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 5.20.13
Blue-Eyed Son
SHADOWS ON THE SUN -(EENIE MEENIE)-This might be the first and only time I ever saw one of those little ads on the right hand side of my Facebook page where I got curious enough to check a band out. It was described as “summery folk” or something like that plus it’s on the Eenie Meenie label, a label I have enjoyed releases on in the past. The band is the brainchild of one Andrew Heilprin and though he writes all of the songs he has a bevy of musicians helping him out (one being Goldenboy’s Shon Sullivan). Only five songs here but all of them are good including the shiny opening cut “All Went Black” which has a bit of a Beulah vibe with its blasting horns (second tune, “Golden”, too). Two others, “We’re Fighting a War” and “Hold On” are both more low-key and folkier and “Good Men Die Like Dogs” are more in the vein of the other two. Apparently Heilprin is a surfer as well, so it’s a win all the way around! www.eeniemeenie.com
 5.20.13
Life Coach
ALPHAWAVES-(THRILL JOCKEY)-Two years ago veteran musician Phil
Manley released an album titled Life Coach, and now he's returned with a project of thesame name, similar in nature, with the assistance of ex-Mars Volta drummer Jon Theodore. If you forgot that Manley was in bands such as Trans Am and The Fucking Champs, you will quickly reminded. Alphawaves is a heady blend of prog-rock, experimental noise, and balls-out metal. "Fireball" is all falsetto, insane electric guitar solos, and some raucous drum-beating; "Life Experience" is a two minute Melvins-style
guitar solo and nothing more, while the title track is a wonderful ambient rocker. The best moment on here? "Mind's Eye," which is a powerful blast of twenty-second Century prog-rock, channeling everything great about Trans Am, Rush, Tangerine Dream, and The Mars Volta into one relentless light-speed paced rocker. It simply sounds out of this world. Oh, and don't let "Ohm" fool you; it's merely a continuation of "Mind's Eye." If you want to know what the future sounds like, just look to Alphawaves. www.thrilljockey.com JOSEPH KYLE
 5.20.13
Rose Melberg
SEPTEMBER-(LOST SOUND TAPES)-Thanks a lot to DAGGER point man Joseph Kyle for hipping me to this cassette release. Miss Rose (you know her from her solo releases, Tiger Trap, The Softies, Brave Irene and several other terrific bands) tackles 22 cover songs. As she says on the insert, in September of last year she recorded a song a day for 30 days. 22 of those songs ended up on here and what a batch of songs! It starts off with The Clean’s “Tally Ho” (can tell that organ run anywhere) on to the Magnetic Fields “ I Don’t Believe in the Sun” then onto Kirsty MacColl’s “They Don’t Know” and that’s just the first three songs. Elsewhere on side A she hits up songs by Confetti and Thin Lizzy and others as well as one of my favorites Bats’ songs in “Mastery” and Big Star’s “Thirteen.” On side B she offers up cuts by The Beatles, Mirah, Young Marble Giants, Sebadoh and plenty more. Most of the covers are pretty faithful to the originals and made even more special by Roses’ voice, which I happen to love. While I do appreciate cassettes and all this really does deserve a proper release. Anyone (Mike Schulman you readin’ this?)? www.lostsoundtapes.com
 5.20.13
Swamp Dogg
TOTAL DESTRUCTION TO YOUR MIND-(ALIVE)-Newly remastered, Swamp Dogg’s, idiosyncratic, ahead-of-its-time merging of bayou-thick soul, pop, and commentary (on the late-‘60s counterculture) is still an ambitious, intermittently goofy stunner. Dogg apparently listened to everything from Don McLean to Jefferson Airplane. As much a cultural artifact as deep soul document, TDTYM reveals a black southerner’s droll, impassioned, and/or sobering reactions to the Vietnam War, racism, and commercialism. In “The World Beyond,” life’s seen through a child’s eyes, with Dogg’s piercing tenor delivery of a killer melody delivering the song from Cheeseville. And his disaffection with a “Synthetic World” is injected into a spicy stew of midtempo keyboards and guitars. TDTYM merits alignment with the work of King Floyd, Lowell Fulson, and Irma Thomas. Alive’s also released a remaster of its follow-up, Rat On! www.alive-totalenergy.com MARY LEARY
 5.20.13
Tinder
EP-(SELF RELEASED)-Low-key solo project by a Canadian guy (Toronto) Shawn Park. He has a few other friends help out but perhaps the biggest contribution comes from Mr. Eric Matthews who played on some of the songs and produced this as well. Only 5 songs here but they are all quality meaning the songwriting is strong and there’s no filler on here. From the first song “Silhouette” (which is the most rockin’ song on here complete with blasting trumpets) to the last song , “It’s Trip” (low-key and gentle, kinda right in between The Beatles and Badfinger) and the three in between (do not miss the hushed folk of “Why Do You Come”). Well done and here’s to lots more music in the (near) future and while I’m not always sure what the role of “producer” does someone please buy Eric Matthews a filet mignon for the smashing job he did on this. www.tindermusic.bandcamp.com
 5.13.13
Bad Religion
TRUE NORTH -(EPITAPH)-After a while you do get kind of sick of saying , “Well, Bad Religion have released another terrific record.” Well, truth be told, their previous one, 2010’s THE DISSENT OF MAN, was only ok (changing up a bit of the formula with longer songs) but the two prior to THAT one, 2004’s THE EMPIRE STROKES FIRST and 2007’s NEW MAPS OF HELL, were both very good. TRUE NORTH, the band’s 16th record in thirty plus years goes back to the B.R. of old with a torrent of raging guitars and strong melodies. When I used the word “formula” earlier in the review it’s easy to think of a band that is coasting but B.R. is not coasting, while the band does have a specific sound Like The Ramones and AC/DC have/had a sound) an while there’s nothing on here as good as 2004’s “Atheist Peace” or 2007’s “New Dark Ages” it doesn’t mean that TRUE NORTH is not a strong record. It is with a bevy of very good songs: “Robin Hood in Reverse,” “Fuck You,” “Vanity,” “In Their Hearts is Right” and the title track. 16 songs in just over 35 minutes and at this point Mssrs. Graffin, Gurewitz, Baker, Bentley, Hetson and Wackerman could do this in their sleep…and we’d STILL wanna listen. www.epitaph.com
 5.13.13
Grave Babies
CRUSHER-(HARDLY ART)-Okay, here's the thing: an album called Crusher, featuring a cover with an altar built around a pig's head, nearly impossible to read Heavy Metal typeface, and the band's name written in (what I presume) that pig's blood? Let me take a guess here...just a wild hunch...this is gonna be a Death Metal trip, right? WRONG-O. What is it, then? It's a weird blend of post-punk and mid-90s noise rock, blended into something that's mostly undefinable. "Slaughter" sounds like the actual moment of those sounds being mixed together as we speak, and I haven't heard slurry vocals like that since the last time I listened to the Peoples Temple suicide tape! But don't let all of this scare you, because there's some "good" stuff on here, such as "Breeding" (or is that "Bleeding?" Maybe it's "Greeding?") is a great rocker, and would sound better if it didn't sound like it was recorded from some kid's boom-box. Then again, maybe it wouldn't...maybe that's the point. When they do step away from the distort-o recording methods, such as on "No Fear" and "Prostitution," they turn in some rather lovely mid-80s Goth pop, not unlike Gene Loves Jezebel. It occasionally tries your patience, but Crusher makes you wonder what these songs sound like live, when the band can't hide behind production methods and these songs stand on their own. I bet they sound awesome. www.hardlyart.com JOSEPH KYLE
 5.13.13
The O’Jays
SHIP AHOY-(BIG BEAT RECORDINGS )-In 1972, The O'Jays released Backstabbers, their debut for Philadelphia International. The move was a wise one, for after nearly a decade of middling success, this album proved to be their breakthrough: it topped the charts, and both the title song and the album's other hit single, "Love Train," are Soul classics. Ship Ahoy, which appeared a year later, would help concrete the band's success in what would prove to be an extremely successful decade. Considering how quick it appeared after Backstabbers, it doesn't suffer from follow-up inconsistency. Instead, Ship Ahoy is an amazing maturation from an already-seasoned band. Political
in nature--thanks in part to the crack PI writing team of Kenny Gamble and Leon Huff-- Ship Ahoy does something quite rare: it makes grand political and lifestyle statements that are not didactic or preachy, all while contained in a very enjoyable groove. Once again, the album would provide the world with one of their signature hits; "For The Love Of Money" is not only a radio staple, its distinctive introduction can be heard on commercials almost daily. There's more to Ship Ahoy than that one hit, though; "Don't Call Me Brother" is a slow-burning jam about honesty, betrayal, and fidelity; "This Air I Breathe" is a jaunty number about the burgeoning environmental concerns; "You Got Your Hooks in Me" is a powerful ballad of a woman's power over a man. "Now That We Found Love" is a lovely little love song, which would be a hit with Heavy D & The Boyz's hip-hop remake in 1992. The most haunting, thought-provoking number, though, is the epic title track; starting with the crack of a whip, it is a song depicting the slave trade, from getting on the boat in Africa. It's haunting, powerful, and not a little thought provoking. The O'Jays' success would blossom even further after this album release, but this is a fine, essential album that proves that the trio was not merely a singles act. www.cherryred.co.uk JOSEPH KYLE
 5.13.13
Palma Violets
180-(ROUGH TRADE)-If the story is correct, these four gents, who call London home, were at the reading Festival in 2010 and decided at that point to form a band. Apparently three of them were old school chum and the vocalist/bassist Chilli Jenson was there too but didn’t know the others (the others being guitarist/vocalist Sam Fryer, keyboardist Peter Mahew and drummer Will Doyle). Getting together to record in Studio 180 (an old house) the band began doing live gigs there and eventually began recording this debut. Right from the opening cut, single “Best of Friends” you can tell this is no ordinary Brit-pop band as they blend elements of psychedelic, soul and garage rock into an intriguing stew (they occasionally remind me of the great, ragged glory of The Libertines, not so much in sound, though a bit there too, but in spirit). Also the trippier “Step Up for the Cool Cat”, the tender “All the Garden Birds”, the driving, frenetic “Rattlesnake Highway” , the other single “Last of the Summer Wine” and well….nearly every other one (don’t miss “Johnny Bagga” Donuts”). Plus, the band has a thicker, tougher sound than most of their peers and there’s more than enough variation in the songs to keep 180 interesting from beginning to end. And a hair over 40 minutes they don’t wear out their welcome, nope, 180 is just right. www.roughtrade.com
 5.13.13
We Are Loud Whispers
SUCHNESS-(HARDLY ART)-A debut from a duo recently signed by Sub Pop’s fave gadabout brother; consisting of Sonya Westcott of Arthur & Yu and Ayuma Haitani of 4 Bonjour’s Parties. Just their other band names make me wish that I, too, was a trust-funded or energetic and adaptable enough musician to sit around coming up with group names with such instant cachet. (My own late ‘90s performing unit went by a relatively straightforward moniker; The Secret Life of Mary Leary, although an earlier, wackier group involvement was called The Potato People, LIAR, or whatever else we settled on before our sparse appearances.) What you probably want to know is whether Haitani and Westcott are making delightful sounds with varying degrees of artsiness – introspective, digitally and electronically- derived atmospherics, poetic effects, tinkling bells, and semi-conscious narratives and whispers -- for their intelligent friends and wannabe pals. Which is harder to do than it may sound as if it is. While Suchness’ fortifying broth is quiet, cerebrally stimulating sonic matter, We Are Loud Whispers has the inimitable knack of populating that broth: with the shiver-inducing “Glossolalia,” a charming little train of a song called “Modern World,” a tasty confection titled “You, Surround,” and a headier track, “Rewind,” that dips more than its toes in progressive water. Sign me up for We Are Loud Whispers’ show with Amor de Dias, Damon and Naomi, or some other band with a name likely to appeal only to sensitive misfits, such as a gently loony Orange County-based combo called Oto. www.hardlyart.com MARY LEARY
 5.6.13
Justin Ancheta Band
PLANT -(SELF-RELEASED)-Reggae releases seem to arise at intervals; appealing to a fairly substantial, same-old sub cultural and/or world music listening base. But a reggae band that incorporates klezmer, rap, and pop? That’s a plant that rises less often – and, in the case of Justin Ancheta’s debut album, one that not only evokes “wows,” but that’s produced a full-length with the scope to attract the ears of folks who may not think they like reggae. Ancheta’s vocal range is such that he can apply a soft, John Mayer sorta sound, shift to gritty soulfulness, or inject the more piercing depth of Jon Anderson. DJ and trumpeter Will Magid’s contributions are among those of a slew of ‘Frisco-based players whose clarinet, djembe, saxophone and violin are seamlessly woven into a savory mix showcasing a solid set of compositions. Recommendations? So far, a slice of pop sunshine (“Surface of the Moon”) and two lovely bits of balladry (“Outer Space,” “Downward”) are especially appealing. www.justinancheta.com MARY LEARY
 5.6.13
Wanda Jackson
THE BEST OF THE CLASSIC CAPITOL SINGLES-(OMNIVORE))-Wow, this is a true treasure trove. It’s almost easy to forget about Wanda Jackson’s accomplishment as her name is not brought up nearly as much as the men from that time period. Still, for her to play this kind of music back in the 50’s must’ve taken a serious amount of courage. For that alone she deserves the utmost respect but she nails so many of these songs (she only wrote about a third of the cuts on here, 29 songs in all). As the title says, this is all of her A and B sides that she cut for Capitol from 1956 and 1963. Now, though I am a casual fan I have to admit that I’m no expert on Wanda, but pals who are say that this is the best comp yet (Rhino apparently did a real good one and Capitol released a solid one in 1996). Her tunes go back and forth ‘tween straight country to her later rockabilly stuff but she kicks tail at both . A few of my faves here include the sassy “Hot Dog! That Made Him Mad”, the swaying “Let Me Explain”, the doo woppy “Cool Love”, the rawkin’ Honey Bop”, the swingion’ “Mean Mean Man” and plenty more. The Omnivore label has done us all a great service here with this terrific retrospective so pick this up and get an education. www.omnivorerecordings.com
 5.6.13
Jeremy
THE SOLAR KING-(JAM RECORDINGS)-Yet another record from pop wunderkind Jeremy Morris. He has enough records out that he may give Jandek a run for his money. This record, recorded way back in 1980 consisted of Jeremy on vocals./guitar and keyboards and his brother Mike, on drums. At some point in the recording of it his brother bailed and Jeremy shelved the records until now. 30 years later THE SOLAR KING is finally seeing the light of day and it doesn’t sound much different than the type of music he makes today. Ok, maybe I should clarify a bit, Jeremy’s record comb many different genres: pop, prog, Christian, folk, etc. so this record sounds a lot like his pop records of the day. Influences include The Beatles (his biggest influence) and I hear some Cheap Trick too. A few of my faves here include “Hold On Forever”, “For Chosen Ones” (a little bit of Alan Parson Project in that one), “The Light” and at least a few others and it wouldn’t be a Jeremy record if it didn’t have at least one 15 minute song (on here it is “Journey to the Light”). Head on over to the website to my right and check out his hefty catalog. www.jamrecordings.com
 5.6.13
The Night Marchers
Allez! Allez!-(SWAMI)-Has it really been five years in between records by this terrific San Diego unit (their debut, SEE YOU IN MAGIC, came out in 2008)? Did this really come out in January and here it is May before I’m reviewing it? Do I blow it on occasion? The answer to all three of those questions is yes. Yes, Mr. John “Speedo” Reis (Rocket from the Crypt, Hot Snakes and Swami Records, dude…you can also spot him on Yo Gabba Gabba in a turban if you watch closely) is the main dude in this San Diego band (and if not the main dude then ONE of the dudes). Well, if you liked said debut then you’ll like (love) this. The songs on ALLEZ! ALLEZ! are just as good, maybe better. This is garage punk the way it was meant to be played and Reis and his bandmates (guitar Gar Wood, bassist Tom Kitsos and drummer Jason Kourkounis) kick it out with power, passion and let’s not forget a healthy dose of humor, too (and horns!). You want songs, tough guy? Check out the jittery opener “Tropical Depression”, the gritty “Loud, Dumb and Mean”, the catchy “All Hits”, the swingin’ “Pain” and at least a few others (don’t miss “Wasting Away in Javalinaville,” “Big in Germany”, “I Wear the Horns,” etc.) . You won’t find any better way to spend the next 45 minutes. www.swamirecords.com
 5.6.13
Shout Out Louds
OPTICA-(MERGE)-Ever since 2007's Our Ill Wills, The Shout Out Louds have been on the radar for making distinctive new-wave inspired pop, topped off by lead singer Adam Olenius's voice, which bears more than a passing resemblance to Robert Smith. Their follow-up to that well-received record, 2010's Work, was oddly melancholy; lacking the hooks of its predecessor, it felt too heavy, too sad, too personal, and was a bit of a disappointment. Optica, however, finds the band tempering the melancholia with the styles that felt so rewarding and enjoyable. "Sugar," which opens the album, almost feels like an apology for the previous album's depressiveness. The following song, "Illusions," turns on the New Order rhythm machine, and that influence never wanes. That's a good thing, too; "14th of July" sounds better than anything that other band has done in ages, as does "Chasing The Sinking Sun." The rest of the album varies between the upbeat fare and the occasional melancholy moment. After such an unintentional misstep, Optica is a welcome return to form for a superior pop band. www.mergerecords.com JOSEPH KYLE
 4.29.13
Big Boy Pete & The Squire
HITMEN -(ROCKET RACKET)-The Squire is back! By that I mean, Mr. Christopher Earl, heretofore knows as The Squires of the Subterrain who has released many records of his homegrown pop treats and treasures (and I’ve always wanted to use the word heretofore in a review so there you go). Here he teams up with 1960’s Brit dude Big Boy Pete (Pete Miller who used to be in 60’s UK band The Jaywalkers). These two have teamed up before (check out The Squire’s 2007 record BIG BOY PETE TREATS, Miller didn’t play on that but he did produce and wrote most or all of the material) and they seem to be more than comfortable penning tunes together and to my ears Miller sounds like he was Billy Childish before there was Billy Childish (if there was such thing). I guess Peter had written most of these tunes for The Jaywalkers who weren’t interested so he bailed on that band and went solo. Plenty of garage/psych/pop nuggets here like “American Spring,”, “Trailer Trash,” “Tea” (a little Syd Barrett-ish), the loveably kooky “Hide & Seek” and the 3-ring circus known as “All the Fun of the Fair.” Tune in, turn on and ride this ferris wheel of a record! www.thesquiresofthesubterrain.com
