POP VULTURE By Phil Rainone

Achtung Baby! KMFDM Will Rock Your World!

2009-03-25T18:50:00.000-07:00

KMFDM- Blitz (KMFDM.com)

KMFDM started out in Hamburg, Germany in 1986 making soundtracks for friends' performance art in Paris, and their music has maintained a certain European vibe (Kraftwerk, Raminstein, etc.) ever since.

Often tagged as an industrial dance band, KMFDM (whose acronym is most frequently explained as Kein Mitleid Fur Die Mehrheit , which translates as “No pity for the majority” - or as legend has it, “Kill Mother Fucking Depeche Mode”) do indeed produce a dark, throbbing post-modern noise. They also toy with heavy metal, disco, hip-hop, and a wide variety of samplings- often within the same song.

Once you get past the industrial dance beats after a few listens, you’ll find KMFDM’s political awareness and fondness for found sound in songs like “People of the Lie,” and “Me & My Gun,” is still intact as they brutally blitz Krieg through these new favorites.

Verging on dub as much as on hard rock, and the afore mentioned genres, the synthesizers and guitars are pushed right up front, adding electronic accents, occasional vocals, and embracing them all with excellent effect. Elsewhere, the group either rocks out like metal maniacs, or just hammer home an intense dance beat with inspiration. “People of the Lie” adds female vocals to a time warped disco beat. Like Nine Inch Nails’ monster hit “Head Like a Hole,” “Being Boiled’s” rhythm section digs in for the duration of the song spewing out some of the nastiest, catchiest, aggressively brain-draining beat since KMFDM’s German counterpart, Nitzer Ebb.

“Blitz” is one of KMFDM’s most accomplished records to date. It benefits from the band’s overheated attention to the full sound of the music, and strict attention to the beat!

Great Vibrations!

2009-02-12T18:57:00.000-08:00

Brian Wilson - That Lucky Old Sun DVD (Capitol)

The first part of the DVD for That Lucky Old Sun is an in studio performance in Studio A, at the Capitol Records building in California, where many classic Beach Boys songs were created. Brian and his band play all of their new album to a small, but appreciative audience. They recreate the entire album without any extra songs, or Brian or anyone frim the band talking to the crowd. Just a straight, live performance piece.

My thoughts after seeing about two minutes of the first song “That Lucky Old Sun” was that this was going to be a cut and dried show with very little emotion. Then the band, including a six piece string section, breaks into a mid-tempo boogie-woogie vibe, with Brian becoming animated, and the band locking in together, with everyone smiling ear to ear! You get the feeling that the past and present of Brian’s music has just evolved, and has enveloped everyone within listening distance, and brought us to a higher plane.

“Forever My Surfer Girl” features spot-on Beach Boys-like harmonies. Like most of the songs' harmonies (they’ve added a female backup singer, Taylor Mills, who helps brighten the songs through the set), the band helps open the door to Brian’s new music with an eye toward the legacy of his past.

“Venice Beach” and “Live Let Live/That Lucky Old Sun” (reprise)” are basic, simple snapshots of California today, put to beautiful music. They’re reminiscent of the Beach Boys’ “California Saga,” from their late 70’s Holland album. It’s like Buddy Holly said: “Look around you and write about what inspires you, that’s how you compose.” These are beautiful songs colored with pictorial soundscapes.

The music takes a new direction with “Mexican Girl,” “Cinco De Mayo,” and California Role,” which all feature a taste of The Grateful Dead’s “Mexicali Blues”-vibe. The band’s added gusto gives you the feeling that this is the next best thing to being there!

Some of the songs are punctuated with short cartoons, or photo stills from the 60’s featuring Brian, The Beach Boys, and The California scene, all of which are highlighted with hot rods and surfing shorts.

