to a more driving pace, allowing an organ in the background, and more distorted vocals overlaid. The organ carries out the song for a 30 second note hold.

Stand Out Track: Pig Pile Part One


Thursday, July 3, 2014

Flamin' Oh's - s/t (green album)

Name: Flamin' Oh's
Album: s/t (green album)
Year: 1980
Style: New Wave/Pub Rock
Similar Bands: New Pornographers, Dramarama, The A's, John Mellencamp, Daddy Licks, J Geiles Band
"One-Word" Review: New Waves of Americana Grain
Based Out Of: Minneapolis, MN
Label: Fat City
 Flamin' Oh's - Cover & Record
 Flamin' Oh's - Cover & Record
Flamin' Oh's [green album] (1980)
  1. I Remember Romance 3:33
  2. Smart Girl 2:38
  3. Everyday 3:15
  4. Talk Like That 4:00
  5. We Do What We Like 3:08
  6. I'm A Medical Mess (With Only 6wks Left) 1:20/
  7. That's Just Fine With Me 3:35
  8. So Cruel 3:52
  9. Standing In The Light 2:08
  10. Paradise Ave 5:03
  11. I'm The Gun3:58

Album Rating (1-10): 9.0

Members & Other Bands:
John Pete - Producer
Robert Wilkinson - Guitar, Vox (Suicide Commandos, Wunderband)
Bob Meide - Percussion (Mighty Jitters)
Jody Ray - Bass
Joseph H. Behrend - Piano, Organ, Vox
Dougie Ackerman - Project Directer
Peter Luxem - Executive Director
David Rickin - Engineer (Lipps Inc, The Jets)
Mike Severson - Technician
Bernie Baudry - Technician
Geoff Lenox - Technician
Jack Daly - Technician
Chris Bellman - Mastering
Jim Fredericks - Art Director
Lisa Brooks - Cover Photo & Concept
Channel Z Graphics - Layout & Production
Paul Sittard - Road Manager
John Shanderuk - Crew
Brian Carlson - Crew
Jim Fenn - Crew
Crybaby Management -  Direction

Unknown-ness: I’ve never heard of the band, but I liked the simple pink on green layout of the cover. Very minimal, and it is either a very amateur or a well-designed cover. Looking at the band image on the back, I like the odds of this being a fun Pub/New Wave rock album. The record label is a little silly, so that leads me back to the amateur side. But over all, this is an interesting record, I’m excited to hear.

Album Review: So this is a new-wavey/Pub Rock band out of Minneapolis that had to change their name due to legal reasons (the 50’s band by the same name) The Flamingos. This translated to the split words, and the self-titled first LP, following an EP that was released under the “illegal” name.

“I Remember Romance” starts off with an organ-y keyboard, and follows with some background guitars and a nice bass hook. They all come together and for a general new wave atmosphere. Partially smooth, partially pub rock. The bridge is Middle America, but it all leads up to the glorious chorus that sounds exactly like the New Pornographers, including Neko Case-like vocals backing up the lead. Apparently this was a sizable hit on the MTV when it first came around. The song ends with a repetition of the chorus, which is its big selling point, so why not?
“Smart Girl” has a quick, driving bass line that leads right into a nervous, jittery vocal verse. This too, is a solid new wave song, and has a great energy not captured since this age of music. It transitions from the building up instrumental to the verse with wonderfully dramatic delivery.  It plays itself out on the piano, looping over and following the guitar/bass line.
“Everyday” has a slow and sure, but driving rock intro. The song is slower, and it has one foot in the John Mellencamp Americana music and with the synth keyboard in the background, still maintains a new wave base. The power pop guitar also brings the Cars to mind.
“Talk Like That” has a chugging lightly strummed electric guitar to start, and brings that New Pornographers keyboard back to the fray. His vocals, slow and methodical, yet with whining emotion remind me of John Easdale of Dramarama. The song builds into a fast fury like a gunshot: it’s not a slow build. Then it seems like the band is in an all-out race to see who can get done their part first, including speedy sung vocals. The instruments battle playing the same basic melody over driving drums that ultimately win, carrying the song to the end, with a J Geils Band finishing breakdown.
“We Do What We Like” is a power pop pub rock song through and through with bold chord changes and power note holds. If the song was produced in the light of Bowie, this could be a strong Glam hit. Also, to further emphasize that he does what he likes, he adds “I don’t give a fuck about you”
“I'm A Medical Mess (With Only 6wks Left)” follows the comic themes of Weird Al’s original songs, listing aliments that affect the singer. It is sung in the style of a 4 chord Buzzcocks song.