 4.29.13
Françoise Hardy
S/T-(Cherry Red Records)-Although Françoise Hardy was an integral part of the yé-yé pop music scene that originated in France in the early 1960s, she stood out from many of the other female vocalists. Although she was undeniably attractive, as were France Gall and Sylvie Vartan, Hardy wrote most of her own songs – not needing Serge Gainsbourg to pen her hits – and sang with the voice of a mature, self-possessed woman rather than that of a naive, girlish sex kitten. Many of these songs are moody and reflective in nature – not gloomy, but not bouncy, perky confections either. This rerelease of her 1963 album contains 12 songs in French and 10 in Italian, with six of those being versions of songs originally in French. For example, you get “Tous Les Garçons et Les Filles” and its Italian version, “Quelli della mia età.” Recorded when Hardy was just 18, the songs in this collection are simple in their arrangements and instrumentation, but catchy -- very much of their time, yet classic, beginning with “Tous Les Garçons et Les Filles (All the Boys and Girls),” which was a huge hit when it was originally released in the summer of 1962. Because I don’t understand French, everything Hardy sings sounds cool and sophisticated to me. Songs like “Ça a Raté” and “Il Est Parti un Jour” make me think of a girl wearing a beret and leather jacket and leaning against a jukebox with a cigarette dangling from her mouth. Other songs make it obvious that Hardy was influenced by American pop music. The melody of “La Fille Avec Toi” sounds like the Everly Brothers; “Oh Oh Chéri” has a bit of a Buddy Holly thing going for it; and “Il Est Parti un Jour” channels Elvis. The fact that there’s nothing deep about this music doesn’t make it any less enjoyable. It takes the listener back to a time before Beatlemania took over and most performers felt compelled to sing everything in English. Françoise Hardy not only had Bob Dylan and David Bowie swooning over her, she inspired other females to write more of their own music, and with this album, you can hear why. You’ll hear her songs popping up in all sorts of places, and she’s still putting out albums, but “Françoise Hardy” is a fine introduction to this icon. www.cherryred.co.uk SUSAN BRETTINGEN
 4.29.13
George Jones
THE COMPLETE UNITED ARTISTS SOLO SINGLES-(OMNIVORE)-I don't even have to unwrap this collection to tell you of its greatness; that's how ingrained George Jones is to me. This collection covers his early and mid 1960s career, and there's some awesome stuff to be found here. There are the obvious hits: "She Thinks I Still Care," "The Race Is On," "A Girl I Used to Know," songs that are classics in the Country canon, and will represent Jones well after his passing. Yet Jones was a much more diverse musician; he could sing songs about sinning and regret ("Wrong Number," "Ain't IFunny What A Fool Will Do," "World's Worst Loser") as well as he could sing songs about the redemptive nature and power of the Lord ("He Made Me Free," "He's So Good to Me"). Thankfully, Jones only rarely indulged in novelty songs, such as the theme song to the film "Geronimo" and the B-side "My Mom and Santa Claus (Twistin' Santa Claus)," which is a fun, upbeat swinging number; silly fare, but it serves to temper the weeper on the flipside, the heartbreaking "Lonely Christmas Call." Jones is an American legend and Country institution, and a prolific one at that; this collection will give you a
wonderful glimpse into that talent--but there's more to him than this one era, so this is a good starting place. www.omnivorerecordings.com JOSEPH KYLE (R.I.P.- GEORGE)
 4.29.13
Legs
PASS THE RINGO-(LOGLADY RECORDS)-I’ve said it before and I’ll say it again but if the sticker on the cd mentions that the band’s sound is cut from the same cloth as bands on “Creation and Flying Nun labels”, then I’ll stand up and take notice (ok, so I’m sitting down but that’d beside the point). This Oakland, CA band (who got roasted in a review from VICE magazine, not sure why) is basically the work of two guys, Bay Area guy Jeffrey Harland and New Zealand-native Matt Bullimore and yes, it sounds as if they have heard a few Flying Nun records in their lives (and just for the record, the band photo on the press sheet shows 5 people). Opening cut “Friday Afternoon at the Zoo” was a nice hazy/lazy opener which sets the stage of the awesome organ-pumping “Go Ask Your Mother” which is one of the best songs I’ve heard this year. Nothing else on the record reaches those heights but there’s still plenty of strong cuts on here like the fuzzed-out, dreamy “Rounded Edge”, the jangly “The Colours”, the cacophonous “Time to Face the World” , the very Flying Nun-ish “Cast in Shadows” and “Don’t Say a Word.” So what I’m trying to say here is that PASS THE RINGO is worth spending your hard-earned money on. www.theloglady.com
 4.29.13
Paperhaus
LO HI LO-(SELF-RELEASED)-Attempts – by the band or others – to nail down Paperhaus’s music? Well, they’re starting to seem fairly comical. My very first listen to Lo Hi Lo, I was so moved, I thought it must be some Canadian or European band I’d missed, that had been around for at least a few years. A bit of research revealed that descriptors including “psychedelic,” “progressive,” “blues,” “pop,” and even “country” have been applied, although the latter was used more around the D.C.-based quartet’s 2011 debut EP. By whatever category, Paperhaus is a band to know about. It makes deeply melodic alt. pop/rock (my terms) that at its apex fills my need for classic Cardigans and gives me new tunes to mix with those of the Dears and the Smiths. Indeed, “Helicopters,” a song recently featured on All Songs Considered, is an instant classic. I’m not just talking “good melody” here, but a feel for subtle major/minor shifts and nuances that’s generally slim on the ground -- it’s an art. Think of one of Tennis’s best songs, or the early Beatles, or Peter Svensson. “Helicopters” is a sexy/romantic charmer that could help rekindle a relationship. And spinning it around any new prospect who doesn’t seem like a keeper could prove dangerous. While the opener, “All Through The Night,” is a bit weak, this four-song EP’s cumulative effect, including that of the excellent title track, more than justifies its teasingly short duration. www.paperhausmusic.com MARY LEARY
 4.22.13
The Appleseed Cast
ILLUMINATION RITUAL -(GRAVEFACE)-Unless they’re supporting catchy melodies with unusual changes, I tend to glaze over in response to thick, intricate “emo” and/or arena rock sounds. Which is what’s happening to me with the Appleseed Cast’s latest. Nothing’s offensive, nothing stands out, nothing (were I to hear this in a nightclub, or from someone’s window) -- would make me want to seek out and procure. The better melodies tend to do the predictable rising-emo thing; a bombast that leaves me unmoved. But it must be said that the price of admission’s a good investment in the opportunity to hear Nathan Wilder do some impressively precise, rhythmically shifting drum work. The guy’s practically at a jazz or math rock level. www.graveface.com MARY LEARY
 4.22.13
Lloyd Cole and Hans-Joachim Roedelius
SELECTED STUDIES, VOL. 1-(BUREAU B)-Yes, it's that Lloyd Cole. Yes, he's teamed up with progressive electronica master Hans-Joachim Roedelius. It shouldn't be terribly surprising, though, that Cole has made an experimental, instrumental record; he's done so over the past decade, and it's not bad. Nor is this collection of electronic bleeps and blips an unenjoyable or self-indulgent trip into experimental music. You sort of have to have a taste for what they are doing; thankfully, I totally do. The songs range from happy-go-lucky blips ("Fehmarn F/O," "Selbstportrait-Reich") to dark, ominous, drone ("Wandelbar"), and from gentle, gossamer-like melodies ("Lullaby") to outer-space trips ("Orschel," "Still Life with Kannyu.") That these "selected studies" are labeled "volume one" gives this listener the hope that the duo will release more of these beautiful studies some time soon. www.bureaub.com JOSEPH KYLE
 4.22.13
Dave Edmunds
SUBTLE AS A FLYING MALLET (EXPANDED EDITION- REISSUE)-(RPM/ CHERRY RED)-This was certainly a pleasant surprise, it is a reissue of Edmund’s all-cover 2nd record that originally came out in 1975 on the Rockfield label. The impressive thing here is that Edmund’s played nearly all of the instruments on here (getting a rhythm section only for two songs). The order of the day here is classic 1950’s and 60’s rock and roll that Edmunds grew up on and it includes the 12 original record tracks as well as 8 more bonus tracks , most of which were on the original soundtrack o the movie Stardust (released on Ronco!). Some of the songs he tackles here are “Baby I Love You,” “”Maybe” (great falsetto!), “Da Doo Ron Ron” the dreamy “Let It Be Me”, “Chuck Berry’s “No Money Down” (we’ve all heard that riff a million time…later on the record he also cover Berry’s “Let It Rock”), traditional county number “Billy the Kid” The Chordette’s grand “Born to Be With You”, one by his pal Nick Lowe “She’s My Baby” and plenty more. The Stardust bonus tracks are more of the same and worth hearing. The problem some people have with SUBTLE…. is that the covers are note-for-note covers and not much different than the originals. While I admit I do like hearing what a band can uniquely do with someone else’s song, I also don’t mind hearing the note-for-note covers either, as long as they are played with passion and Edmunds has that in spades. The informative booklet has exhaustive liners by Roger Dopson and plenty of great photos. www.cherryred.co.uk
 4.22.13
Lapland
S/T-(HUNDRED POCKETS RECORDS)-Whenever I see a record that says “RIYL- the Field Mice and The Clientele” I’ll stand up and take notice (or at least give it a listen). Lapland is the moniker of NYC via Texas musician John Mease who is apparently also know in the circles of jazz, r & b and classical (??!!) music as well. While I do hear elements of those previously mentioned band I also hear plenty of other styles at work here too, all of ‘em well done. I love the breezy folk of “Drink Me Dry” (though I shouldn’t call it breezy as his lyrics are much more introspective than that) as well as the more soul influenced “Aeroplane” (perhaps a nod to Neutral Milk Hotel?) and the dreamy pop of “Where Did It Go?” (don’t miss the High Llamas-ish “Fountains”). The guy seems to do it all and he does it all very well. Lapland was a pleasant surprise to say the least. www.listentolapland.com
 4.22.13
The Primitives
EVERYTHING’S SHINING BRIGHT THE LAZY RECORDINGS 1985-’87 (2 CD)-(CHERRY RED)-Wow……I have been waiting for this (or something like this) for quite some time, This gang from the UK, with the darling female vocalist, started showing their faces in the early 80’s with a slew of catchy singles on the label, you guessed it, Lazy Records (original home to My Bloody Valentine). Eventually the band got signed to a major, had a minor (major?) hit in “Crash” and then probably crashed due to “creative differences.” These recordings, 41 in all, are when they were still young and starry-eyed and this was always my favorite stuff by The Primitives. On the first cd is their Lazy singles (including, of course their three top 20’s: “Thru the Flowers,”, “Lazy” and my personal favorite “Really Stupid” as well as three live demos from ’85 (including an early version of “Crash”) and a bonus track. Moving right along to disc two is 7 songs from the 1987 album sessions (the title of this compilation, EVERYTHING’S SHINING BRIGHT, was supposed to be the name of their planned full-length for Lazy Records that never saw the light of day) and the final 15 songs on this are form a live show at the ICA on 8/15/878 which shows the band is all their glorious fuzzed-out form. To say that this is essential for fans of fuzzed-out pop would be a tremendous understatement. Side note: ½ of the original band, vocalist Tracy Tracy and guitarist PJ Court, got back together with longtime drummer Tig Williams (who had replaced drummer on this cd, Pete Tweedle, pretty early on) a few years ago when original bassist Steve Dullaghan died and played some shows and did an all-covers record too, which I’m dying to hear. In the meantime, this will do. www.cherryred.co.uk
 4.15.13
Chris Brokaw
GAMBLER’S ECSTASY -(12XU)-Chris Brokaw is a musician in the truest sense of the word. Go to the guy’s website and see the sheer amount of records he’s played on, lots of different styles genres, etc. He’s been in three of my favorite bands over the past few decades (Codeine, Come and The New Year) but these days he does mostly solo stuff or one offs with other bands/ friends. He plays mostly everything on GAMBLER’S ECSTASY (which came out last year) but he’s helped out on a few numbers by both John Herndon and Douglas McCombs of Tortoise and a few others folks. Right when I dropped the needle on the first song I knew this was going to be a keeper. First cut “Criminals” is three or so minutes of direct fuzz which leads right into the folkier “Crooked” then to the rip-roaring “Danny Borracho” to the New Year-ish “Into the Woods” to the subtly melodic “The Appetites.” That is all of side 1 which is nearly flawless. The songs on side two are just as strong (including his cover of Wussy’s “Crooked”, which adds viola from David Michael Curry) and with Brokaw’s penchant for experimenting and taking chances, most of the songs on GAMBLER’S ECSTASY are some of his most accessible yet. Brokaw is a lifer and GAMBLER’S ECSTASY might by favorite thing he’s done yet. www.12xu.net www.chrisbrokaw.com
 4.15.13
Drazy Hoops
THIS IS THE SOUND OF…-(SLOW BURN)-I’d never heard Drazy Hoops before This is the Sound of… and am unlikely to forget ‘em. The new album from the New York City-based group is wryly amusing, creative, and likely to endure. DH’s brilliantly sexy cover of Devo’s “Whip It” makes me smile, and several tunes, including opener “Baby You Gave Me More,” feel like tongue-in-cheek spins on alt. goth country inflections. While DH doesn’t sound much like Captain Beefheart, I’m not surprised to learn it’s named after that phrase in Beefheart’s “The Blimp.” It obviously aims for a similar combination of heartfelt ingenuousness with wit and artistry. Highly recommended; perhaps starting with standout “I Am Going To Bring You All Together.” The chord changes on that verge on the sublime. Oh, and another hint: Giant Sand fans are likely to heart this. www.drazyhoops.com MARY LEARY
 4.15.13
Roger Knox and the Pine Valley Cosmonauts
STRANGER IN MY LAND-(BLOODSHOT)-Judging by the photo on the inside Roger Knox doesn’t look like someone you’d wanna mess with in a dark alley. He also happens to be an aborigine and I’ve seen him called the “Johnny Cash of Australia’ as well as The Black Elvis” too. STRANGER IN MY LAND is an homage to his home land he’s joined by Chicago’s Pine Valley Cosmonauts, led by none other than Mr. Jon Langford who produced the sessions (recorded both in Australia and America) and it’s a record that could have been recorded in Memphis in the 50’s , 60’s or even current day. A few highlights include the jukin’ opener “The Land Where the Crow Flies Backwards” (written by Billy Bargo), the svelte, lovely “Blue Gums Calling Me Back Home” (by Harry & Wilga Williams), the dreamy Arafura Pearl (written by the Mills Sisters but here sung by the honey-voiced “Tawny Newsome (the pride of Vacaville, Calif.) and the Byrdsy “Brisbane Blacks.” Knox and his talented cohorts treat this music with the respect that it deserves and it has a million times more soul than most of the crap they pass off as country today. This is the real deal. www.bloodshotrecords.com
 4.15.13
The Orange Peels
SUN MOON-(MINTY FRESH/ MYSTERY LAWN MUSIC)-"Dark" is one adjective I never thought I would use to describe a record by Allen Clapp, yet the lo-fi Lutheran's newest offering, Sun Moon, is exactly that. Last year The Mommyheads surprised longtime listeners with a massive stylistic change, and on first listen, Sun Moon is this year's shock. Gone are the sunny
California vibes you may have come to expect; instead, the songs are mostly midtempo, and instead of the crunchy rock, Clapp has focused more on making big, loud-- though not necessarily heavy--arrangements. I'll be straight up honest; on first listen, I didn't get it. The only thing recognizable was Clapp's distinctive voice, and the melancholy was a bit heavy. It took a few more listens, and then I noticed that there's a very subtle theme here; look at the back cover. The songs are divided under "sun" and "moon." The "sun" songs are dark, heavy, and sad; "The Words Won't Work" and "All At Once" remind me of the Southern alt-rock of the early 1990s. The "intermission" number "Traveling West/Sundowns" brings back the sunny 70s pop of the Allen Clapp we know and love, and the "moon" songs feel like the traditional Orange Peels you know and love; "Grey Holiday" is a jaunty number that suddenly gets all Jeff Lynne on you. "aether Tide" and "Watch Her Fly" remind you how at one time they were contemporaries with The Ocean Blue. Then there's the closer, the big, epic "Yonder," a song that starts quietly and then blossoms into a Technicolor prog-rock dream. Sun Moon may not taste like the Orange Peels you know and love, but give it another try, it will grow on you. www.mintyfresh.com JOSEPH KYLE
 4.15.13
Townes Van Zandt
SUNSHINE BOY-(OMNIVORE RECORDINGS)-The Unheard Studio
Sessions and Demos 1971-1972: Talk about a lovely little discovery; this two-disc set collection compiles outtakes and unreleased demos and versions taken from sessions in 1971 and 1972, and it finds the troubadour at the peak of his game. The set is wisely divided into "sessions" and "demos," as there's a bit of overlap. The session takes aren't radically different from the previously released version, but it's still nice to hear songs stripped down, with a bare-bones accompaniment, stripped of the post-recording production sheen. The alternate versions of "Pancho and Lefty," "To Live Is To Fly," and "Blue Ridge Mountains" help to remind you of just what a talent Van Zandt was. The two previously unreleased songs on the first disc, Jimmie Rogers' "T for Texas" and his take on the Rolling Stones' "Dead Flowers" are true gems; the first, a funky, fun Texas swing, the latter, a country-funk version that's perhaps much more real than the Stones' take. It's the second disc, however, that really makes Sunshine Boy a worthy investment. All of the songs found here are just Townes and his guitar, and there's something haunting
about hearing 40-year old songs of a man twenty years dead; "To Live is to Fly" becomes something even more powerful in this stark, simple arrangement. "You Are Not Needed Now," one of his best kiss-offs, is made even more poignant and powerful in this setting. If ever a document outside of a greatest hits collection featured the best of Townes Van Zandt's talent, it is Sunshine Boy. www.omnivorerecordings.com JOSEPH KYLE
 4.8.13
Iceage
YOU’RE NOTHING -(MATADOR)-We know this much, they hail from Denmark, are fairly young gentlemen and controversy seems to follow them wherever they go. Their debut, NEW BRIGADE, came out in 2011 on the What’s Your Rupture label and ushered in a new voice in the burgeoning punk scene and they’ve since made the jump to bigger label Matador. The mix of explosive guitars, raspy vocals combine into a raw punk fury that reminded me mostly of 80’s Washington DC/ Discord records band Rites of Spring. The arrangements on YOU’RE NOTHING are a bit more nuanced than the debut as the songs become a bit more sophisticated (ok, maybe not the best word to describe them). Still, cuts like opener “Ecstasy”, “Everything Drifts” and “Morals” (which has gulp, piano) show a band that is growing by leaps and bounds (though I still love old hardcore tracks like “It Might Hit First”). Hard to tell where the band will go next (they obviously don’t want to get stuck in a hardcore rut) but I have to say, I’m mighty curious. www.matadorrecords.com