“Oxygen to the Brain,” and “Going Home” are brighter and bouncier than the studio versions, if that’s possible. This is a band that rises to the occasion every time they're challenged, either by Brian (“The Making of the Album” documentary is eye-opening) or an audience that’s pretty much expecting a nostalgic Beach Boys set. Amazingly, they not only deliver the goods in the “Bonus Material,” but they also bring Brian’s music into the here and now, vibing off each other with a mix of nostalgia and originality.

Back in the 60’s Brian Wilson gave instrumental surf rock a voice. He took Dick Dale & The Ventures’ mojo, and added romance (“Surfer Girl”), excitement (“Fun, Fun, Fun”), and love and loss (“In My Room”). He made the whole experience accessible to every one, and epically this New Jersey guy, and most of my friends.

On the documentary he uses his current band like he did the Wrecking Crew, which back in the 60’s included ace studio musicians like Glen Campbell, and Hal Blaine on drums. Part of Brian's creative process is examined by his current band in interviews, who say that Brian hears the complete song in his head, then he explains it to them, and then they have to play their parts with reverence and originality. They don’t use ProTools, it’s just Brian, the band, and a few microphones. At one point you hear Brian say to the backup singers to: “I want to hear your soul!”

Contemporaries from the 60’s like Mickey Dolenz from The Monkees give in-person testimonials about Brian and The Beach Boys, and Tony Asher, who co-wrote most of the songs with Brian on Pet Sounds, gives an incisive fly-on-the-wall overview of Brian and The Beach Boys’ creative process.

The DVD also includes track by track commentary by Brian and Scott Bennett, who is one of the guitarists from the band. There’s also performances from live sets that show the bands strengths on past and present songs. “The Black Cab Sessions,” is a web performance that will knock your socks off!

Just about everyone knows of the stories of Brian’s drug use in the 60’s, his demise and fall, and his recent amazing resurgence in the past few years. With all that said, we really don’t need to know too much about what Brian Wilson thinks, we just need to feel and listen to what inspires him. - Phil Rainone

Guilty Pleasures For A New Generation

2008-12-26T17:34:00.000-08:00

Guilt by Association Vol. 2 - Various Artists (Engine Room Recordings.com)

I’m usually one of the first to jump on the bandwagon when it comes to guilty pleasures. To me, there’s more pleasure then guilt, especially when it comes to music. I’ve found a lot of guilty pleasures while rummaging through garage sales and such for vinyl records. One of my first “treasures” was a Neil Diamond album with a cover of The Beach Boys’ “God Only Knows,” an amazingly quiet acoustic cover. I also love stuff like The Archie’s, Chipmunk Punk, and the holy grail of guilty pleasures, The Royal Guardsmen’s trilogy of “Snoop Vs. The Red Baron!”

But I digress: The guilty pleasures on “Guilt by Association” are cool-as-a-cucumber cool! Fourteen indie bands that sometime or another crossed paths with mostly 80’s & 90’s Top 40 staples like “Tainted Love,” which is revamped here by My Brightest Diamond with less drama, and from a female’s point of view. The electronic dance beat that they dose it with is more subliminal than Soft Cell’s original, but still dancey! Toto’s “Africa” is given a much needed face-lift; hell, the original actually needed to be put in a body bag an thrown in the river! But Lowry does a nice job of fleshing out the words and adding an mid-tempo beat. The Forms cleverly synthesize and slow down Billy Joel’s historic epic, “We Didn’t Start the Fire.” The majority of the covers are bona fide hits in their own right, but there are a few misses, including Cassettes Won’t Listen’s drab cover of INXS’ “Need You Tonight.” It lacks the snap, crackle, and pop of the original. The lone song from 2008 (from the 00’s? what are they gonna call this decade anyway?) Katy Perry’s “I Kissed a Girl,” turns the tables as Max Vernon’s piano-fied version provides a guy’s eye view: “I kissed a girl just to try it/ Hope my boyfriend don’t mind it…” Hey Katy, I sorry for all those mean things I said about you. You go girl! - Phil Rainone

Don't Forget The Hungry During The Holidays

2008-12-14T13:06:00.000-08:00

100 bloggers throughout New Jersey are uniting to help bring you a message: The New Jersey Food Bank needs your help. More and more people can't afford to feed their families. No one in this country should go to bed hungry, especially children. Click on this poster for more information and then use the coupon below to make a donation and help feed NJ's hungry.