“That's Just Fine With Me” is all bass in the beginning. Then power guitars are added, and the song is then new-waved with the keyboard. It is a well-structured song, and on a lesser album, it would stand out more. It seems like it would have a good live energy, featuring guitar solos, breakdowns and good energy shifts.
“So Cruel” starts with a Ted Leo type guitar intro, then drives forward with a bouncy piano and power pop electric guitar chords. The song presents a nice jittery energy that makes so many 80’s rock songs fun and interesting. Although it is apparent in nearly every song, the Dramarama comparison is pretty strong with this one. The pace and drive is good, but it never really speeds up, which in this case, is a good thing. The chorus repeats to the end, with an increased energy, like a slow build, and the song crashes down and finishes smoothly.
“Standing In the Light” is a fast paced song, that reminds me of The Fabulous Fondas, or other small club 80’s bands. Simple short fast sections are bound together with drums and bas. Each features a different hook or melody. The song ends at a point where it could just as easily take off again, so it is abrupt, but serves the song well.
“Paradise Ave” is their slow dance ballad (or bathroom break). This is the song when the lights go down, except a hazy spot light on the singer, leaning on his microphone stand, and remembering more than singing about love and loss. The song slowly waltzes along with a bluesy, passionate vocal performance, piano, and an up and down bass line. This reminds me of the A’s slower songs. Oh, and Easdale again. Toward the end, the piano becomes bold and the enter focus of the song, and sounds like a TV show theme I cannot place right now.
“I'm The Gun” brings the album to a close, and back to the feverish pace it has set before the ballad. This would be the encore to remember the band by after the emotional come down. It is rushed, and could come off as sloppy, but that would add to the charm. The bass line is like a super-fast rollercoaster, all over the place but still fluid. Just when you think you have the song figured out, and how it will proceed, the band  tacks a different section to the end, a repetitive uttering of the song title. It still drives, just in a different way, and the song concludes in typical bombastic fashion with some piano glissandos (sliding fingers up or down the piano keys- I just learned this) and crashing drums to release & completion.

Stand Out Track: I Remember Romance


Wednesday, July 2, 2014

Any Trouble - Wheels In Motion

Name: Any Trouble
Album: Wheels In Motion
Year: 1981
Style: Pub Rock / New Wave
Similar Bands: Elvis Costello, Joe Jackson, Nick Lowe, Graham Parker
"One Word" Review: Moody Power Pub
Based Out Of: UK
Label: Stiff Records
Wheels In Motion - Cover & Record
Wheels In Motion - Back & Record
Wheels In Motion (1981)
  1. Trouble With Love 4:06
  2. Open Fire 3:38
  3. As Lovers Do 4:10
  4. Walking Chains 4:42
  5. Dimming of the Day 3:51/
  6. Another Heartache 2:33
  7. To Be A King 4:55
  8. Power Cut 4:10
  9. Eastern Promise 3:34
  10. The Sun Never Sets 5:00