 4.8.13
Ennio Morricone
MORRICONE POPS-(EL RECORDS/ CHERRY RED)-El Records never fails to find excellent obscurities from all around the world, and in this instance, they've compiled twenty-nine songs from almost as many different singers. These songs all contain one common theme; they were produced and arranged by Morricone in the early 1960s, before he became a household name thanks to his soundtrack work. As compilations go, listeners may have some difficulty ingesting this all at once; of all the vocal songs, only one, Peter Tevis' take on Woody Guthrie's "Pastures of Plenty," is sung in English. One should take the time to sink into this bill of fare; while one might not understand the lyrics, one can't help but enjoy the shuffle of songs such as Tony Del Monaco's "Donna de moriere," the Nicolike vocals of "Perdono," which isn't so much sung as it is whispered as a simple harpsichord and oboe accompany her. It's a thing of beauty. The melodies range from light jazz (Nora Orlandi's "Arianna," Helen Merrill's "Nun e' peccato") to folk ballads (Peter Tavis's "Notte infinitia", to pop (Dora Musumeci's "Caffe e camomilla), to straight up mod-rock (Gianni Morandi's "Go-Kart Twist"). There are twenty-two more songs to explore; consider this a trip to a hipper, cooler, 1960s Europe. Enjoy your flight! www.cherryred.co.uk JOSEPH KYLE
 4.8.13
Mudhoney
VANISHING POINT-(SUB POP)-Mudhoney’s 9th album starts with a thunderous drum roll, an energy that holds steady through the last yelp. Mark Arm’s piercing vocals deliver song after song brimming with orgiastic guitar pile-ups and gripping melodies. That Arm and his crew can still conjure songs so engagingly varied - after about 25 years - is pretty amazing. “What To Do with the Neutral” carries a lot of pop and sizzle for a mid-tempo track. But the preceding song, “I Like It Small,” bristles with the power chords and vocal snarl of classic Iggy, while its follower, “Chardonnay,” puts its pedal to the metal hard enough to give thrashers something to slam about, whether they’re puzzled by or instantly converted to the band’s scathing swipes at mediocrity, including that of the contemporary music world. www.subpop.com MARY LEARY
 4.8.13
Caitlin Rose
THE STAND IN-(ATO)-My god this gal is too talented to be so unknown. Maybe the release of this sophomore effort will change that. I too nearly passed on her debut record, 2010’s OWN SIDE NOW (released after a few terrific eps) when I gave it a listen and it didn’t do much for me. It was nearly off to the sell pile for it, but something told me to give it a few more listens, I did and it really grew on me and became one of my favorite records of that year. I saw a few gigs of hers in Portland in 2011 and she and her band really delivered and Caitlin’s no pretension/“aw shucks” demeanor was so refreshing. Fast word to 2013 and here she is delivering her sophomore effort (on the bigger ATO label) and I’m happy to say there’s no sophomore slump here. THE STAND IN is chock full of her patented country pop tunes akin to a Linda Ronstadt record (her voice gets a bit Patsty Cline-ish, too) with strong songwriting and a real sense of maturity for someone who I think is in her early 20’s. Opening cut “No One to Call” has a little guitar bit to it while the beautiful “I Was Cruel” has a gorgeous sway to it and “Only a Clown” and the hooky “Only a Clown” should/would/could be a huge hit (we’ll see). Elsewhere, “Dallas” is a real tear jerker while both “Everywhere I Go” and “Silver Sings” show she has a penchant for pop hooks. Well done, my dear. www.atorecords.com
 4.8.13
The Smittens
BELIEVE ME-(FIKA RECORDINGS)-I really enjoyed that last Smittens’ record but wasn’t aware of this one until late last year when the label was nice enough to send one (clear vinyl, too on an edition of 500!). One of the nice things about The Smittens is that they mix it up with vocalist and tempos, too. On vocals it could be Big Max with the deep voice (like a happier Stephin Merritt) or the high-pitched voice Colin or perhaps sweet-voiced Dana, that along with the mix of tempos and also they aren’t afraid to toss in a melodica here or uke there …tambourine too, (god I love the tambourine, such a simple instrument bit so effective in a pop song sometimes). And before you ask, yes, the songs are there. “Typing, Texting”, “First Bus, “Sometimes People Get Sad,” “”Forever, “True to You” (great call and response vocals) and plenty more. There’s no trace of bitterness here either, these folks seem like they genuinely enjoy making music together (imagine that). Well done, very well done (and on the insert in the record is a recipe for Vermont Apple Cider Doughnuts so how about that). www.fikarecordings.com
 4.1.13
The Catbirds
CATBIRDS SAY YEAH -(IDDY BIDDY)-The Incredible Casuals’ Chandler Travis seems to be on fire. I recently wrote about a more complex, sophisticated recording that he made with the Chandler Travis Three-O, which, in its way, knocked me sideways. The music he makes with the Catbirds (some of whom are also Casuals) is a different animal; a celebration of three-chord wonders, rockin’ harmonies, bar band glory, and all things nicely powerful (chords; pop). I hope the album’s excellent, old-school rock ‘n’ roll escapism will be enjoyed by more than Casuals fans – for starters, Rivers Cuomo might use it to help get some of his mojo back. There, I’ve said it. www.thecatbirds.net MARY LEARY
 4.1.13
Steve Forbert
ALIVE ON ARRIVAL/ JACKRABBIT SLIM-(SELF RELEASED/BLUE CORN MUSIC)-When Steve Forbert first burst upon the scene in the late 70’s I was too young to appreciate him (to me he looked like a goofy, wannabe Springsteen though the Meridian, MS native was apparently was a fixture on the CBGB’s scene) . Fast forward a few more years and I was far to enamored in the sounds of the American hardcore scene to both to listen to him. So here we are thirty plus years later and his first two records, ALIVE ON ARRIVAL and JACKRABBIT SLIM are reissue (on Forbert’s own Blue Corn Music imprint) and I’ve come to realize that the guy truly was/is a unique songwriter. “Romeo’s Tune” (off JACKRABBIT) was his hit and honestly , it’s the only one I recognize here but ALIVE (recorded in NYC) has plenty of sharp tunes that are more than worthy of your time (opener “Goin’ Down to Laurel”, the spare “Thinkin’”, the humorous “What Kinda Guy?” and plenty more. Record #2, JACKRABBIT SLIM (from 1979, recorded in Nashville and produced by John Simon) opens with the terrific “Romeo’s Tune” but is just as good as the debut, if not better. In addition there’s the torchy ballad “I’m In Love with You”, hit only other chart single “Say Goodbye to Little Jo”, the blasting horns in “The Sweet Love That You Give (sure goes a long, long way)”, the soulful “Baby” and plenty more. I don’t think the guy ever reached such heights again on any later records though I heard last year’s OVER WITH YOU was darn good. Still you can be rest assured with this two-fer that you’re getting some top quality music. www.steveforbert.com
 4.1.13
The Relatives
THE ELECTRIC WORD-(YEP ROC)-Don't call it a comeback; you didn't know about them the first time around. Texas-based gospel-soul The Relatives were a shortlived group, with only three singles released during their initial existence, so The Electric Word is their debut album proper--thirty-eight years after their last session, and thirtythree years after their breakup. On first listen to The Electric Word, It's immediately clear that no time has been lost in Reverend Gean West's muse. Dig the opening track, "Times are Changing." For the first minute and a half, the song is a wonderful clapping chant, until it turns into a kaleidoscopic explosion of soulful funk. The melodies are tight, the singing is tighter, and it's hard not to sit still when listening to "Bad Trip" and "Let Your Light Shine." The love ballad "Your Love is Real" is moving, and the message of "What's Wrong With America" is a shining example of the power of gospel. Then there's that last song, "I Will Trust In The Lord," an acapella spiritual that highlights the power of the band's harmonies--which are tight, tight, tight. Every year it seems that some obscurity comes back to the spotlight, making great music after decades of being forgotten. The Electric Word is the best rediscovery/comeback of the year. www.yeproc.com JOSEPH KYLE
 4.1.13
Sweater Girls
WERE HERE-(HHBTM)-I’ve had this one for a while and have been meaning to slap it on the turntable and now that I have I wish I’d done a lot sooner. This male/female quintet from Los Angeles (3 girls/ 2 guys) get the party rolling right out of the gate with the amazing “Infatuation Street’ which is all guitar fuzz, handclaps, whistling, keyboards, tambourines and what I think is a glockenspiel. This has to be one of the most ebullient debut records since, I dunno….the first Small Factory record perhaps. Many of the other songs take the lead of “Infatuation Street” and make sure there’s nothing but Jolt Cola and smiles in the room. There’s no lack of good songs on here…they’ve got ‘em in spades: “Fred” (there’s a video for this one), “Pretty When You Smile,” “Sweater Weather,” “Fast Forward Time”, the very Tallulah Gosh-ish “Space Crush” and the fuzz-overload “Sticks and Stones.” I’m throwing the Pixie Stix away, I just got my daily dose of sugar. Bonus points for one of the members on the back cover wearing an All Girl Summer Fun Band t-shirt. www.hhbtm.com
 4.1.13
Sweet Talk
PICKUP LINES-(12XU)- Austin’s 12XU label has been on a roll lately with the release of this as well as recent ones by Chris Brokaw, the Golden Boys and Obnox (let’s not forget Tommy Keenne, too) and terrific 7” singles by the likes of Unholy Two, Ratsak and several others. I dunno a whole lot about this bunch other than they hail from Austin and seem to like melody and having a good time and songwriter Stephen Svacina knows where to put a hook to have it mean something. I read that they were pop-punk but this isn’t The Queers or Screeching Weasel by any stretch (though I do like stuff by the former), no, this is more in common with early gunk Cheap Trick or The Scruffs or more recent stuff by (defunct) Portland legends like the Exploding Hearts, The Minds (or anything on the Dirtnap label, really). “Put You Right Back” is a classic pop song as is the lovingly distorted “No Vacancies” while “Danger” slows it down a, but is lo less effective. Flip over to side two and a few other faves are the title track, “Who Are You” (not that one) and the positively electric “Live to Die.” 11 songs in under 30 minutes, perfect for a busy, no-attention span guy like myself. www.12xu.net
 3.25.13
Anders & Kendall
WILD CHORUS -(NINE MILE RECORDS)-Whenever I hear that Kendall Jane Meade is involved in something I immediately want to hear it. Actually that’s not true, I didn’t know she was a part of Sparklehorse but I have loved the solo records she did under the name Mascott. The Anders part of this duo is Anders Parker who has played with lots of folks bust mostly under his own name, Varnaline (whose material I liked but didn’t love). On WILD CHORUS, they are both at the top of their game and I’m happy to say it’s a lovely record that needs to be heard by all ears. Opener “We’re on Fire babe” is a lovely duet while the loping, Kendall-sung “City of Greats’ is a little moodier but no less effective. “Let’s Get Lost” is more shuffling, reckless and again the harmonies between the two is slightly ragged but oh so right while “Across the Years” reminded me of something off last year’ Sera Cahoone record (one of my favorites from 2012) while “Dreamers on the Ground” has a bit more guitar grit and they can do rockin’ just as nicely as light n’ folky and the final song, the spare , folky “The Sun Will Shine Again Someday” ends the set perfectly.. I’m not going to review each song but needless to say there’s not a dog among the 11 songs www.ninemilerecords.com
 3.25.13
Kail Baxley
HEATSTROKE/THE WIND AND THE WAR-(FORTY BELOW RECORDS)-If ever a person were born to make soulful sounds, it’s native South Carolinian Kail Baxley, whose story (grew up in the same town as/had contact with James Brown; fought professionally; didn’t pick up a guitar until he graduated from high school; ended up performing his own music when a sound engineer convinced him to favor it over his plan of composing film scores) is that of a legend waiting to happen. I don’t think Baxley will wait very long. Baxley’s vocals are a hypnotic blend of those of Bill Withers and Amos Lee. He has an unerring feel for mixing the earthy genres he grew up with into his own bluesy, folk-rock lexicon. Songs that at first listen seem relatively inconsequential rapidly become attractive as well broken-in sweaters. Even Baxley’s previous sojourn in Africa has a subtle effect on this extraordinary full-length debut, which combines his Heatstroke/The Wind and the War EPs.www.fortybelowrecords.com MARY LEARY
 3.25.13
Hot Nun
S/T-(SELF RELEASED)-San Francisco’s Jeff Shelton must be a real busy guy, it seems like he never takes a break from recording music. His first band (or first one I’d heard of ) the Spinning Jennies released several records full of hooky power pop and his more recent band, Well Wishers, delivered more of the same. This time he hooked up with his pal Braden McGraw and the two went into the studio and banged out 8 songs (7 originals and one cover of Bowie’s “Queen Bitch”). Don’t worry, did you think Hot Nun has gone off the rails and rewritten Shelton’s music book there’s no reason to worry as the songs on this S/T debut pretty much follow his previous career path, in other words if you dig Cheap Trick and Sloan then you’ll be ok with this. Cuts like “Brave New World”, “Spirit of ‘76” and “Win It All” are pure pop riffage that have hooks galore and are hard not to like. Even if you don’t have a convertible, pop this one in the car cd player and you’ll THINK you’re driving with the top down. “Hey good lookin’, we’ll be back to pick you up later!” www.facebook.com/hotnun
 3.25.13
Yo La Tengo
FADE-(MATADOR)-So, I'm gone for a year or two and this shit rag stops writing reviews on "good" albums? Yo La Tengo is a frustrating band. While it would be suffice to sum up "Fade" as being better than "And Then Nothing Turned Itself Inside Out", but not as good as "I Can Hear The Heart Beating As One", it's never really that simple, is it? The last time I saw YLT, there was the exciting potential of the Wheel Of Fortune Tour. All arousal was extinguished by the cold shower that was an unfortunate landing on "The Sounds Of The Sounds Of Science(Pt. 2)", an amazingly boring soundtrack to a series of 2001 underwater documentaries. Therein lies the frustration. When YLT do their rock thing, their guitar thing, their "Fuck another cover album, let's really show what our influences mean(t) to us" thing, they are captivating and beautiful. "Fade" is produced by John McEntire (drummer for Tortoise, The Sea & Cake) and the first since '93's "Painful" not produced by Roger Moutenot. While Ira is still the main vocalist, Georgia sings beautifully on "Cornelia And June" and the album closer "Before We Run". The Byrds? Dennis Wilson? The Beatles? No, just YLT doing their thing that they do really well. This seemingly "gettin' back to our roots" YLT should stick around. Does anyone want to remake "Propeller" with me? www.matadorrecords.com KIP KELGARD
 3.25.13
Thalia Zedek Band
VIA-(THRILL JOCKEY)- Hearing a new Thalia Zedek records gives me hope for music. Since the late 70’s, when she first formed the Boston band Dangerous Bird it was then on to Uzi, followed by a move to New York she fronted Live Skull for a few records and by the mid-90’s she formed with amazing Come (w/ Codeine’s Chris Brokaw) who released several terrific records on the Matador label (the first two records, 11:11 and DON’T ASK, DON’T TELL are among my favorites not just from the Matador label but from that whole decade of music). For nearly the last decade she has been solo (w/ most releases coming via the Thrill Jockey label) both by herself and, as this record indicates, a band. The band on here includes a viola player (David Michael Curry), a pianist (Mel Lederman) along with rhythm section of Winston Braman on bass and Dave Bryson on drums (Thalia, of course, songs and plays guitar). The songs, like many that have defined her career, are dark, moody, cascading and awfully good. Opening tune, “Walk Away” is among her best while (as is the slowly unfolding “Get Away”) while“Winning Hand” stretches out in a maelstrom of minor chord moodniness. While there’s a lot of anger, despair and confusion in these songs there’s also a sense of redemption too. Where the despair turned to resignation and now, a sense of almost peace and contentness. You can really feel it in these songs, Zedek is that kind of a songwriter, she’s that good. www.thrilljockey.com
 3.11.13
Karl Bartos
OFF THE RECORD -(BUREAU B)-A fascinating record, this! Karl Bartos was a member of the legendary Kraftwerk, and as the band recorded and worked, he would quietly compose sketches and songs on his own. Decades later, he's revisited those songs for this collection--a re-imagining and expansion on ideas about the music of the future, written in the past, and recorded in the present time of the future past. First song "Atomium," a dedication to the 1958 Worlds Fair attraction of the same name, establishes a few things: Bartos was in Kraftwerk, he is a potent musician, and the past's idea of music of the future still sounds futuristic. The album, for the most part, doesn't stray far from this pattern, but what makes it rewarding are the softer, gentle songs, such as "International Velvet," "Instant Bayreuth," and "Hausmusik." Don't think he's gone soft; the electronic groove can be felt in "Rhythmus" and "Musica ex Machina," and he's a master at it. All in all, this revisit of ideas once "off the record" was a worthy one, and is a compelling reminder of why Bartos is a master electronic musician. www.bureaubrecords.com JOSEPH KYLE
 3.11.13
Christina Courtin
VARSITY-(HUNDRED POCKETS)-There’s a new girl in town. But she’s not totally new (been playing violin and viola with the Knights, Dirty Projectors, Sufjan Stevens, Marianne Faithful). And Varsity is her second solo release. Still, once her music starts to catch on, I think we’ll be hearing Christina Courtin’s name, whether her songs end up on primetime drama soundtracks (Grey’s Anatomy seems a shoo-in) or being covered, eventually, by The Voice contenders. Her songs are that catchy; her voice that pretty, and her leanings - including retro structures similarly favored by Tennis, La Sera, and others - are hip enough to garner a warm “Indie” welcome. I’m especially partial to tracks such as “Caroline” and “Harpy’s Diner,” which add really creative pauses and textures. Courtin’s best work could tempt a number of more established musicians to collaborate with her, rather than using her just for back-up. www.hundredpocketsrecords.com MARY LEARY
 3.11.13
Livingstone Daisies