Punk Rock Karaoke - Birth of a New Religion?

2008-12-08T17:38:00.000-08:00

Punk Rock Karaoke - DVD/CD (mvdvisual.com)

By Phil Rainone

“Music is a religion, Karaoke is a cult.”- Little Steven

I’ve used that quote a few times over the last couple of years, sharing Steven’s love of music and utter distain for that lounge lizard, Neanderthalic, knuckle -dragging, watered-down muzak they try to pass off as music in karaoke bars. Phew! That was a mouthful! But it’s all true! I’ve asked everyone from The Boss (Mr. Testa) on down to my friends Gary, Diane, and just about everyone I know at some point, if they’ve ever done Karaoke.- They’re answers were all pretty much the same: “Only when I was drunk!”

Well, after listening to Punk Rock Karaoke, I have a newfound respect! What this DVD does is take everything bad about Karaoke and replace it with a real deal live band, consisting of some very cool punk rock musicians, including Eric Melvin on guitar (NOFX), Greg Hetson on guitar (Bad Religion/ Circle Jerks), Steve Soto on bass and backing vocals (Adolescents/ Agent Orange/22 Jacks), and Derek O’Brian on drums and backing vocals (Social Distortion/ Agent Orange/ Adolescents). This scenario was tried with other musicians on the first few years of the Warped Tour. There, they used musicians from the bands that were on break as a backing band, and had the fans come up an sing to some of their favorite punk rock tunes.

What makes this DVD/CD even better is how, in the extra features, the band mentions how psyched everyone gets playing because they get to be Black Flag (“Gimmie, Gimmie, Gimmie”), or The Buzzcocks (“What Do I Get”), or The Dead Kennedy’s (“California Uber Alles”- which is one of my son Steve’s and my faves, played over and over on many a road trip.) With 10 songs in all (they should make a whole DVD with more Karaoke punk rock tunes), the first disc here includes both the instrumental and vocal versions of the songs. But wait, there’s more! They also include a second CD with the same ten songs as the DVD but with special guests doing the vocals. For example, you’d have the ace Karaoke backing band with Dickie from The Mighty Mighty Bosstones covering Stiff Little Fingers’ “Suspect Device,” or Dave King from Flogging Molly doing an amazing version of Bad Religion’s “Fuck Armageddon… This is Hell.”

And they just don’t put the words up on a blank screen like in some bar. Behind the words, they’ve projected either homemade videos or 50’s black & white B-movie clips, or wild WWII footage, which could be a little distracting, but very cool all the same. They cover all the bases, and then some, with on-the-money punk rock karaoke selections, a who’s who of musicians, and an extra CD sung by some of the best voices in punk rock.

During the interview (“Meet the Band” in the extras), they mention that they’ve been doing this since New Years of ’96 ( I hope this will inspire a gazillion punk rock Karaoke bands to spring up), and they still sound energized doing it! They talk tongue-in-cheek about how “We play and you’re the star, in three minutes,” and about the kids getting up on stage with some of their favorite musicians.

Besides footage of the band, you see the singers and the crowd get into it, moshing, and crowd surfing, as the singers, both male and female, storm the stage, working off the crowd, and the crowd getting enveloped in the musical mojo being created on the stage.

So you’re probably wondering if I tried it?! Well, like I always say, “They pay me not to sing… or dance!”
But, yeah I’m writing this up at work - not a soul around, except Otto (the seagull). So I put on “California Uber Alles,” grabbed a wrench for a microphone, and tried to copy Jello Barfia’s shrill vocals, leaping and hoppin around the room, doin’ the electric boogaloo! I’m such a pathetic sight, but I’m enjoyin’ the hell out of it!!