Album Rating (1-10): 8.5

Members & Other Bands:
Clive Gregson - Vox, Guitar, Mandolin, Keys (3 Boxes, The Plainsong)
Chris Parks - Guitar, Vox (Doky Brothers, Big Heat)
Phil Barnes - Bass, Sax, Vox 
Mike Howlett - Producer, Sequencer
Martin Hughes - Drums, Percussion, Vox (Big Heat, Fire Next Time)
Mike Howlett - ARP Sequencer, Producer
Paul Owen - Backing Vocals
Martin Levan - Engineer, Trumpet
Mark Freegard - asst engineer
George Chambers - Asst Mixing Engineer
Grafica Industria - Artwork
Panny Charrington - Photography

Unknown-ness: I had never heard of this band, but I had heard of the well respected Still Label, so I wanted to hear the record. I got this in a Oxfam store in London. Looking at the cover and blurred imagery, I am assuming this is going to be some bleak, heavy shoe gazing music. It just looks sad and drab. Alas, UK pressing, Stiff Records and a 1981 date was too much to pass up.

Album Review: Apparently, these guys were supposed to be a new wave act for Stiff Records, but turned out to be more Pub Rock, akin to (and apparently, overtly compared to) Elvis Costello. The album ends in a very bleak place, especially compared to the energy on the other 8 tracks.

“Trouble With Love” opens the album with a upbeat rock number and deep Graham Parker like vocals. It blends nicely into an alternate melody bridge, and a very strongly structured chorus. The guitar is an steady alarm of chord strums. In the secondary bridge, it does sound a lot like an Elvis Costello style melody circa Imperial Bedroom. The sections of this song feel like they could repeat at infinitum. The song dances itself out with a fade.
“Open Fire” starts with a fading up, driving drum beat. Power Pop chords are added overtop, and the whole production paused while the vocals enter, dotted with percussion. The instruments are added back in for a nice build up to the chorus, which follows the momentum that we were first introduced to. Again, I’d compare this much closer to Graham Parker than Costello, although, they are not too far apart themselves. The chorus, again is repeated, and it lets itself out at the end.
“As Lovers Do” has a dark, yet jittery drum & bass beat as it begins. The melody rolls right along into a fun up and down rollercoaster ride of notes and vocal inflection. Again, the chorus is very upbeat, and fun, and the entire verse is just building up to it.
“Walking Chains” has a methodical pace to its guitars as it starts, sounding like it might be a slow Motown song. It progresses, but never builds out of the slow and subdued tone it starts with. The chorus has a nice upbeat chorus thanks to the bass line, and addition of backing chorus. The vocals offer an emotional exhale toward the end of the track, with one of the title repetitions.
“Dimming of the Day” starts as a slow piano ballad with sad, emotional vocals.  It feels a bit country-ish in the way the vocals rise, and the wavering in the note holds.

“Another Heartache” starts with a very jittery, bouncy bass line, and a driving vocal tempo. The chorus is solid  power pop hook. The melody is pretty fun to follow along with. But the chorus could use more of a punch.
“To Be A King” has 4 rising chord changes that rise up slowly. And the vocals in the verse are just like Billy Joel. The chorus is reminiscent of Parker, yet again, maybe Joe Jackson too. The organ keyboard in the back is also a nice, pub-rock touch.
“Power Cut” jumps right into the anthemic chorus. It then slows down, and adds in a keyboard effect that Dismemberment Plan has used recently. The verse is a steady builder, with a bold bridge, and it never seems to return to that first installment of excitement until it hits the 2 minute mark for that powerful section, and the song basically starts over.
“Eastern Promise” builds with a slow guitar chord strummed with rhythm. The song feels like a story song. It sets a moody, bleak landscape. Kind of reminds me of a Ted Leo ballad, based on the song’s structure.There is a bit of oriental guitar played under bombastic deep bass drum hits, which bring the idea of bombs to mind.  The end of the song is telling the “east” to not break their promise, ideally, about peace.
“The Sun Never Sets” continues a battlefield image with an anthemic drummer boy percussion, and watery, shoe gazing guitars. It feels like a mourning over those lost on the warfront. A tribute that the sun never sets for those already dead. This is a kind of depressing 2-song ending for such a fun and bouncy album.

Stand Out Track: Trouble with Love