DON’T KNOW WHAT HAPPINESS IS-(POP BOMMERANG RECORDS)-I had never heard of this Aussie bunch before but that’s maybe because they are fairly new. Scotty at the Pop Boomerang label was very excited about them (but he’s excited about all the bands on his label, as any label owner should be). Apparently the members were in some other known bands but I hadn’t heard of any of those bands but the ‘daisies have a real pleasant, breezy sound that sounds like it owes a bit of debt to The Byrds, Teenage Fanclub, Big Star and others and is real easy to like. Van Walker and Liz Stringer handle the guitar/vocals while Michael Barclay and Cal Walker handle the drums and bass respectively. Opening cut “Wednesday” and “Redhead” are two enticing pop numbers while ‘Die on the Vine” kicks it up a notch and creeps into garage rock territory. They save their best as next to last in the gorgeous 7th song (8songs total) in the supremely melodic “Keep Searching.” I hope this is more than just a one off and this bunch are planning a follow up. www.popboomerang.com
 3.11.13
Golden Grrrls
S/T-(SLUMBERLAND)-I had a feeling that I’d like this band for one, they hail from Scotland (always a good sign) and most importantly, they’re on the Slumberland label, a label known for many great releases. Oh sure, the band name is a little goofy but hey, I can deal with that (I’ve loved American Music Club for years) and apparently two of the original four left the band which has now been whittled down to a trio. These young folks seem to take bits of their homeland history during days of yore (Pastels, Vaselines, etc.) and whip it all up into a frenzy of finger-snappin’ songs. Opening cut “New Pop” is everything a good opening pop cut should be: fuzzy melodies, male/female vocals, crashing drums, etc. (like a Tiger Trap song if they had a male singing backing vocals) while “Past Tense” is a little folkier (think Look Blue Go Purple) but no less effective (same on “Take Your Time”). There’s enough variation in the track that it doesn’t sound samey or sound like the songs run together. The 11 songs skip by in just over 27 minutes and boom, your commute is over and you want to hear it all over again (and you may). www.slumberlandrecords.com
 3.11.13
The Skatalites
WALK WITH ME-(MOONDUST)- The Skatalites are my favorite all-time ska band; a designation that’s unlikely to change, given its role in helping to create the genre, along with setting the bar high by maintaining a precarious balance of rock-steady beats with excited spontaneity. Along with an army of new and old fans, I’m psyched about almost any release by the enduring combo. Still, the demise of seminal and long-term Skatalites, including trumpeter Lloyd Knibb, bassist Lloyd Brevett, and vocalist Lord Tanamo, means some loss of juice, even if the band’s managed to sustain a remarkably consistent sound and feeling through play breaks, personnel changes, and illness. With Doreen Shaffer occasionally providing vocals, Walk With Me represents some of the last recordings with Knibb, who passed away in 2011. The masterfully mixed album preserves the band’s lo-fi immediacy. And several tracks, including the title song, “Lalibela” and “Desert Ska,” carry the band’s trademark verve and vigor. But the set drags a bit for lack of more standout tracks and vocals. There’s nothing wrong with Shaffer’s work – it’s just a bit thin in the face of the Skatalites’ laidback but powerful juggernaut. In other words, if there’s a new Tanamo in the zeitgeist, hear my call. Meanwhile, Walk With Me is here to help Ska-fidels brew morning coffee and conjure idiosyncratic aerobics routines. www.skatalites.com MARY LEARY
 3.4.13
Deathfix
S/T -(DISCHORD)-I have to admit that since Dischord’s heyday of classic hardcore records in the early to mid-80’s I haven’t totally kept up with all of the label’s releases though the few that have slipped into my hands, like Medications and Faraquet, I have really enjoyed. This Washington, DC quartet (formed in 2009) has a rich musical history including Fugazi drummer Brendan Canty here playing guitar and singing as well as two Medications members in Devin Ocampo and Mark Cisnersos and Bob Mould co-conspirator Rich Morel. Initially hearing it was both prog and glam influenced I was a bit nervous but that is why it is always important to actually listen to a record first before making any assumptions. The songs (there’s only 7 of them) take odd but always interesting turns into deeply emotional, dark territory with dramatic keyboards and minor-key guitar chords. Opening cut “Better Than Bad” as is the darkly emotion “Low Lying Dreams” (which before I knew that the title was I was thinking it could be a on a film soundtrack in a dream sequence) and the creepy “Hospital.” I could have done without the oddly funky “Dali’s House” but the final three songs are all worth your time (especially the groovily melodic “Playboy”). I hope they do a full tour and not just play the Northeast (then breakup). I really wanna catch these guys on stage. www.dischord.com
 3.4.13
Mary Gauthier
LIVE AT BLUE ROCK-(IN THE BLACK RECORDS)-Mary Gauther is a veteran singer/songwriter, one who doesn't fit neatly into a pigeonhole; her style is a mix between folk, country, and even a little bit of rock, and this is, as you guessed it, a live album, recorded "one beautiful Bluebonnet Spring evening outside of Austin, Texas," accompanied by two other musicians. While I must admit to not being familiar with Ms. Gauther's music, I can't say I didn't enjoy this little live experience. Gauther's voice is pleasing, with a hard edge to it that makes me think that this is what Courtney Love could be like if she got her shit together. There's sadness and there's humor, often within the same song, such as on Fred Eaglesmith's "Your Sister Cried," "Our Lady of the Shooting Stars," and "Drag Queens in Limousines." I can tell that this was a fun night for her and for her audience, and even though I don't know her work, this has served as a great introduction for me. www.marygauthier.com JOSEPH KYLE
 3.4.13
Onward Chariots
THIS IS MY CONFESSION-(SKIPPING STONES RECORDS)- If memory serves me correctly this is the same Ben Morss who was in the band Chariots of Tuna so I’m glad he ditched that awful moniker for something better. Based in NYC and having released previous singles on both the Dufflecoat (UK) and Elefant (Spain) labels he’s not on indie pop label Skipping Stones, a good home for him (and I hope said label releases more records form Sweden’s The Charade). Armed with several like-minded friends who are able to expand upon Morss’s pop vision, these 16 songs with folks on keyboards, trumpet, violin, clarinet, oboe, mandolin, etc. run the gamut from sophisticated pop of the awesome “Sisters and Brothers” to the bouncy, giddy “Mel Gibson” and “I Just Met a Girl.” Moving right along, “When You’re Smiling” is a sweetly melodic tune while the minimal “Mama” perhaps shows a Queen influence and 1960’s pop of “You Don’t Have to Be Unhappy” and the chugging, more rockin’ “I Want Everything.” On THIS IS MY CONFESSION Morss proves his unique talent as a songwriter and hopefully the Skipping Stones label (a micro-indie, as they call it) can give the record the exposure it deserves. www.skippingstonesrecords.com
 3.4.13
The Partridge Family
THE PARTRIDGE FAMILY ALBUM/ UP TO DATE-(7’Ts/ CHERRY RED RECORDS)-If you were a kid in the early ‘70s, ABC was the network to watch on Friday nights when “The Brady Bunch” and “The Partridge Family” were both in the lineup. The Partridges were based on the real-life singing family the Cowsills, and although Shirley Jones and David Cassidy were the only cast members to actually sing in the show and on the albums, it didn’t detract from the show’s entertainment value. As corny as it was at times, “The Partridge Family” was humorous escapism, and who can forget that Mondrian-themed bus? The show made teen idols out of Susan Dey and David Cassidy and boosted Shirley Jones’ career. As for the music, it was catchy at times, cheesy at others, and sometimes both simultaneously, but, as evidenced by these two albums – together on one CD – David Cassidy had the knack of making the most of the material. “The Partridge Family Album,” the debut, includes two big hits, the buoyant “I Think I Love You” and propulsive “I Can Feel Your Heartbeat,” as well as “Brand New Me,” another fine pop confection. The biggest drawback of the first album is the inclusion of the Love Generation, the syrupy sweet band that sang backup vocals on Partridge Family albums; in this case, they actually take over two tracks entirely; by the time David Cassidy comes back in, it’s a huge relief. Thankfully, he’s much more front and center on “Up to Date,” which has its share of cringe-worthy lyrics, but also a batch of hook-laden tunes in “I’ll Meet You Halfway,” “You Are Always on My Mind” and “I’ll Leave Myself a Little Time.” Cassidy’s skillful use of vocal dynamics keeps the slower songs from being snoozers. Now, whether you run out and buy these collections will probably depend on how nostalgic you are for the early Seventies, but of the 22 songs on this collection, I’ll probably play at least half of them repeatedly. SUSAN BRETTINGEN www.cherryred.co.uk
 3.4.13
Red Jacket Mine
SOMEONE ELSE’S CAKE-(FIN)- More or less in the vein of Pure Pop for Now People, we have a new set of juke-length tunes from the well-oiled, Seattle-based combo, Red Jacket Mine. There are unabashed strains of Nick Lowe, Graham Parker, and Elvis Costello in songwriter Lincoln Barr’s apparently effortless demonstrations of succinct craftsmanship. But Barr lapses into easy cliché when he throws anger at a hackneyed target (the street preacher in the country-based “Have You Got a Permit to Preach on This Corner?”) and tells us nothing new with “Nickel and Dime.” The frustration with women that veins through SEC is refreshing (at least he expresses it, in this over-careful world) while feeling somewhat off-putting. I feel safe saying these things ‘cause SEC’s garnering mucho critical kudos. So I don’t feel alone in shouldering the responsibility for reporting that “Ron Nasty” has the melodic finesse of Alex Chilton, the Bolan-esque “Engineer” is sexier than anything emitted to date by Lowe or Costello, and beer’s likely to have just the right tang with “Skint City” playing. For some of us – especially those with great Rumour-love, three-minute pub rock rarely gets better, even if SEC could use the handful of edits that could remove the feeling that it’s a songwriting showdown entrant. Its cranky charm, handy compositions, and bar band excellence compensate for any excesses of testosterone, yada-yada vitriol, and ideas. www.finrecords.com MARY LEARY
 2.25.13
The Barbaras
2006-2008 -(GONER)-Not sure how I missed the boat on this band, heck, I thought the Magic Kids (who I love) were some new band that had no precedent. Little did I know. Apparently this band had all kinds of history. Two of the members, Bennett Foster and Will McElroy went on to the Magic Kids while two other members, Billy Hayes and Steven Pope went on to , first Jay Reatard’s band (Reatard produced some of the Barbaras material) and then later (currently), Wavves. It gets weirder still when Reatard stole Pope and Hayes for his own band but when the ditched him for Wavves he claimed he erased all of the Barabara recording but alas, these 15 songs were “found.” The sound is all kinds of fun, a mix ‘tween bubblegum pop and snotty garage rock and the songs sway , bounce and slug as only good pop songs can. “Superball” (later recorded by the Magic Kids) sounds bit rawer while other cuts, like “Heaven Hangs,” “Grief Touches Everyone,” “Flow,” “”Day at the Shrine” and plenty more kick up some dirt (mixed with sprinkles and malt balls , of course). And if I’m to judge only by the back cd cover I wish I would have seen them live (I see balloons, masks, and the like). Damn, they would have been my favorite band circa 2007 had only I known about them. www.goner-records.com
 2.25.13
Gap Dream
S/T-(BURGER RECORDS)-This one came out last year but I didn’t get hip to it until this year. My pal had told me about it and then, a few days later I’m looking through my vinyl and realized that the nice folks at Burger Records had sent me a copy of it. It’s basically the work of one Gabriel Fulvimar (and some friends if I’m to believe he has friends named 17 Shadows, Tuliq Vorte and Eddy Grapes) and though it sounds California in sound he hails from Cleveland, Ohio. I love about half of the songs and merely like a few others. Then there’s a fewer, slower, druggier ones (ala Brian Jonestown Massacre) that weren’t really my cuppa tea (though I do love some of the BJM stuff). In the stuff I love is the cosmic “58th St. Fingers”, the catchy “My Other Man”, the dirty “Feast of the First Morning” and their awesome cover of The Squires “Go Ahead”- which I believe New Zealand’s Pop Art Toasters covered on their lone ep). I think if Fulvimar decided to so a straight pop, minus all of the studio trickery/fuckery, it could be a monster. Maybe he doesn’t want to do that and that’s fine, it’s his band, but just something to think about Gabe. You hear me? www.burgerrecords.com
 2.25.13
Goldenboy
THE NEW FAMILIAR-(EENIE MEENIE)- Another low-key but strong collection of songs from L.A. songwriter Shon Sullivan (apparently his old friend Elliott Smith was the one who gave him the Goldenboy moniker and Sullivan himself has played with The Eels, The Rentals, Neil Finn and others). He’s released a few other terrific records but the guy doesn’t seem to get the attention of many of his peers which is a shame as he is just as strong a songwriter. This is LP #3, I believe, and the band now seems solid with Bryan “The Boz” Bos on drums, Katy Stone on bass and Nicole Verhamme on guitar and vocals. THE NEW FAMILIAR opens with the 6-minute plus “The Walking Song” which hits all the peaks and valleys a good song should and then drifts into the Field Mice-esque jangle of “Today’s the Day” and then into the darker, Cure-ish “Steal Your Face” (Take THAT Deadheads!). “The Right Chemistry” is mostly Shon singing and strumming, “Soho’s Empty” is another pleasant pop tune that you’ll wanna hear if you have any brains (you do) and “Starlight Town” is the one that sounds most like Belle & Sebastian. The two other songs (8 total) are both worth your time as well. Pitchfork might ignore but Dagger sure as hell won’t. www.eeniemeenie.com
 2.25.13
Mark Kozelek
ON TOUR: A DOCUMENTARY SOUNDTRACK-(CALDO VERDE)-I have to be honest about something, I'm a bit mixed on this release. It is a beautiful release, chock full of beautiful songs, recorded both live and in the studio. It's just that Kozelek has gotten into the habit of releasing a LOT of live albums as of late, either standalone records, or as bonus gifts for those who purchase his studio albums directly from him. There's nothing wrong with that, but for someone who has been infatuated with the man's music for the past twenty years--and who is a loyal fan in terms of supporting him--there's just a lot of repetitiveness on this release for me, and this feels a bit superfluous for the hardcore. Yeah, there are some new versions, but they're versions of songs the hardcore already own in not-very-different arrangements. I also realize that this is a soundtrack to his recently-released On Tour documentary, and so I cannot fault him for using that as a basis for this collection, which is, in a weird way, a "greatest hits" record for his post-Red House Painters career. Still, when you hear him singing "Four Fingered Fisherman" or "Third and Seneca" or "Mistress," you'll be quick to forgive. I know I have. I still await every Kozelek release with baited breath, and I'd recommend this record not for the hardcore inasmuch as I would the newcomer; this is a fine primer of what makes the man so great. www.caldoverderecords.com JOSEPH KYLE
 2.25.13
Don Rich
SINGS GEORGE JONES-(OMNIVORE RECORDINGS)- In his own way, Don Rich was the Randy Rhoads of country music: an amazing guitarist and musician who wowed and impressed everyone who saw him perform, yet died young, before he had a chance to fully prove himself, and whose passing left a major vacancy in the heart of his bandleader. Don Rich was the right-hand man of Buck Owens, and he joined Owens' band the Buckaroos in 1970. He was a member of his band until his untimely, sudden death at the age of 32 in a motorcycle accident after a Hee-Haw taping session--one that Owens reportedly had a vision of the night before. Owens tried to persuade him not to ride his motorcycle that day, and his death profoundly affected Owens, who nearly quit the music business. Surprisingly, Rich had very little in the way of recorded work; at some point--no one really knows exactly when; the best guess is the summer of 1970--Rich recorded a handful of George Jones songs that were shelved. He took on a number of his hits, such as "She Thinks I Still Care," "The Race is On," and "White Lightning," and these Bakersfield recordings remind not so much of George Jones as they do future Bakersfield recording star Dwight Yoakam. Rich had a fine voice, and played some great guitar, and his passing was a great loss. To fill in some of the space, there are four Buck Owens recording from the Hee-Haw sessions that were previously reviewed. Rich may have been forgotten to the annals of time, but these recordings certainly help to remind just what a great talent was lost. www.omnivorerecordings.com FOSTER HAYNES
 2.18.13
Duke Ellington
ELLINGTON JAZZ PARTY -(FIVEFOUR/CHERRY RED)-Duke Ellington requires no introduction; he was, simply, one of the greatest jazzmen of the Twentieth century. Like the recently deceased Dave Brubeck, Ellington was a man who could make music that was easy on the ears, heavy on the groove, and appealing to all walks of life, all while being quite innovative--if not outright experimental. Such is the case with this party music--featuring luminaries such as Dizzy Gillespie and Johnny Hodges--where Ellington and his band are simply on fire, whether with the up-tempo fare of "Red Shoes" and "Fillie Trillie," or the softer, slower fare of "Red Carpet," "Satin Doll," and "All of Me," and the best number of all: the swinging singing of Jimmy Rushing on album closer "Hello Little Girl." If you know Ellington, you know what greatness lies within this record; if you aren't familiar with his work...well, don't you think it's time you learned? www.cherryred.co.uk JOSEPH KYLE
 2.18.13
Fonda
SELL YOUR MEMORIES-(MINTY FRESH/FONDA MUSIC)-I always enjoyed this melodic L.A. band so I was pleased as punch when they returned in 2001 with the terrific, BETTER DAYS. They seem to have picked up eight where they left on the previous record (2003’s CATCHING UP TO THE FUTURE). On this, the band’s 4th full-length, the band (mainly the work of couple David Klotz and Emily Cook) the band is still doing what it has always done, melding jangly pop with elements of dream pop and shoegaze into an intoxicating stew/brew. The opening one-two punch of “Seeing Stars” and “You’ve Got a Life Of Your Own” gets things started in the perfect fashion then they slow it way down on the dreamy “She is Real” but crank the fuzz machine back up again on the terrific “Summer’s Gone.” Cook’s vocals on “You and I” add a certain sweetness and light to the proceedings (also on the terrific “Last Goodbyes”). It’s great seeing the band completely recharged and still producing quality music. I hope there’s not another hiatus on the horizon. www.fondamusic.com
 2.18.13
The Knack