Dang! If they keep it, up they could turn this punk rock karaoke thing into a religion!

Bringin' The Mojo

2008-11-18T16:21:00.000-08:00

Mavis Staples- Live: Hope at the Hideout (Anti-)

Without any intro or fanfare, the band - including Mavis Staples on vocals, Rick Holmstrom on guitar, Jeff Turmes on bass, Stephen Hodges on drums, and background singers Yvonne Staples, Donny Gerrard, and Chavonne Morris - take the stage, adding a soulful strut to Buffalo Springfield’s “For What it’s Worth.” After a that Mavis Staples takes the mic to say that, “We’ve come tonight to bring you some joy, some happiness, inspiration, and some positive vibrations!”

With that said, the mojo gets deep, funky, and fun. “Wade in the Water” from Mavis’ current studio album, was brought to a higher plane as the band jammed for six minutes plus, with Mavis roaring at times like a late train that’s trying to catch up with Curtis Mayfield’s train that left the station on time from “People Get Ready.” Both songs being about redemption and damnation. The background singers sweetly countered some of Mavis’ gutsiest vocals.

“This Little Light of Mine” which is usually given a traditionally spiritual reading, on “Live: Hope at the Hideout,” in Chicago, Mavis and the band conjure up a emotionally charged, but slow, smoldering cadence. The effect- it bristles with energy heightened by Mavis’ free flowing guttural growl that’s positively enlightening. It’s a stark change from Springsteen’s version who, on the “Live in Dublin” album, with The Seeger Sessions band, turned it into a righteous rockier, seating right it in the front pew.

Even the more slow, introspective numbers like “Waiting for My Child,” or “Why Am I Treated so Bad,” are attention-getting spirituals that focus on Mavis’ and the band’s interplay. It’s like sharing a secret between the audience and the artist. The band is viding off the audience, as they audience vibes off the band, creating an equally upward, musical spiral taking the songs to another place and time. Packing both equal parts intellectual, and emotional feeling into an organic thing, with both songs catching fire.

Hearing “We Shall Not be Moved” just two days after the presidential elections, and Mavis’ first-hand experience about racial discrimination, is both inspiring and shameful. We still have a long way to go but there is a light at the end of the tunnel.

With many exciting peaks and valleys the show was kicked up a couple of notches by the encores of the traditionally upbeat spiritual, “Will the Circle be Unbroken,” “On My Way,” with it’s slow blues break, and The Staple Singers original, “I’ll Take You There.” The latter song ended the night, and was a standout. Led my Mavis Staples’ and underpinned only by Rick Holston’s subliminal guitar licks, they never approach the originals flaring, horn-fired R&B groove, but they did get the point across: Joy, Happiness, Inspiration, and Positive Vibrations!- Phil Rainone

Mavis Staples Brings It All Back Home

2008-11-11T15:07:00.001-08:00

Mavis Staples- Live: Hope at the Hideout (Anti-)

Without any intro or fanfare the band, including Mavis Staples on vocals, Rick Holmstrom on guitar, Jeff Turmes on bass, Stephen Hodges on drums, and background singers Yvonne Staples, Donny Gerrard, and Chavonne Morris, take the stage, adding a soulful strut to Buffalo Springfield’s “For What it’s Worth.” After a that Mavis Staples takes the mic to say that, “We’ve come tonight to bring you some joy, some happiness, inspiration, and some positive vibrations!”

With that said, the mojo gets deep, funky, and fun. “Wade in the Water” from Mavis’ current studio album, was brought to a higher plane as the band jammed for six minutes plus, with Mavis roaring at times like a late train that’s trying to catch up with Curtis Mayfield’s train that left the station on time from “People Get Ready.” Both songs being about redemption and damnation. The background singers sweetly countered some of Mavis’ gutsiest vocals.