TIME WAITS FOR NO ONE: THE COMPLETE RECORDINGS-(CHERRY RED/ NOW SOUNDS)- Nope, Not the late 70’s power-poppers out of LA (though, oddly enough, they were on the same label, Capitol, and the label used the same slogan, “Get the Knack”…but hopefully not “Nuke the Knack” as what happened to the “My Sharona” gang) nor the UK band of the same name (that later changed their name to Gun). No, this uniquely American band existed in the late 60’s and despite having a batch of terrific pop songs couldn’t find the time to get arrested. Led by the awesomely-named Michael Chain (Chain the and equally badass named Dink Kaplan co-wrote most of these tunes). The band never cut a proper album but the folks at Now Sounds have compiled this 14 songs comp that includes the bands four singles, five previously unreleased tracks and an alternate mix of “I’m Aware.” Opening cut “Time Waits For No One” is upbeat poop ala the Beau Brummells but this is definitely no by-the-book pop record as some of the songs port odd time signatures (I’m Aware”). Other choice cuts include “Pretty Daisy,” “Lady in the Window,” “”Once Upon a Cheek” and a few others. Not sure if I’d call this an essential release of 60’s pop but still worth hearing (thought 40 years late). www.cherryred.co.uk
 2.18.13
Buck Owens
HONKY TONK MAN/ BUCK SINGS COUNTRY CLASSIC-(OMNIVORE RECORDINGS)-Man, getting this release has made my year! This collection gathers up eighteen country classics recorded by Buck Owens and his Buckaroos, all previously unreleased--no mean feat, as almost everything he's done has been released. These songs, though, all stem from his work with the influential show Hee-Haw. While the cast would often have original songs and would feature guest artists, in between the jokes and skits and Junior Samples, the band would perform country hits by others. Surprisingly, most of these have never been officially released, and there's tons of them, apparently. True, these songs feel like the work of a really awesome bar band, as they plow their way through songs like "Hey, Good Lookin'," "Waterloo," and "My Bucket's Got a Hole in It." Their performances are stripped down, no-frills, and they sound wonderful, because, hey, these guys had probably played these songs quite a lot in their career. The hokum of Hee-Haw was always great corny fun, yet it helped to obscure just how damn good a country musician Buck Owens was. To me, this is one of the best reissues of the year so far. The only drawback? It didn't include the four songs from the Black Friday 10", Buck Sings Eagles, where Owens takes on Eagles songs. Don't laugh; he did a great job! www.omnivorerecordings.com FOSTER HAYNES
 2.18.13
We’ve Got a Fuzzbox and We’re Gonna Use It
BOSTIN’ STEVE AUSTIN-(CHERRY RED)- I still think fondly of these four women from Birmingham, England (known simply as Fuzzbox). The brightly-colored gals (lots of hair dye and bright clothes) took their native land by storm when their 1986 debut 7”, “XX Sex” b/w “Rules and Regulations” hit #1 on the indie charts over there. When this debut record came out my pal Bob Portella turned me on to it (and so many other bands) so when they played the club Revival in Philly in the Spring of ’87 of course we went to see them and they were a blast. Total fun. I would occasionally post their videos on my Facebook page but didn’t dream of ever seeing a reissue but, thanks to the good folks at Cherry Red, here it is. 34 songs stretched over two discs. Disc one is the original 12-song debut while the 22 song disc two has all sorts of odds n’ sods, alternative mixes, remixes, etc. Plenty of terrific songs that I remember like “Love is the Slug, “Jackie” (cool sax!), “What’s the Point” and plenty more. And in typical Cherry Red form, the booklet that accompanies it is deluxe with plenty of photos, liners, etc. The band released one more record, BIG BANG!!, in 1989, before calling it a day in 1990. Side note: ¾ of the band reformed in 2010 and did a tour of the UK. Sad note: Fuzzbox member Jo Dunne died last year of Cancer. This reissue is a lot of fun and well-worth hearing. www.cherryred.co.uk
 2.11.13
Aina Haina
AINA HAINA -(BADMAN)-What happens when a Badman Recording label head and talented producer (of albums by Starfucker and the Builders and the Butchers, among others) pulls his rock ‘n’ roll persona out of relative obscurity with an EP by a duo he and Mike Ailes started a few decades ago at the U. of Hawaii? Magierek broadcasts happy-go-lucky vibes from the self-titled new release’s physical cover, with his own statement, “Better than the new Van Halen.” I’m right with ya, Dylan – if anything, your claim might be a mite over-modest, as Aina Haina (the EP; the band, the mini-series…) is five tracks of hard-rock with a melodic sensibility. Hard to believe it’s just Magierek (drums/vocals) and Ailes (guitar leads/rhythms, vocals). www.badmanrecordingco.com MARY LEARY
 2.11.13
David Cassidy
GETTING’ IT IN THE STREET-(REAL GONE MUSIC)-By 1974, David Cassidy had decided to leave “The Partridge Family” TV show and focus on his recording, singing and songwriting career. “Getting’ It In the Street” is actually his ninth solo album, and although it came out in 1976 in Germany and Japan, it was never officially released in the United States until now. As he did with his two previous solo albums, Cassidy teamed up with Gerry Beckley from the group America for production and songwriting duties for three of the tracks. Beckley can also be heard singing background vocals on several of the songs. So what does a then-26-year-old teen idol sound like? Surprisingly, pretty good to these somewhat skeptical ears. The title track is a romping rocker with Mick Ronson on guitar. “Cruise to Harlem,” which Cassidy wrote with Beckley and Brian Wilson, sounds as good as what the Beach Boys were doing then, for what it’s worth. “I’ll Have to Go Away (Saying Goodbye)” shows off Cassidy’s heartfelt vocals. “The Story of Rock and Roll,” written by Harry Nilsson, wouldn’t sound out of place on an Eric Carmen album (and I mean that in a good way). Despite their slick sheen, songs like “I Never Saw You Coming,” “Living a Lie,” and “Love, Love the Lady” are hooky little concoctions. Had I been a rabid Cassidy fan back then, I certainly would have found them enjoyable, and even now, they’re entertaining, if not essential. “Rosa’s Cantina,” with its hokey lyrics, is the only clinker on the album, which ends with “Junked Heart Blues,” a smoky little ballad in which Cassidy once again shows off his expressive voice. Although “Gettin’ It In the Street” doesn’t inspire me to dash out and collect Cassidy’s other albums, it has me thinking more seriously about catching him in concert next time he comes through town. www.realgonemusic.com SUSAN BRETTINGEN
 2.11.13
He’s My Brother, She’s My Sister
NOBODY DANCES IN THIS TOWN-(PARK THE VAN)-The band name threw me off a bit as I was expecting something a bit flamboyant (usually a bad sign for me) and this LA band’s debut record, well, it IS sorta flamboyant but what the hey, I dove in and never came up for air. And true to the name, the band is led by siblings Robert and Rachel Kolar (both sing, he plays guitar and she bangs the tambourine) while Lauren Brown (dancin’ n’ drummin’), Oliver Newell (stand-up bass) and Aaron Robinson (lea guitar on a lap slide) round out the quintet. The songs come at your quickly with a real swampy, eclectic feel but the band remembers to write songs with plenty of hooks (a must for me) and not just make a record full of aimless gobbling. Give a listen to rousing cuts like “Let it Live Free,” “The Same Old Ground,” “Tales that I Tell,” “Wake Your Heart,” “Clackin’ Heels” and at least a few more. What can I say, the record is a real hoot to listen to and while it peters out a tad (again, just a tad) at the end, I’d still say that of the 11 songs a good ¾ make the cut. If and when they come through Denver I’m NOT missing ‘em. www.parkthevan.com
 2.11.13
Chris Stamey
LOVESICK BLUES-(YEP ROC)-I can’t say that I was ever a Chris Stamey disciple (they’re out there, though) but I’ve always respected him from afar. The dbs for instance (who reunited last year), I have always respected them more than listen to them and the same can be said for his solo career (though I did really enjoy his Yep Roc debut, 2004’s TRAVELS IN THE SOUTH). The low-key LOVESICK BLUES is a different thing altogether. I started out barely making it through it and have ended up listening to it constantly, usually in the morning in the car on the way to work. It’s mostly made up of low-key acoustic folk tunes like first and second songs, “Skin” and “London” but it’s not all downcast strum as chiming pop tunes like the gorgeous “Anyway” (sounding like something straight off an Association record) , the soaring, punchy “You n’ Me n’ XTC” (with some guest arrangements from Mr. Andy Partridge himself) and the hopeful “I Wrote This Song For You” (more strings). The record ends with a few more intimate songs like the gorgeous “Wintertime” and the title track. A beautiful, intimate record that demands repeated listens. Good on ya’, Mr. Stamey! www.yeproc.com
 2.11.13
Two Hours Traffic
FOOLISH BLOOD-(BUMSTEAD)-This Canadian bunch (who hail from Charlottetown, Prince Edward Island and took their name from a line in Romeo and Juliet) could be one of those bands that’s barely known here in the states (which they are) and may be huge stars in their native land (I’ve heard Blue Rodeo are rock stars in the Great White North but can barely get arrested here). Formed in 2003, I missed their 2005 S/T debut but enjoyed 2005’s LITTLE JABS and 2009’s TERRITORY. One of the founders, Alec O’Hanley has left the band but long timers Liam Corcoran (vocals/guitar) , Andrew McDonald (guitar/vocals) and drummer Derek Ellis are still around (along with bassist Nathan Gill) and FOOLISH GOLD just might be their best batch of songs yet. Hooking up with producer Darryl Neudorf (who has done some nice stuff with the New Pornographers and Neko Case, among others) he helped the band do what it does best which is excel at writing mid-tempo, hooky pop songs that occasionally remind me of Squeeze. Two of the best songs on here , “Audrey” and “Amour Than Amis” , were on the stop gap EP from last year (SIREN SPELL) but there’s plenty more here like the gorgeous “Last Star”, the punchy “Magic”, the jangly “Faster 4 U” and plenty more. The more I listen, the more I like these songs. A nice surprise to say the least. www.bumstead.com
 2.4.13
A Fragile Tomorrow
BE NICE BE CAREFUL -(PIEWILLIE RECORDS)-Putting a “Produced by Mitch Easter” (or in this case co-produced) on your record will certainly get me to take some notice. The former Let’s Active dude had worked with several favorite bands (Pavement, Velvet Crush, The Hang Ups, REM, etc.). I’m a little surprised that I’d never before heard of this South Carolina band but I hadn’t, still though, this is their 4th record and most of it is terrific. The band is comprised of the three Kelly brothers (Sean, Dominic and Brendan) and their pal, bassist Shaun Rhoades. They probably could have trimmed a bit of the fat of these 14 songs down to 10 but really, I’m quibbling here. Opening cut “Don’t Need Saving” is a terrific, mid-tempo pop cut while “Crooked Smiles and Greedy Hands” slows it down a bit and reminded me of a mix between Nada Surf and The Mommyheads. “Loyalty Lies” get s a bit tender n’ atmospheric and was nice, but I like the tunes that jump a bit more: “Long Time to Be Happy,” “Intentions,” “Kernersville” (which they get help from Mr. Easter himself on guitars and a few Bangles on vocals, Susan Cowsill, too) , “Dropout Reunion” and a few others. If you like well-written jangle pop tunes that have some bite then look no further. www.afragiletomorrow.com
 2.4.13
The House of Love
S/T-(CHERRY RED)-Wow, the Cherry Red label went all out on their reissue of the 1988 debut by Britain’s The House of Love (originally on the Creation label), who, for a few years in the late 80’s/early 90’s, seemed like the biggest band in the world . They have released it as a 3-cd in a foldout digipack. The first disc, of course, has the record while disc two has singles, b-sides and rarities and the 3rd and final disc has previously unreleased mixes and demos. Whew….50 songs in all. Truth be told, my favorite record by the band was their self-titled sophomore effort from 1990 (also called the Butterfly album) but the debut was and still is a thing of beauty that you need to hear. The rhythm section (of Chris Groothuizen and Pete Evans) was certainly top notch but the core of the band, vocalist Guy Chadwick and especially guitarist Terry Bickers (who would eventually leave the group acrimoniously) created their unique sound on this record that was part Brit pop, part psychedelic ooze and part breezy 60’s chime. Opening with the haunting “Christine” plus the jaunty “Road”, the catchy “Sulphur”, the driving “Salome”, the darker “Love in a Car” and plenty more. On disc two there’s 19 songs including alternative versions of some of the above songs plus scorchers like “Shine On,” “Destroy the Heart,” “Blind” (one of my all-time faves) and ends with several live cuts. Disc three has 18 songs and again, plenty more bounty that the completist will want/need to have. For a few years these guys light shone as bright as anyone on the UK music scene. When you hear Bicker’s subtle, textured yet out-of-control guitar meanderings you’ll realize the guy was truly a unique axe-slinger and kudos, once again, to the Cherry Red label for once again getting the job done right (and then some). www.cherryred.co.uk
 2.4.13
John LT
SUBURBAN SUPERSTAR-(MOTHER WEST)-The cover art got me interested, plus the fact that it’s on the Mother West label and produced by Charles Newman (same label/producer as the Jon DeRosa record from last year, which was one of my favorites of 2012). I’ve never heard of John LT (who hails from Baltimore) but the guy has a whole host of folks helping out on this 13 song record (including Mr. Newman on keys and percussion, he also did all of the string and horn arrangements). One thing is for sure, they guy’s not afraid to wear his influences on his sleeve, I hear elements of Elton John, Dennis Wilson (PACIFIC OCEAN BLUE anyone?), Billy Joel and probably others. The swingin’ title track is pretty ambitious as are many others on here. Opening track “Lottery Ticket” reminded me of Sir Elton while “Pretty Angel” reminded me of surfer boy Dennis with its soulful vocals. Other choice cuts include the roller coaster-ish “Nowhere To Go”, the funky “Mr. Wonderful” and the dreamy “The Governor’s Wife.” The guy is obviously a huge fan of all eras of pop music as it pours out of him on SUBURBAN SUPERSTAR. Not only that , but the guy sang the National Anthem at an Orioles game. Huzzah! www.motherwest.com
 2.4.13
Midway in the Wake
WE WILL REMAIN SEDATE-(LOWATT)-Another late 2012 release that shouldn’t get lost in the shuffle is this atmospheric full-length. We Will Remain Sedate features wonderful guitar textures, as well as poetically-appointed interplay between synths, keyboards, vocals, effects and guitars. Perhaps the most unusual aspect of this band is its ability to write captivating melodies, which ride a winning mezcla of everything from late-period Beatles to Pavement, along with some oddball strands that make these sounds really interesting. Perhaps most telling of all Midway in Wake aspects is this: some of these tracks are pretty long – a risky move from many a musician – but I’m with the music every minute. So here’s the punch line: Midway in Wake isn’t really a band; it’s this El Paso, Tx.-based guy; Greg Reynaud, who orchestrates the whole thing, from soup to nuts.www.lowatt.com MARY LEARY
 2.4.13
Tunabunny
GENIUS FATIGUE-(HHBTM)-Athens, GA’s HHBTM label (Happy Happy Birthday to Me) has been quietly releasing some terrific pop records for several years now. And one of the best things about the label is that it’s hard to categorize as their bands go across genres. Tunabunny is one of them. They have two previous records but I never heard either (I believe that I only previously heard a single or maybe an EP). On GENIUS FATIGUE they offer up 10 crunchy blasts of, well, I thought it would be straight fuzzy pop but this definitely has a unique post-punk edge to it. Vocalist Brigette Herron and Mary Jane Hassell don’t mess around, not in the least (Chloe and Scott round out the quartet). Lead-off cut Dutchess of Nothing” snorts and gallops to the finish line as does “You Do What You Want” (which is a bit slower/murkier and the equally raucous “Airplanes in Echelon.” The pop side of the band rears its head on cuts like “Slackjawed” and “Form a Line.” And again, being 10 songs on here they don’t wear out their welcome, just the way I like it (and I’m guessing live they’re a “Do not miss” band). www.hhbtm.com
 1.28.13
GR
A REVERSE AGE -(MEXICAN SUMMER)-I heard one song on a friend’s Facebook page and was hooked. I had never heard of the band before, had never heard of the bands mastermind Gregory Raimo and had not heard of his previous band, the Gunslingers, either. I do know that the guy hails from France, that this is his 3rd solo record and that he loved eeking some crazy noises out of his guitar. I guess you could call this stuff psych-garage rock and not sound dumb but hey, there’s even a, ahem, folk number on here and plenty more. Really though, giving these songs labels is pointless (but I’ll still do it anyway) cos’ no sense in doing that when your ears are getting fried (for starters, think of the old San Francisco duo Chrome). Opener “Low Born” has some wild jazzy drumming, grunting guitars and phone-booth vocals while the title track has more of the same but the drums are more rapid-fire and the phone booth has gotten smaller. “Hymn of Pan” is the folk song (Peter , Paul and Mary, it ain’t….it’s not even Peter). You want more? Spin “Spectre of the Brocken” and “The Primitive Hoodoo” and you’ll get the trip that those bath salts never gave ya’. Seriously, this is one molten slab of wax (yes , wax…vinyl only) and remind you of why you feel in love with music in the first place . From opener to the ender, 8 songs in all, not a wasted second. www.mexicansummer.com
 1.28.13
Trapper Schoepp & the Shades
RUN, ENGINE, RUN-(SIDE ONE DUMMY)-I have to admit, the name intrigued me…I was thinkin’ this was gonna be some fun garage rock bunch ready to play your wedding or bar mitzvah but then I noticed they have a pedal steel player so you know what that means. They hail from Milwaukee and are led by, you guessed it, Trapper Schoepp (his brother Tanner plays keyboards) and offer up 12 country nuggets ( I didn’t say alt country) and most of these cuts really swing. Opening cut “So Long” is almost waltzy as it swings n’ sways while cut #2, the rousing “Cold Deck” has a hooks aplenty and a nice kickback beat (and probably my fave song of the bunch). He goes for tender (and succeeds) on “Tracks” (on the title track as well) while they crank it back up again on the terrific “Pins and Needles.” They tuck a few of the stronger cuts near the end too like the crying/sawing “Twenty Odd Years” and the mid-tempo “I-94.” Overall the band can play and Mr. Schoepp can weave a darn good tale. They remind me of longtime faves the Old 97’s so let’s see if this band can keep writing quality songs like Rhett Miller and the boys have done. Be real neat if they did. www.sideonedummy.com
 1.28.13
Summer Hours
CLOSER STILL-(TECHNICAL ECHO)-At another time, I might be wary of a group with so many ‘90s influences (guitars with spot-on Sonic Youth tones; vocals so close to Lisa Loeb’s…). But Summer Hours grabs me by its second song – if there are ‘90s influences here, this is an exceptionally inspired reworking of things I’ve liked from The Breeders, Cardigans, Weezer, Pavement, and, yes, Sonic Youth. And it would be clear – even if Mike Bliss hadn’t recently revealed his deep interest in older-school rock to The Vinyl District -- that he and Summer Hours co-founder and fellow Oberlin College alumni Rachel Dannefer bring a lot of creativity and thoughtfulness to the table. In any case, Closer Still is a breath of sparkling air. Formerly on the Deep Elm and Contraphonic labels, Summer Hours feel convincing, confident, and sweetly vulnerable – a great combination with the band’s rock instincts - for its Technical Echo debut release. www.technicalecho.com MARY LEARY
 1.28.13
Toy Love
LIVE AT THE GLUEPOT 1980-(GONER RECORDS)-Fun fact: I nearly went to The Gluepot, the famed New Zealand club, and not just to see anyone but to see The Chills. In February of 1991 I was in New Zealand for a month and as I was shoving off from Auckland on the Kiwi Experience (basically a bus for backpackers) I noticed a flier that The Chills, one of my all-time favorite bands that I had already seen several times in the USA ,were playing The Gluepot two nights later but alas, our bus tix were bought and paid for an my pal and I had to leave. Still, it would’ve made a great story. Listening to this vintage recording of one of NZ’s first punk bands it’s good to remember that, though NZ brought us some great pop bands, namely The Chills, The Bats, Look Blue Go Purple, and many others it’s easy to forget that the country had a vibrant punk scene. Toy Love was comprised of Chris Knox and Alec Bathgate (who both went on to form the Tall Dwarfs), Paul Kean (who went on to The Bats) and drummer Mike Dooley who played with several bands. So on this night in September of 1980 (as I was in New Jersey beginning my junior year of high school) Toy Love played a snarling set of 25 songs to what looks like a packed house. Knox’s vocals are snotty while Bathgate’s guitar can slice steak, fruit cake or year old rock hard muffins and Kean/Dooley and doin’ a damn good job of keeping up (let’s not forget keyboardist Jane Walker!). Seriously, this rips from start to finish. Go on… www.goner-records.com
 1.28.13
Wendy and the Lost Boys
ROADWAY NOT IMPROVED-(SELF RELEASED)-I’m not sure if this Portland band took their name from the book (a book that I had nor even heard of until I Googled it) but hey, who cares because this band does have a singer named Wendy (who’s got a lovely set of pipes)and the rest of the band, all males, might just be lost. The band describes what they do as “Acoustic Americana” and on this 5-song debut ep however, the band seems to know exactly what they want to do. Well-respected guitarist Phil Garfinkel has been bouncing around the Portland music scene for years (usually behind the sound board) and he, along with multi-instrumentalist Christian McKee, upright bassist Paul Prato and vocalist Wendy Rover (who also happen to play the Cajun rub board put their best foot forward on these 7 tunes, six original and one reworking of a traditional song (“(Hand Me Down My) Walkin’ Cane”). A few of my favorites include the lively opening cut “Broken Hearted Zydeco”, the mandolin-heavy “Singin’ in the Engine Room” and the jug-band influenced “Great God A’Mighty.” There’s not a bum song in the bunch and live they apparently put n a helluva show (sad to say, prior to leaving Puddletown, I never did see ‘em. Don’t make the same mistake). www.wendyandthelostboysband.com
 1.21.13
Lisa Germano
NO ELEPHANTS -(BADMAN)-That Lisa Germano makes nature sound slightly gothic (crow or raven calls; wings that seem to flap right by the mic., and acoustic keyboard sounds) could be a plus for some listeners. Me; I have to get past the glacial pacing of Germano’s barely-enough-air-in-this-world-for-me, inside-the-mic. vocals, reminding myself that others have said her work is interesting, subtly complex, and astonishing. I also have to ape some Alzheimer’s around my knowledge that Germano came, more or less, out of the same ‘90s singer/songwriter era in which Jewel, Fiona Apple, Sarah McLachlan, and Tori Amos flourished (an epoch to which I responded by writing and performing my own music; along with listening to vintage blues, all sorts of jazz, the Cramps, the Pixies, Rocket from the Crypt, the Cardigans, tons of great rock and alt. sounds from the ‘60s-‘80s, TFUL 282… iow, anything but). It also needs to be said that Germano’s respected by and/or collaborated with David Bowie, Howe Gelb, Neil Finn, and… I’m sorry, I can’t go on with this. I’m about halfway through No Elephants and I can’t take any more. It’s not that nothing here is pretty, that I don’t dig it when the music gets trance-y, or when there are trippy effects. But with Germano’s open-wound vocals the common highest-in-the-mix thread, I’m just bored and annoyed. It doesn’t matter to me how important the lyrics are, or how deep the emotion, if the music feels predictable and lacking in vitality, and that’s the case for me, here. Finally, just for some perspective, chanteuse-artistes such as Ruby Throat, Laura Nyro, P.J. Harvey, Cat Power, Hail’s Susanne Lewis, Joni Mitchell, and the Raincoats have held me in their palms with confessional and/or slow-paced vocals. You should probably take my “take” with a grain of salt; making up your own minds about No Elephants when it comes out on February 12. There’s a video for “Apathy and the Devil” up on YT now, btw.www.badmanrecordingco.com MARY LEARY
 1.21.13
Golden Bloom
NO DAY LIKE TODAY-(THE SLEEPY WEST)-After a terrific debut in 2009 (FAN THE FLAMES) and a follow-up EP in 2011 (MARCH TO THE DRUMS) G.B. leader Shawn Fogel and company return with 5 more songs (where’s the full-length?) on NO DAY LIKE TODAY. The thing is ,on those first two records Fogel recorded everything by himself, but when he went out on tour he put together a band and that band is who recorded this ep (Fogel stated that “I realized we’d be a better band if we applied the live band vibe to the writing, arranging and recording”). There’s still some chiming melodies but, truth be told, a few of the songs are a bit light for my ears (like opener “Flying Mountain” not a bad pop song, but not great) and I was a bit bored by “Deliver it For Me.” The main exception here is the hooky, punchy, fantastic “Shadow of a Man” (one of Fogel’s best songs yet) while the moodier, darker “White Whale” adds a darker element to Fogel’s usual bright pop tunes. The closing song, “Lone Reporter”, adds elements of both, beginning with spare instrumentation and ending in a maelstrom of crashing guitars and drums and is worthy as well. NO DAY LIKE TODAY is certainly worth hearing, maybe for me it will just take a few more listens to get used to the full-band thing and to the Shawn Fogel show anymore, that’s all. www.goldenbloom.net
 1.21.13
Billy Paul
WAR OF THE GODS-(BBR/CHERRY RED)-Paul's previous album, 360 Degrees of Billy Paul, had been a surprise, unexpected hit, thanks to the sultry ballad, "Me and Mrs. Jones." As an artist, Paul wanted to experiment, and he felt little desire to merely repeat the formula that gave him acclaim; after all, if you've got the spotlight and you've got the ability to do so, why not experiment? That he did. Enlisting the help of songwriting team Gamble and Huff, Paul created a trippy, spaced-out album that felt like a concept album. On some level, the big, grand arrangements feel like prog-rock, especially the trippy, epic title song. Beginning with blaring alien noises that give way to some sexy, sexy soul music, it's one of Paul's greatest accomplishments, his voice fitting in quite nicely with the weirdness. Yet War of the Gods never fully goes experimental, as promised by the first two songs--or, as you might imagine, the first side of the vinyl album. "The Whole Town's Talking" is a more traditional number, a jaunty pop number that feels out of place, and "Peace Holy Peace" is easily one of Paul's finest album cuts, a deep ballad that blends gospel and soul music in quite a masterful way. After this, Paul would return to more traditional sounds and styles, to varying levels of success. War Of The Gods is a fine, beautiful album that nearly reaches the heights of its stone-cold classic predecessor. www.cherryred.co.uk JOSEPH KYLE
 1.21.13
Tracey Thorn
TINSEL AND LIGHTS-(MERGE)-Christmas is four days after the start of winter, yet why do winter-based songs stop being relevant after that date? Everything But The Girl lead singer's always had a voice that sounded like wintertime, and Tinsel and Lights, which is her turn at making a Christmas record, is an interesting affair. Eschewing the big-name holiday fare, she turns in a somewhat melancholic, piano-based affair that feels quite "adult" in nature. As with anything she does, it is Thorn's voice that draws in the listener; she makes new songs, like Stephin Merritt's "Like a Snowman" and Ron Sexsmith's' "Maybe this Christmas" sound like classics, and she makes familiar songs like "Have Yourself a Merry Little Christmas" and "Hard Candy Christmas" sound fresh and contemporary. The arrangements are soft, allowing for the lyrics and her voice to make for a potent combination. Don't think of this as a Christmas record; think of this as a winter record, with the occasional nod towards that Yuletide day. www.mergerecords.com JOSEPH KYLE
 1.21.13
Mike Uva & the Bad Eyes
LADY, TELL ME STRAIGHT-(COLLECTIBLE ESCALATORS)-Mike Uva has been quietly releasing music from his home in Cleveland on his Collectible Escalators label for the past several years, He has been in some previous bands and this is his 3rd record under his own name but the first in five years. Also , while his previous records were more in the “pop” category (maybe adding an indie before the word pop) Uva with band The Bad Eyes now in tow, goes for a more dusty, folky, country sound (complete with a pedal steel player…did I ever tell you how much I love the sound of that instrument?). In addition to the pedal steel the bands adds some piano here, some trumpet there, organ too in addition to the usual guitar/bass/drums and these guys are on to something. The songwriting is low-key yet strong and cuts like “Where Do You Want Me,” “California” (which is just Uva on vocals and guitar) and the title track are all winners (plenty more, too). Oh and if I didn’t say it yet, this is a vinyl release and very nice to hold in my sweaty palms. Instead of giving the latest Pitchfork buzz band your money, how about sending some Uva’s way. The guy really deserves it. mikeuva.bandcamp.com
 1.14.13
Lulu Gainsbourg with Various Artists
FROM GAINSBOURG TO LULU -(MBM)-Whether the presence of celebrities and hipsters is a drawing card or turn-off for you, From Gainsbourg to Lulu is, for starters, intriguing. It’s interesting to hear what Iggy Pop, Scarlett Johansson, and Shane MacGowan do with Gainsbourgh’s certifiedly cool material. It’s the first release from Gainsbourg’s son, Lulu, was was five when his dad passed away in ’91. His star-studied bevy of friends also includes Johnny Depp, Vanessa Paradis, Sly Johnson, and Rufus Wainwright. I can only imagine the catering tent. www.mbmrecords.com MARY LEARY
 1.14.13
Gary Lewis & The Playboys
THE COMPLETE LIBERTY SINGLES-(REAL GONE MUSIC)-You know it's a warning sign when members of a band disparage the material found within their own release! Such is the case with Gary Lewis and his "band." The son of Jerry Lewis, it seemed unsurprising that he was aimed towards fame and a musical career, and they did turn out a few great hits, namely "This Diamond Ring," and "Just My Style." Lewis did not seem to be in control of his own destiny; many of the songs—especially the B-sides--are merely the Wrecking Crew getting to have fun, with no Lewis around. The powers that be behind the group held onto a "let the B-side be crap so it won't detract from the A-side" policy, and there sure is some dreck to be found here—with horrible covers of other hits and the kind of songs that made Elvis turn to drugs. The promise of the band's first single, the hit "This Diamond Ring," was quickly sunk with the atrocious "Tijuana Wedding," which is a rather obvious "La Bamba" knock-off. Still, there are some good moments, such as "My Heart's Symphony," "Girls in Love," and a rather lovely cover of "Rhythm of the Rain." The Playboys didn't last long, and Lewis went onto a more traditional showbiz career. The hits here are great; the rest...not so much, and they knew it. More for completists, this. www.realgonemusic.com JOSEPH KYLE
 1.14.13
Eric Lichter
ELKS IN PARIS-(DIAMOND MARKET RECORDS)-Seattle musician Lichter (who is also a member (keyboardist) of the long-running psych-pop bunch, the Green Pajamas) apparently did a kickstarter campaign to get this thing recorded and released and yes, as the title implies, it was recorded in the City of Lights. It was produced by co-conspirator Ken Stringfellow and veers more toward the pop side of things and less on the psych side and Stringfellow’s production is warm and clear and the two of them seem to be quite a formidable team. Now that the particulars are out of the way, on to the songs. ELKS IN PARIS is full of sweet pop music that’s lovingly rendered by all involved. Opening cut “A Plan So Beautiful” (“How could a plan so beautiful go so pitifully bad?”) is dreamy and melodic while “Back to the Best” adds a bit of quirk with a twitchy side step before slipping into the pretty chorus. “Posh” is light n’ airy while “Coroner’s Motel” is pleasant, strummy and folky. As his previous solo record was a decade ago (PALM WINE SUNDAY BLUE), it sounds like Lichter needs to step out on his own more often. Well done, gentlemen. www.elksinparis.com
 1.14.13
Stick Insect
CIRCULAR SCRATCH-(TEEN BEAT)-One thing I’ve always loved about the Teen Beat label is that they always come outta left field with something and leader Mark Robison shows no signs of slowing down in that dept.. Whether it’s Johnny Cohen, Flin Flon or whoever, it’s always interesting and unpredictable. Enter Stick Insect which is a recording project for Brooklyn-ite Jeannine Durfee. She was at one a time a member of the Sisterhood of Convoluted Thinkers (The Gazetteers, too) and apparently this debut record has been in the making for ten years and though it’s solo project, Durfee got plenty of help on several songs from Sisterhood’s leader Rob Christiansen (who also co-produced the record as well….he was in another one of my favorite Teen Beat bands, Eggs). Not unlike a lot of acts on the T.B. label, there is a real bass-heavy sound that’s quite minimal (see ‘Who Knows Who You Are”) while other tunes are speedier and scratchier (“Crash,” etc.) or just plain glitchy (“Cabin IV”). Plus like a lot of the release on the Teen Beat label, the packaging is over-the-top, in this case the designer got their origami on (silk-screened, too) and did one hell of a number! An interesting listen that’s appropriate for house parties, dinner parties or my 5 year old’s birthday party coming up in a few weeks! www.teenbeatrecords.com
 1.14.13
Star & Micey
I CAN’T WAIT-(ARDENT MUSIC)-Star & Micey have put out another 2012 release I don’t want to ignore; I’ve just had a really busy end of the year. And why should their worthy sounds suffer any consequent neglect? The band seems like a nice enough group of youngish good ole boys (swigging beer in their YT videos, wearing the ubiquitous baseball caps and flannel shirts of heartland performers). And the Memphis-based trio’s onstage merriment translates easily to their recordings. Star & Micey’s hit on a rather unique formula: shit-kickin’ progressions with chunky beats – that’s kind of addicting. Check the band’s just-this-side-of-bad-taste video for the EP’s title track (the girl featured seems to be, well, underage; although the band gets its just desserts) on its site: www.starandmicey.com MARY LEARY
 1.7.13
Knock Knock
WE WILL RAISE YOUR CHILD -(TEST PATTERN)-This record was a pleasant surprise, apparently it is the band third but I had never heard of them before. Honestly, I shouldn’t be surprised though as it’s on the fairly new Test Pattern Records label and though the label hasn’t been around for that long a time they have already released several terrific record (Baby Grand, Desario, etc.). It’s also good to see that Sacramento (where the label and the band are from) still has an active scene with good bands (let us not forget Tiger Trap, Rocketship, Holiday Flyer and too many others). It’s pretty upbeat pop music, the style of music I never (or rarely) get tired of as long as the songs are good and the hooks are plentiful, which they are here. A few tunes that stuck out for me were the opening kicker “Wild and Blue”, the soaring title track and the interestingly-titled “Mike vs. the Mysteries of the Multiverse.” This one was a fun listen all the way around and the Ouija Board concept on the inner sleeve was pretty cool, too. www.testpatternrecords.com
 1.7.13
Jacob Morris
MOTHS -(CLOUD RECORDINGS))-I’m in the groove with Jacob Morris’ Moths from the first strum. Mid-tempo, predictably resolved chord changes can be hella boring. Or they can feel, as in the case of Moths’opener,“Sidewind,” like old friends. The kinds of old friends who bring CCR, Rubber Soul-era Beatles, and Gerry Rafferty simultaneously to mind. And it gets better when Morris’ chutzpah (opening with something so unlikely to stop any show) is vindicated with the second track, “Flowers,” which pulls any influences I’ve mentioned, along with any of which I’m unaware, into the present; making the language of cantering acoustic rock his own. Morris has an unassuming, slightly haunting tenor, along with a good sense of timing re: backing vocalists and instrumental add-ons. He’s also possessed of a mature sense of placement. As when he’s won my ears with the first two tracks before settling back into a bit of minimalist loveliness, “Spider,” which is flavored by vintage Appalachian and Celtic folk. I’m so taken with Jacob Morris’ intuitive, easy-as-an-old-suit minstrelsy, I wish I’d heard it before compiling my Best of 2012 lists. ‘Nuff said.www.cloudrecordings.com MARY LEARY
 1.7.13
Shoes
IGNITION-(BLACK VINYL SHIOES)-A few weeks back I reviewed the Shoes best-of compilation that Real Gone Music released and forgot that the band, form Zion, IL has been around for 35 years (plus) with the same three guys: John Murphy, Jeff Murphy and Gary Klebe (and longtime live drummer, John Richardson). Well, here they are with their first record of new songs in 18 years (since 1994’ws PROPELLOR) and I’m happy to say that the band still dedicates their energy to songcraft and the 15 songs that make up IGNITION are as strong as any batch of songs that the band had released in its career. Starting with opening cut “Head vs. Heart” and continuing on through other standouts like “The Joke’s On You” and “Diminishing Returns” (ok, so I just named the records first three songs) the band is nothing if not consistent (and always has been). I guess in 18 years the band had a large backlog of tunes to choose from and it looks to me like they chose wisely. I still feel like the band has been way under the radar for far too long and don’t get nearly enough respect but if they’re ok with their lot in lifer then I should be too, right? You want good, catchy pop songs with sparkling melodies and plenty of guitar bite? Then look no further. www.shoeswire.com
 1.7.13
Titus Andronicus
LOCAL BUSINESS-(XL/BEGGARS)-Wait, for starters lead vocalist/guitarist Patrick Stickles shaved his Abe Lincoln beard off??? What gives! Ok, to be fair this Glen Rock, NJ’s previous record, 2010’s THE MONITOR was all about the Civil War so I guess tickles was just staying in character (and props to him for that). Anywho, the band is back for record number three an while not quite as ambitious as said sophomore effort the band are still writing raucous, revved-up and just plain rousing songs that are a joy to hear. Only thing with LOCAL BUSINESS is that towards the end it runs out of steam a bit (let’s put it this way, if I had the vinyl I’d be playing side 1 A LOT more than side 2)., but still, having said that, there’s plenty to like here. The chugging opener “Ecce Homo” while “Still Life with Hot Deuce on Silver Platter” (yup, the band is still talented at naming songs) has all of the band pouring their guts out (even though only Stickles is singing). Speaking of pouring his guts out, some of the songs shows Stickles laying bare some personal struggles for everyone to hear, especially on a song like “My Eating Disorder” (but that song is preceded by the minute long hootenanny, “Food Fight!” while the song that follows it “Titus Andronicus vs. the Absurd Universe (3rd Round KO)” end the three-song suite in intense fashion. ‘In a Big City” sounds like a punked-up Springsteen while the nearly 10 minute Tried to Quit Smoking” brings it all to a crashing halt as only T.A. can do. As Iggy once said, I NEED MORE. www.xlrecordings.com