“This Little Light of Mine” which is usually given a traditionally spiritual reading, on “Live: Hope at the Hideout,” in Chicago, Mavis and the band conjure up a emotionally charged, but slow, smoldering cadence. The effect- it bristles with energy heightened by Mavis’ free flowing guttural growl that’s positively enlightening. It’s a stark change from Springsteen’s version who, on the “Live in Dublin” album, with The Seeger Sessions band, turned it into a righteous rockier, seating right it in the front pew.

Even the more slow, introspective numbers like “Waiting for My Child,” or “Why Am I Treated so Bad,” are attention-getting spirituals that focus on Mavis’ and the band’s interplay. It’s like sharing a secret between the audience and the artist. The band is viding off the audience, as they audience vibes off the band, creating an equally upward, musical spiral taking the songs to another place and time. Packing both equal parts intellectual, and emotional feeling into an organic thing, with both songs catching fire.

Hearing “We Shall Not be Moved” just two days after the presidential elections, and Mavis’ first-hand experience about racial discrimination, is both inspiring and shameful. We still have a long way to go but there is a light at the end of the tunnel.

With many exciting peaks and valleys the show was kicked up a couple of notches by the encores of the traditionally upbeat spiritual, “Will the Circle be Unbroken,” “On My Way,” with it’s slow blues break, and The Staple Singers original, “I’ll Take You There.” The latter song ended the night, and was a standout. Led my Mavis Staples’ and underpinned only by Rick Holston’s subliminal guitar licks, they never approach the originals flaring, horn-fired R&B groove, but they did get the point across: Joy, Happiness, Inspiration, and Positive Vibrations!- Phil Rainone

Rodney Finally Gets Some Respect

2008-11-06T15:49:00.000-08:00

Rodney Dangerfield - Greatest Bits (Shoutfactory.com)

Eternally Cool, Rodney Dangerfield Took Low Self-Esteem to New Heights

The aptly titled, “Greatest Bits” consists of six of Rodney Dangerfield’s best live bits including the songs “Finiculi Finiula” and “Rappin’ Rodney.”

Starting out as a comedian in vaudeville, Rodney Dangerfield worked his way (doing both comedy shows and actually working at clubs) through the Dinner Club Circuit, Vegas, talk shows (Ed Sullivan-16 appearances, The Tonight Show 70-plus), and also movies like Caddyshack and Back to School. As the life-of-the-party golf club owner, or school Dean, respectively, he endlessly honed his comedic act. What made Rodney such a good comedian was, you could almost picture that his one-liners were a part of his life. “My old man, he carries around the picture of the kid that came with the wallet.”

One of the few times Rodney sang, he did it without shtick. “Finiculi Finicula” is Louis Prima/ Keeley Smith- worthy, a traditional Italian standard that Rodney does old-school.- Hey, The Dropkick Murphys might want to turn this one into live show rebel-rouser, like they did with The Kingston Trio’s “Charlie and the MTA” or Woody Guthrie’s “Blackout Tonight!”

“Rappin’ Rodney” was put out in the 80’s capitalizing on Caddyshack and Back to School. Chock full of his “I get no respect” bits, he still feels out of place with the times musically, as he yearns to hear “Stardust” while watered-down, drum machine-driven rap beat drive him crazy. As he yearns for the bygone standard, and cries about “getting no respect” throughout the album, you know he’s actually laughing all the way to the bank!

Rodney was the Everyman of comedy. You could see yourself not only in his jokes (“I went to look for a used car and found my wife’s dress in the backseat”), but in his appearance, as he’d start to get jittery, and nervous, adjusting his tie, eyes (“You know what the trouble is with me? I appeal to everyone who can do me absolutely no good“) - sending laughter reverberating around the club.