 1.7.13
Working Week
WORKING NIGHTS-(CHERRY RED)-After Simon Booth's indie-pop/jazz
band Weekend split up, he felt the desire to carry on the pop/jazz hybrid, which he did so via his band Working Week. Recruiting Weekend associate Larry Stabbins, the duo set about writing and creating, working with a number of vocalists--debut single "Venceremos (We Will Win)" would feature Everything But the Girl's Tracey Thorn, Soft Machine's Robert Wyatt, and Claudia Figueroa, but the duo would soon settle with a regular vocalist, Julie Roberts. The band's debut, Working Nights, is a fine blast of mid-80s British jazz-pop, of a piece with Everything but the Girl, Kalima, and Sade—a mixture of Latin grooves, intoxicating rhythms, and wonderful horns. The audaciousness of opening a record with a cover of Marvin Gaye's classic album-closer "Inner City Blues" shows exactly what the band had going for them: chutzpah mixed with talent. It's a fine cover, and sets the tone for the groove that follows. The appearance of Last Poets rhymer Jalal on "Stella Marina" is a brilliant collaboration; a frenetic, firecracker of a jazz number, the twelve minutes go by in a flash, recalling a carnival. Bonus tracks continue this brilliance, with extended mixes, instrumentals, and live tracks--all hot, hot hot! The band would go onto a storied career, and this was a promising, compelling debut album for the young trio. www.cherryred.co.uk JOSEPH KYLE
 12.31.12
Creedence Clearwater Revival
ULTIMATE: GREATEST HITS AND ALL TIME CLASSICS -(FANTASY)-Now I know what you’re thinking, how many Creedence best-ofs does one man need? Admit it, you were thinking that. This one is a 52-song comp spread out over three discs and disc three has live recording (from dates in 1970 and ’71). You don’t need me to tell you that all of the band’s hits you know and love are on here (“Bad Moon Rising, “ “Proud Mary,” “Fortune Son,” “Suzie-Q,” “Green River,” “Who’ll Stop the Rain”, etc.). Aside from those hits, which all Creedence comps have, this one digs deep, real deep and come up with plenty of more obscure winners. How about “Born to Move,” “Molina,” “Walking on the Water,” “Porterville” oh and there’s plenty more. It’s a beautiful package with copious liner notes by Alec Palao (Palao states “If any one act could legitimately stake a claim to be America’s Beatles, then that would be Creedence Clearwater Revival” and with respect to The Beach Boys and The Byrds, one could certainly make a case for that) and I think that calling it the ULTIMATE Creedence Clearwater Revival is accurate. www.concordmusicgroup.com
 12.31.12
Mountains
CENTRALIA -(THRILL JOCKEY)-Brooklyn's Mountains are purveyors of fine, fine space rock. Not since Tangerine Dream have I heard a group that so masterfully can split the difference between classical rock (a la post-Syd, pre-Dark Side Floyd) and the more experimentalGerman progressive rock. But they do it, and on Centralia, they waste no time getting to that point. "Sand" is an eleven minute journey into deep headspace, although that's not the biggest song on the record! That title belongs to the lackadaisical "Propeller," which starts off slow and shimmery, gets a little loud, and then ends as quietly as it began. Sublime little pieces hibernate between the big ones; "Identical Ship" and "Tilt are quiet guitar pieces, not unlike Robbie Basho or John Fahey, but tempered with an atmospheric background straight out of Klaus Schulze's sketchbook. If you're looking to start off 2013 with quiet, sublime music, then Centralia is for you. www.thrilljockey.com JOSEPH KYLE
 12.31.12
Tamaryn
TENDER NEW SIGNS-(MEXICAN SUMMER)-Tamaryn’s 20120 THE WAVES was a fine debut and ushered in a new duo with a unique slant on the shoegaze side of things. New Zealand born vocalist Tamaryn and instrumentalist Rex John Shelverton (now based in San Francisco) added a new element of sultriness and atmosphere to the shoegaze genre with delicate, dreamy, druggy songs that don’t forget the melody. Anyone who thought that there might be a sophomore slump need not worry as TENDER NEW SIGNS is at least as good as the debut, maybe better. Still taking cues from the Jesus & Mary Chain, the Cocteau Twins, Mazzy Star and, at times, early Mojave 3, the 9 songs on here clock in at just over 40 minutes. “I’m Gone” is a beautiful , hypnotic opener which melds right into the equally gorgeous “While You’re Sleeping, I’m Dreaming” (love that song title). Stuck right in the middle is the record’s best song, the more upbeat (well, as upbeat as these guys get) “Prizma” while the record’s closer “Violet’s in a Pool” ends things on a darker, slightly ominous note. The band stays focused from beginning to end and the record is much better taken in as a whole rather than listening to a song here and there so make sure you’ve got 40 minute to spare, find a comfortable spot and head off to dreamland. www.mexicansummer.com
 12.31.12
Jah Wobble & Keith Levene
YIN & YANG-(CHERRY RED)-Last year, John Lydon
returned with his band Public Image Limited, but with a later period lineup. Still didn't stop him from making a great return-to-form record. At the same time, former PiL guitarist Jah Wobble--who, according to Lydon, was asked to participate in the reunion-- reunited with his former bandmate Keith Levene, and set about forming Metal Box In Dub with a vocalist, Nathan Maverick, whose sounds dead-on like Lydon. (Maverick, while a superb vocalist, only appears once on the album, "Understand,"oddly one of the album's weaker moments.) Yin & Yang is the duo's studio collaboration, and it's a pretty good dub/rock record. The band is tight; Wobble's voice is sneaky and evil and fits in wonderfully with his deep-groove bass lines and Levene's outer-space melodies—check out the darkly wicked title track and the nine-minute spoken-word UFO trip "Jags and Staff." It's not all dub, though; "Mississippi" is a 70s-style rocker, with gorgeous harmonies and sounds not unlike Stealers Wheels. Then there's the curve-ball cover of George Harrison's "Within You, Without You," which must be heard to be best appreciated. Thankfully, these guys don't get stuck in reliving past glories, and are looking forward. One-off, or the first in a continuing collaboration? Who knows. Either way, the results aren't bad. www.cherryred.co.uk JOSEPH KYLE
 12.31.12
V/A
TEENAGE DREAM: THE FIFTIES GIRL GROUP PHENOMENON-(/EL/CHERRY RED)-Leave it to Mike Alway, the ‘el Records head honcho to dig up some of these obscure 50’s girl groups. Oh sure, we’ve all heard of (and love) The Ronette, The Shangri-Las, The Crystals and plenty of others. Ok, so there are a few on here that I was familiar with like The Shirelles and The Chantels, but how about bands like The Poni-Tails? The Blossoms? The Bobbettes? If you’ve heard of these bands then you’ve dug more than I have in the girl group archives because I have not heard or even heard of them. A few that really stuck out for me were The Blossoms (especially the sax-soaked “Move On”), the unique doo-wop of The Bobbettes (like “Look at the Stars”), the Poni-Tails (doing the sultry, slow-dance worthy “Born Too Late”) and the finger-snappin’ Baby Dolls (with “Go Away Baby”). You want more? Well, there’s The Deltairs, The Joytones, The Tonettes and plenty more. 33 songs in all. You’ll want this for your next sock hop so visit the web site to the right (under, actually) and have your credit card ready. www.cherryred.co.uk
 12.24.12
Daughters of Albion
S/T -(CHERRY RED/NOW SOUNDS))-I’m not gonna try and pull the wool and act like I’ve been waiting for this reissue for days, Truth be told I had not even heard of this late 60’s California trippy pop band but when I see a Now Sounds logo on the back of it I know it’s a mark quality. Daughters of Albion was the male/female duo of Greg Dempsey and Kathy Yesse (nee’ Dalton) who were previously in a folk rock band called the Gas Company. In 1968 they sought out none other than Leon Russell and created this psych-pop record (some call it a rock opera….which usually scares sme off). This is the bands lone record and some bonus tracks are added too. The songs are at times really poppy, trippy, folky and sometimes all three in the same song. And if love wasn’t a theme in these songs, well you certainly couldn’t tell by the song titles (the first three songs are “I Love Her and She Loves Me,” “Still Care About You” and “Yes, Our Love is Growing”) and while it’s very of the time, most of the songs are well-worth hearing (and not some trippy-dippy love fest). Aside from those first three love-infested song, a few of my other faves include “Ladyfingers’ (is that a tuba???), the swanky “Hats Off, Arms Out, Ronnie” and the sweeping “Well Wired.” It may not have been St. Peppers, but hey, it was THEIR Sgt, Peppers. www.nowsounds.co.uk
 12.24.12
Ronnie Fauss
I AM THE MAN YOU KNOW I’M NOT -(NORMALTOWN)-If you had told me 15 years ago that I’d be actively seeking out new country (alt country, if you will) artists to check out I would have told you that you were crazy. Next thing you know someone turns me on to Gram Parsons sometime in the 90’s and there you go. This is a strong debut by this Dallas, TX songwriting (he had a few eps before this) on the new Normaltown Record (offshoot of New West Records…they have released some other fine records as well). In addition to the guitar/bass/drums lineup, Fauss band also includes folks on pedal steel, fiddle and organ (Wurlitzer!). Fauss has real pain in his voice (and self-deprecation in his words) and his cry-in-your-beer tunes are not cheesy or maudlin. Check out rousing tunes like “I Don’t See You,” “The Night Before the War”, the pretty “Good Enough” and plenty more. And speaking of the Cosmic Cowboy, here they cover the Flying Burrito Brothers Burritos “Sin City” in fine fashion. www.normaltownrecordws.com
 12.24.12
The Moving Sidewalks
THE COMPLETE COLLECTION-(ROCK BEAT)-The Moving Sidewalks holds a historic place in the story of Texas music, and especially of Texas psychedelic music. Though as a band, they were only a one-shot, one-album group, they are a band that was very much of its time--even though they may be better known as the babysteps of lead singer Billy Gibbons, who would soon go on to greater prominence with ZZ Top. Those expecting the funky Texas blues-rock groove of Gibbons' later band might be disappointed. What you will find, however, is something equally as awesome. The first disc is the band's sole album, Flash. On it you will find a band of guys who are beholden to the blues, yet beholden to rock and roll--especially Jimi Hendrix, with whom they would tour. "You Make Me Shake" and "Crimson Witch" sound so much like Jimi, you'll be looking to the credits to see if it was a cover. When the band gets down and dirty with the blues, like on "You Don't Know the Life" and "No Good to Cry," they share much with their contemporaries Big Brother & The Holding Company. Then there's the straight blues of "Joe Blues," which predates Stevie Ray Vaughan by a decade or so. It's not hard to picture the Vaughn brothers seeing them do this and being extremely inspired. As this set is the "Complete,' the second disc features singles, outtakes, and other rarities. While there are some compelling pieces here--such as single "99th Floor," and a hard-blues take on "I Want to Hold Your Hand," this disc adds various versions of these songs, and occasionally feels somewhat superfluous. More interesting is the demo tape as "The Coachmen," which was Gibbons' band pre-Moving Sidewalks, and features a number of tunes they would later record; their sound is less psych and more mod. As far as reissue goes, this gets it right--a compelling story, told well in the notes, a dynamic album that's presented on its own accord, and bonus tracks that are interesting, even if not all are essential. www.rockbeatrecords.com JOSEPH KYLE
 12.24.12
The Weather Prophets
BLUE SKIES & FREE RIDES: THE BEST OF 1986-’89-(CHERRY RED)-It’s been about 25 years since I first heard the Weather Prophets (I have my pal Bob Portella to thank for that) and that song “Almost Prayed” is STILL stuck in my head. That song plus 19 others are included here. The UK’s Weather Prophets formed when The Loft broke up and Loft leader Peter Astor (along with drummer Dave Morgan) formed the WP.s They released two records (both on Creation Records) and called it a day when Astor went solo. Speaking of Astor he apparently hand-picked these twenty cuts and it’s a nice mix of thee bands classic jangle and moodier numbers. In addition to the previously mentioned “Almost Prayed”, some other knockout numbers include the light n’ airy “Like Frankie Lymon”, the grittier “Hollow Heart’ (which reminded me a bit of the House of Love), the gorgeous “Always the Light”, the dreamy “Sleep”, the slightly psychedelic “In My Room” and plenty more. Liner notes by, who else Alan McGee (and several others). Is it on your Christmas wish list? www.cherryred.co.uk
 12.24.12
V/A
ALIVE AT THE DEEP BLUES FEST-(ALIVE)-A rock/blues festival from, where else, Bayport, Minnesota (put on by a gent named Chris Johnson who owns the Bayport BBQ restaurant) and all of the Alive natural Energy bands showed up to crank out a few tunes (all in all 26 bands from four countries and sixteen states played the fest but this document just has the bands on the Alive label). Opening up with two tunes is the Buffalo Killers including the killer opening song “River Water.” Up next is Lee Bains III and the Glory Fires with two songs of more straight up blues. Brian Olive offers up two low-key tunes. On the heavier side Radio Moscow cough up two Hendrix-ized tunes , (especially “Hold On Me”) . Other bands on the comp include Left Lane Cruiser, John the Conquerer and Henry’s Funeral Shoe (the last two being bands I’d never heard of). Make sure you bring the bandana and the ear plugs. www.alive-totalenergy.com
 12.17.12
The Babies
OUR HOUSE ON THE HILL -(WOODSIST)-Oh, sure I got excited when I heard the “members of the Vivian Girls and Woods” too. I mean, I love the former (VG’s Cassie Ramone is in the band) and certainly like the latter (Woods Kevin Norby is the other main member) but that Babies debut (on the Shrimper label) was…..I dunno, just ok. I didn’t have my sights set to high on this new one (jumping over to the Woodsist label which is sorta like to the 2000’s what Shrimper was to the 90’s) and you know what? OUR HOUSE ON THE HILL is a much better affair and a terrific record all the way around (…and I’m STILL kicking myself for missing ‘em here a few weeks back). The songs sound like, well, a mix ‘tween the Viv Girls (in the fuzzy pop dept) and the off-kilter pop of Woods but then Norby tosses in a few folkier, Dylan-esque tracks (at times his voice does sound a lot like ol’ Bob). Get an earful of opener ‘Alligator, the Butterglory-ish ”Mess me Around,” the garagey “Get Lost” plus “Moonlight Mile” and plenty more. Really a nice batch of tunes, most hover around the 2.5 minute mark, plenty of hooks, lots of punch, not lo-fi but not glossy by any means. You NEED this, trust me, I know what’s best for you. www.woodsist.com
 12.17.12
Matt Bauer
NO SHAPE CAN HOLD ME NOW -(CROSSBILL RECORDS)-No Shape Can Hold Me Now is one of those sleeper recordings - as Jerry Seinfeld might have quipped, “A record about nothing!” But Bauer’s poetic sounds cast a surreptitious spell; gripping me well before the last track, “Homeward Bound.” Quiet piano, acoustic guitar, banjo, bell, cello, and flugelhorn(?) sounds, with Bauer’s vocals (and those of Jolie Holland, on “Andaman Sea”) add up to much more than nothing – in fact, a five-song cycle that’s evocative and lovely, albeit on the moody side. Fans of St Even, Feist, and Winterpills will probably want to get at least their cyber hands on this music. The only thing like a criticism: No Shape Can Hold Me Now is too short. And how often do I say that? Not very. www.crossbillrecords.com MARY LEARY
 12.17.12
The Condors
3 ITEM CONDO-(VITAL GESTURE)-This is pretty timely as the main man behind The Condors is Pat Dipuccio, who was one of the folks helped start the famed L.A. punk zine FLIPSIDE back in the late 70’s and in the new print issue of DAGGER is an interview with Pat (aka Pooch) and Hudley (Holly Cornell). I never even knew that Pooch made music until he sent me the previous Condors record (WAIT FOR IT) a few years back and was pleasantly surprised to find some nice, hooky power pop pressed onto that little silver compact disc. With Pooch on vocals/guitar and the obedient rhythm section of Miggs on bass and drummer Mark Francis White the Condors comprise a tight, rockin’ unit. You want a reference point? Think Elvis and the Attractions (someone else mentioned The Plimsouls and that’s pretty accurate, too). The songs are a nice mix of punchy power-pop numbers that come at you fast and furious (“Queer Fascination,” “Here I Go,” “Angry Little Man,” “Full Blown Love Attack” etc.) and slower, more subtle numbers that take a lil’ longer to sink in but once they do they’re stuck in your noggin’ for good (“My Slice of Life, “Bad Tattoo”, “All Hung Up,” etc.). You can’t go wrong with a fine batch of well-written songs and 3 ITEM COMBO is full of ‘em. www.thecondors.com
 12.17.12
Golden Void
S/T-(THRILL JOCKEY)-Loud, in-your-face blues rock with a psychedelic edge and a garage heart, with a slight thing for early Black Sabbath. That's what this lovely little band happens to sound like; vocalist Isaiah Mitchell channels Ozzy in ways that aren't bad at all, eschewing the cliches, yet playing up to them when it suits the song--"Virtue" sounds a little too close to the bone of "Crazy Train," if ya know what I'm saying. Still, I like the hard blues-rock bluster of "Atlantis." Okay, Golden Void ain't reinventing the wheel, but they are polishing it up and giving it an interesting new look. www.thrilljockey.com JOSEPH KYLE
 12.17.12
The Summer Hits
BEACHES AND CANYONS 1992-1996-(BURGER RECORDS)-This is a record that I think should have gotten reissued quite a while ago so I’m glad that the Burger label did it (and I’m diggin’ these cassette releases/reissues…am I the only one who likes the cassette format?). The Summer Hits were an L.A. band that , as the title says existed in the early 90’s and it consisted of Darren Rademaker (ex-Further/ currently in The Tyde), Josh Schwartz (ex-Further) and stoned surf zombie with what sounded like a fake Brit. accent, named Rex. The fuzzed-out beach pop that they created wasn’t totally unlike further though in some ways the songs were more direct than furthers (with way spaced out lyrics). The song titles will also give you an idea of where they were comin’ from : “Maximum Bum Ride,” “Groovier Drugs,” “Stoney Creation,” “Carmel Feelin’ and “Laetitia” (who can only be about one person) and plenty more (16 songs in all). One time I asked a pal of the band (the dude who ran the No. 6 Record store in L.A.) if the Summer Hits would ever tour and his response was, “No way, man. Rex does WAY too much acid for them to do that.” Tune in, turn on but do not drop in (on their waves…or else). www.burgerrecords.com
 12.10.12
Dinosaur Jr.