Rodney passed away in 2004. Like Roy Orbison - who was constantly in search of getting the girl in his songs like “In Dreams,” or “Pretty Woman” - Rodney was constantly seeking respect - especially From his wife, Joan Dangerfield (the brunt of endless jokes), who wrote a loving tribute to Rodney in the liner notes. Whether he was dealing with kids or doctors (the infamous Vinny Boombots- I’m not sure of the spelling of the good doctor’s name,) Rodney’s one liners were fast, hit-and-run, barnstorming, laugh-a-minute belly laughs. He epitomized the guy with the black cloud over his head, always with a sadder story than yours, using the response, “you think you got problems, buddy?”

“Every time I do something it never comes out right. That’s how I got my name, Rodney Dangerfield. When I went into show business, I wanted to better myself. I saw an ad in the paper it said, ‘Improve your personality.’ So went to see the man, and he told me my personality was ok, but my name was my problem. I said to him, ‘My name?’ Well, how can a name be a problem? Even William Shakespeare said, ‘What’s in a name?’ He said, ‘Who?’ (everyone laughing). I said, ‘WILLIAM SHAKESPEARRE!’ He said, ’Look you wanna listen to me or you wanna listen to your friends?’ ( HUGE laughter)! - from “What’s in a Name”).

In his endless search for respect, he brought us along for the ride, showing us our faults, shortcomings, and how to laugh at ourselves along the way! In the end, Roy got the girl, and Rodney got his well deserved respect. - Phil Rainone

The Man In Black Remembered, Punk Rock Style

2008-11-01T12:53:00.001-07:00

All Aboard: A Tribute to Johnny Cash - Various Artists (Anchorlessrecords.com)

Anchorless Records will donate all the profits of this release to The Syrentha Savio Endowment, a non-profit organization that provides financial assistance to underprivileged women who cannot afford the expense of fighting breast cancer.

About a year ago fellow Jersey Beater Tim and I caught a Bouncing Souls show at Asbury Lanes ( I hear they’re in Asbury preparing their new album, which they’re going to release one song a month starting January ‘09). After finishing an intensely fun show, one of their encores was a Johnny Cash cover “Ring of Fire,” which left most of us gap-mouthed. They turned Johnny’s authentic rockabilly number into an acoustic tale of sorrow, and personal misfortune.

On All Aboard: A Tribute to Johnny Cash, The Souls lead off the 16 song disc with “Man in Black.” Above a jangely guitar riff, lead singer Greg, sounding like a almost evangelical David Byrne explaining, “Well you wonder why I always dress in black/ Why you never see bright colors on by back/ And why does my appearance seem to have a somber tone/ Well, there’s a reason for the things I have on/ I wear the black for the poor and beaten down/ Living in the hopeless, hungry side of town…” If ever there were a punk rock credo, and a band to deliver it, this would be the perfect match. Tim and I interviewed the Souls at this years Warped Tour and you couldn’t find a more down to earth, focused band that embraced these words whole-heartedly.- Americana Punk.

Chuck Ragan takes on “Wreck of the Old ’97” with ragged, arrested rage. An acoustic guitar and fiery fiddle accent Chuck’s heart-felt vocals, which rivals the original for old-school story telling reminiscent of Woody Guthrie or Pete Seeger.

The Gaslight Anthems’ cover of “God’s Gonna Cut You Down” (Johnny’s last single before his death a few years ago), The Loved Ones’ “Cocaine Blues,” and “Give My Love to Rose” by Onguard, featuring Jason Shevchuk of Kid Dynamite, create a three-song groove that connects them, intertwining inspiration, desperation, God and the Devil, all of which John struggled with most of his life. And that’s part of what made Johnny Cash and his music so inspiring. He could bare his soul, fleshing out the good, the bad, and the ugly. Sometimes backing slowly out of Hell, other times running gloriously into the arms of God. Addiction and redemption, as genuine as you can get.