CHOCOMEL DAZE -(MERGE)-This is a live document of a gig that the original trio of J. , Lou and Murph did in 1987 during their European tour of their 2nd (brilliant) record, YOU’RE LIVING ALL OVER ME. The show, at Doornroosje in Nijmegen, Netherland at a club called and the song are a mix of tunes from the aforementioned 2nd record and their 1985 S/T debut. I caught the band twice during this same year of 1987 and both times they had the plug pulled on them (at City Gardens in May at City Gardens in Trenton , NJ playing in between Das Damen and Sonic Youth, they had shown up late and then that summer in New Brunswick, NJ headlining at the Court Tavern, there it was because of the club’s curfew) and both shows were pretty sloppy affairs (and yes, loud, VERY loud) but still revelatory for me since said 2nd record changed my life. These days the band is a much tighter, more cohesive unit but those tension-fueled shows of the 80’s are what drove Dinosaur. The sound on this 11-song document isn’t great or anything but I wasn’t expecting it to be, it’s late 80’s Dino Jr., it’s the songs that (and you) keep going back to over and over again. “The Lung,” “Severed Lips,” “Repulsion,” “Sludgefeast,” “In a Jar” and plenty more. Honestly, I wouldn’t say it’s essential, but it sure is nice to have. www.mergerecords.com
 12.10.12
drivin’ n’ cryin’
SONGS ABOUT CARS, SPACE AND THE RAMONES -(NEW! RECORDS)-You know, drivin’ n’ cryin’ were one of those bands that I claimed not to like but I don’t ever think I actually heard. I think it was the name that bugged me plus I always lumped them in with those southern jangle band that I didn’t like (like Dreams So Real). Well, if their earlier records were anything like this, boy was I wrong. This is the 2nd of 4 eps that the band is going to release this year and next year (the first one was SONGS FROM THE LAUNDROMAT). This has 6 songs and, like the title says , there’s plenty of revved-up madness on here and the songs are terrific. “Hot Wheels” starts things off with a nice, revved-up mid-tempo power pop number while the next cut, “Acceleration” revs it up even more and quickens the paces (very Ramonesy, as the title says) and they up the tempo even MORE on then next cut, “Johnny Rides Shotgun.” The final three songs are nearly as good and the on the gritty “Out Here in the Middle of Nowhere” they get Cheetah Chrome to add a guitar solo and background vocals (it did remind me a bit of the Dead Boys). This record is well-worth your hard-earned money. www.drivinncryin.com
 12.10.12
Wes Hollywood
FANTASY ARCADE-(SWEET SCIENCE RECORDS)-Boy, do I feel like a jerk,. Wes Hollywood was nice enough to see me this lavish-packaged record back in April and I tossed in the closet where all of the other mail for that week was (to all be opened up on Saturday) and it was never to be…until I cleaned out the closet last week and found it. It’s a double album (same record, one a stereo mix and one a mono) in a beautiful gatefold sleeve (the inside pic has Wes and his band inside a 80’s vintage arcade…thus the record name, I assume) with a signed poster Am I going to proclaim it better than FRAMPTON COMES ALIVE? well, take “Show Me the Way” off of F.C.A and yes, yes I will (it’s more in linme with Cheap Trick’s LIVE AT BUDOKAN, though). Hollywood used to lead a band called the Tennis Courts (Kingsize before that) who I liked a lot and the songwriting on FANTASY ARCADE is very similar. Hooky, mid-tempo power pop music and a few of my faves include “Alfie,”, “It’s Good to See You,” “City Streets” and “Lazy Yesterdays” and plenty more (check out the Beatle-esque “The Bell”). Beautiful package, terrific tunes, go on…. www.weshollywoodmusic.com
 12.10.12
Hammock
DEPARTURE SONGS-(HAMMOCK MUSIC)-Epic ambient rockers Hammock return with their most epic work to date--a two hour opus of pure, purely blissful space rock. In spite of its title, the songs on Departure Songs are no departure from Hammock's firm stock of trade: big, gigantic, heavenly music, and the album is certainly that. It's not an all-instrumental affair, though you might have to strain to hear Hammock mastermind Marc Byrd's wife's "angelic singing" (their term), but it's there, and it's a case where one really should read the lyrics to "(Tonight) We Burn Like Stars That Never Die)" and "Hiding But Nobody Missed You," but it feels somewhat wrong to pick apart an aural experience like Departure Songs. While there may be no surprises here, it's a wonderful kind of consistency that will bring you back. www.hammockmusic.com JOSEPH KYLE
 12.10.12
The Three Degrees
MAYBE-(BBR/CHERRY RED)-The story of Philadelphia girl group The Three Degrees is one of patience. Though they started in the 1960s, they did not obtain success until the mid 1970s, when they joined forces with MFSB on a number of their hits, which led to success on their own. Valerie Holiday, lead singer, was a powerful vocalist--one who certainly hold her own next to Diana Ross and Mary Wells. The band's signing to Roulette would be the beginning of the band's transformation from a trio merely working the cocktail and supper club circuit into a formidable, successful, charting band. This collection gathers their debut album, which was released in 1970, and the label's follow-up compilation, which was released in 1974, after the band had become a success elsewhere. Their brief time with Roulette was a productive one; of the nearly three dozen songs found here (excluding alternate/mono versions), there's little filler. Maybe is, in its way, very much a debut; the title track, a cover of The Chantels' main hit, is transformed from a ballad into something steamier, thanks in part to Holiday's spoken-word introduction, and her heartbroken yet powerful singing. Other highlights of the debut is a cover of Joe Walsh's "Collage," and a trippy take on "Macarthur Park," which splits the power of the Richard Harris version and the yet-to-happen groove of the Donna Summer version. They also turn "I Never Promised You a Rose Garden" into a funky number that has nothing in common with the Lynn Anderson version. Yet it's the second disc, So Much Love, where the trio got interesting; after the album's release, they started to become a little more psychedelic, a little more pop--less girl group, more Sunshine pop, a la The 5th Dimension, especially on the one-two opening punch of "Magic Mirror" and "Trade Winds." They still retain the ability to get funky, like their take of Stephen Stills' "Love the One You're With" and Bill Withers' "Who Is He (And What Is He To You)." Though at the time So Much Love felt like a cheap cash-in from a former label after they'd had greater success elsewhere, it's a strong record in its own right. A handful of unreleased tracks--including a spectacular cover of George Harrison's "Isn't It a Pity"--round off the set. If you're not familiar with the Three Degrees, Maybe is a treasure trove of gorgeous songs and music. www.cherryred.co.uk JOSEPH KYLE
 12.3.12
Almost Charlie
TOMORROW’S YESTERDAY -(WORDS ON MUSIC)-A pal kept asking me if I had the news Almost Charlie disc and I kept saying I don’t know. I had it all along but somehow it escaped me, the artwork on the cover nearly obscuring the band’s name and it passed me by for a few months. I’m glad he kept asking. For one I like most of the stuff released on Minneapolis’s Words on Music label and I really likes Almost Charlie’s 2009’s sophomore effort, THE PLURAL OF YES (their first for the label). The band is the brainchild of Dirk Homuth, who hails from Berlin, Germany and plays most of the instruments on here and a lyricist form New York City named Charlie Mason (not Manson). Aided by a bassist, drummer and pianist,. Homuth take Mason’s sometimes flowery/sometimes heartfelt words and molds 11 gorgeous pop songs into TOMORROW’S YESTERDAY. Taking inspiration from Nick Drake, Simon and Garfunkel, Kings of Convenience (who are a modern day Simon and Garfunkel), Mojave 3 and The Beatles, there’s lots of variation in these 11 songs from spare folk (“Sandsong”) to nearly straight up pop (“Open Book,” “Man without a Home,” etc.) to the nearly bluegrassy “A Nice Place to Die”, which is my favorite song on the record. Though a continent away from each other, these two seem like they were born to make music together and TOMORROW’S YESTERDAY illustrates that perfectly. The band also has a self-released debut from 2006 that I have yet to hear but really need to. I’m gonna go find it now. www.words-on-music.com
 12.3.12
Glen Campbell & Bobbie Gentry/Glen Campbell & Anne Murray
S/T -(MORELLO/ CHERRY RED)-At the height of his career, country crooner Glen Campbell paired up with two equally talented ladies: in 1968, he met up with soon-to-become reclusive Bobbie Gentry, and in 1971, he paired with the soon-to-be-famous Anne Murray. Both records are of a similar type: lushly-arranged take on pop songs of the day, but each possess a charm not found on the other. With Gentry, her somewhat husky voice is a contrast to Campbell's sugary sound, especially on their version of "Little Green Apples" and their take on the "All I Have to Do is Dream," which was a hit two years after the album's release, is the only bonus track found here--but what a bonus it is! His collaboration with Anne Murray is a twangier, rawer, more country affair, with songs like "We All Pull the Load" and "You're Easy to Love" sounding like Hee-Haw fare--not a bad thing! The only misstep is the bizarre medley of the Bacharach/David hits "I Say a Little Prayer" and "By the Time I Get to Phoenix," wherein Murray sings "Prayer," while Campbell follows her verse with "Phoenix," and they back-and-forth like this for the song. It's a clever idea, but it just sounds muddled. The two albums are pretty--the Gentry record being the better of the two--though not necessarily the best work by any of the artists involved. Still, this twofer is a lovely collection of late 60s/early 70s country pop. www.cherryred.co.uk JOSEPH KYLE
 12.3.12
Ian Hunter
THE SINGLES COLLECTION 1975-83-(7T’s /CHERRY RED)-When I was a kid, I remember sneaking into my brother’s room to play his copy of Mott the Hoople’s Greatest Hits. A few years later, a couple of the “album rock” stations I liked began playing numerous tracks from an album called You’re Never Alone With a Schizophrenic , the fourth solo album from Ian Hunter, former front man for the glam-tastic Mott the Hoople. “Just Another Night,” “Cleveland Rocks” and “When the Daylight Comes” were the standouts that prompted me to buy the album, and soon after that, my brother picked up the two-record set Shades of Ian Hunter: The Ballad of Ian Hunter and Mott the Hoople, which acquainted me with his previous solo work as well as some lesser-known Hoople gems. The more I listened, the more I liked and admired Hunter’s work. Several labels have since released other anthologies, but this double-disc version by 7T’s Records is the first to focus solely on Hunter’s solo work, and it’s the most complete, beginning with “Once Bitten Twice Shy” (1975) and concluding with a slow version of “All of the Good Ones Are Taken” (1983). The liner notes include stories about each of the singles and corresponding B sides. Each disc progresses in chronological order; Disc 2 also features some live tracks, such as a medley of “Once Bitten Twice Shy/Bastard/Cleveland Rocks.” Images of record sleeves for each of the singles are also included. Chances are, if you liked Mott the Hoople, you liked Ian Hunter solo. Songs like “England Rocks”/”Cleveland Rocks” were basically a continuation of the big glam sound that was Mott the Hoople. Hunter worked with Mick Ronson on and off throughout the years. But Hunter was open to other influences as well, bringing in musicians from Bruce Springsteen’s E Street Band for “Just Another Night” and “When the Daylight Comes.” Hunter released the ballad “Ships” as a single; oddly enough, it took Barry Manilow’s cover to make it a hit! Personally, I think the quality of Hunter’s work tapered off a bit in the ‘80s. I remember being disappointed by the Short Back ‘n Sides album (1981); despite being produced by Mick Ronson and Mick Jones, songs like “Lisa Likes Rock ‘n’ Roll” sounded a bit generic to me, as did “All of the Good Ones are Taken,” the title track from the album released in 1983. Of course, Great White’s version of “Once Bitten …” in 1989 brought the song much-deserved radio success in the United States, and prompted me to play Hunter’s original version for my friends so I could prove to my friends that – naturally! – it was far superior. (I convinced a few!) And of course the use of “Cleveland Rocks” by the Presidents of the United States as a theme for “The Drew Carey Show” gave the song new life in the late 1990s. For what it’s worth, Hunter continues to release albums. From what I’ve read, he’s still a legendary performer and he’s still touring, so I’m hoping to see him in concert one of these days. In the meantime, this is a very nice collection, which does for me what all good anthologies should do: make me curious enough to explore the songs not included in previous Mott the Hoople/Ian Hunter compilations. www.cherryred.co.uk SUSAN BRETTINGEN
 12.3.12
Shoes
5 YEARS- THE DEFINITIVE SHOES COLLECTION 1977-20121977-2012-(REAL GONE MUSIC)-Wow…..35 years, holy moly. It is true, The Shoes, the pride of Zion, IL and in some ways the godfathers of the power pop scene have been at it for 35 years and with the release of IGNITION, released earlier this year and their first record in 18 years,it shows that they show no signs of slowing down. This collection cherry picks 21 tunes from 9 of their records and it’s either a great place to start for beginners or a must-have for long time fans (I’m kind of in the middle, I do like the band and have a few of their records but don’t consider myself a hardcore Shoes disciple or anything) and it shows their attention to song craft. Yes, Jeff and John Murphy and their friend Gary Klebe (same 3 guys for 35 years) took a big gulp of inspiration from, who else, The Beatles and have carried the torch onward with terrific pop songs like “Tomorrow Night,” “Okay,”, “The Summer Rain,” and , of course, their almost-hit “Too Late.” Why these guys weren’t as big as Cheap Trick, I have no idea. The booklet contains informative liners by Steve SPAC Schnee with plenty of photos. For me this compilation did the trick, it pushed me from being a part-time fan to now wanting to hunt down the rest of their records, the ones I don’t have. It might do the same for you. www.realgonemusic.com
 12.3.12
The Soft Pack
STRAPPED-(KEMADO)-Out of nowhere this L.A. via San Diego band blew me away with their 2010 S/T debut. The songs came fast and furious and in listening I was instantly reminded of several of my favorite bands (The Feelies, The Clean, The Modern Lovers, etc.). Not that The Soft Pack are exclusively derivative but hey, they know their influences and thankfully, can write great songs as well. On this 12-song follow-up they grab the torch from that debut and continue carrying it in and lay down a handful of great songs on this sophomore effort though they do take a few unexpected detours as well. The record opens with four terrific songs in “Saratoga,” “Second Look,” “They Say,” and “Tallboy” and they expand a bit with added keyboards and especially sax on several songs. Though they follow-up those four openers with “Bobby Brown” one of their worst songs ever (complete with bad Kenny G-ish sax- the sax on the others songs is NOT Kenny G-ish) they then follow up THAT with a few more corkers (“Chinatown,” “”Ray’s Mistake,” “Head On Ice,” etc.). In the minus category is the wobbly instrumental, “Oxford Ave” and they end with a few more minimal tunes that aren’t necessarily bad but aren’t what the band does best (though the nearly 7 minute closer, “Captain Ace” has its moments). Stick with the 4-barrel guitar pop, guys, and you’ve got a fan for life in me. www.kemado.com
 12.3.12
Weather Report
THE COLUMBIA ALBUMS 1976-1982-(LEGACY RECORDINGS)-Trippy, spirited, complex, and intelligent are all words that could describe the work of Weather Report, particularly after the uber-talented Jaco Pastorius added his bass fretting to the mix. That’s the point from which this boxed set takes off; housing Black Market (1976), Heavy Weather (1978), 8:30 (1979), Night Passage (1980), and Weather Report (1982). While I know considerably less about jazz fusion than some of my friends, it’s obvious that this collection is a great idea for anyone who’s into fusion and who’s been slow to replace or embellish their vinyl originals with the CDs. The collection also features 12 bonus live tracks, and the popular “Scarlet Woman” is where it should be, on 8:30. Even non-jazz listeners, especially musicians, could be inspired by Weather Report’s intuitive, innovative collaboration.www.legacyrecordings.com MARY LEARY
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