The Dresden Dolls, known for their eccentric cabaret approach, create an eerie, simplistic, vibe on “Ballad of a Teenage Queen” that draws your attention, taking you further inside Johnny’s original. Same for Chon Travis on “Folsom Prison Blues,” only he plays it more close to the vest, with acoustic guitar, and his powerful, expressive vocals.

MXPX (“Hey Porter”), The Flatlanders (“Cry, Cry,Cry”), The Sainte Catherines (“There You Go”), and Russ Rankin from Good Riddance (“I Walked the Line“), match the heart-wrenching qualities of these life-stories with enthaustic vigor. What made Johnny Cash famous, and at times infamous is: John could pack a song with magical, concentrated intimacy that is timeless.

Nothing on All Aboard: A tribute to Johnny Cash is half-done or filler. The album is basically in your face with covers of both obvious, and obscure hits. Thank God no one covered A Boy Named Sue!”

- Phil Rainone

From Country Soul to Punk and Metal, Lucinda Williams & Buick 6 Cross Genres Without Fettering Much About It!

2008-10-16T21:34:00.001-07:00

Lucinda Williams - Little Honey (Lost Highway)

I’ve always had a hard time listening Lucinda Williams songs. The way she can write a song, usually about love lost, broken heats, or bad relationships ( “Change the Locks,” and “Joy” are good example), they’ve always hit home with me. The aching, the pain, the struggle, the joy, and happiness, it’s like she’s having a one on one musical conversation with you. You just know that she’s speaking usually from personal experience. Amazing how she can touch you so deep.

On Little Honey, Lucinda’s found her soul mate, and is head over heels in love, like on the opening cut “Real Love.” It’s a guitar fueled rocker with a sunny vibe. But she still finds the sense of loss and longing in songs like “Circles and X’s,” or “Well, Well, Well,” that dates back to 1992’s Sweet Old World.

The sweet, pedal steel guitar work by Doug Pettibone on “Tears of Joy,” puts the song at the forefront, mixing and matching genre’s with effortless enthusiasm. Buick 6 which will be her touring band this time around supplies the musical mojo. They’re also the opening act, so you just know that these guys are going to have a lot of extra gas in their tank!

After hearing the band absolutely rock out one of nastiest jams ever on “Honey Bee,” it struck me that I’d love to hear Lucinda and Joan Jett write a couple of songs together. Hell, how about a whole album and a tour! Add to the mix a wide-eyed, flat-out rocker, a twangy cover of AC/DC’s “It’s a Long Way to the Top.” it’s Lucinda and the band sounding like road warriors dispensing advice to those younger bands that are about to rock: “Getting had/Getting took? I tell you folks, it‘s harder than it looks/ It‘s a long way to the top, if you wanna rock ’n’ roll.” In her own version of how a band measures success on “Rarity,” she mournfully tells the story of a very talented songwriter who can’t find her way in a monstrous music business that lives by the motto that, “Your only as good as your last album,” and “Where’s the Hits?” Stupid, Neanderthalic credos’ that have surly derailed a lot of good artists over the generations.

With Elvis Costello playing the role of her drunken boyfriend in the mini-drama “Jailhouse Tears,” they recreate the love/hate, comic relief relationship that was found in The Pogues’ Fairy Tail of New York” all those eons ago.- A brilliant and sobering piece.

Lucinda’s been recording since the late 70’s, hitting a musical stride in the 80’s with “Car Wheels on a Gravel Road,” which was reissued last year as a two CD set. Although her albums were few and far between up until recently (she released the strikingly different, downcast “West,” last year), the quality of her writing and musicianship has been steady improving. With much emphasis placed on unfulfilled relationships, Lucinda has that special ability to capture in music a decisive moment between a man and a woman when there is that make or break point, sometimes several where you know it’s not where want to be, but you just can’t help yourself.

“Whatever record I’m doing reflects my life,” Lucinda said in an issue of Rolling Stone. But you know that from listening to her past albums, and epically Little Honey, that she doesn’t have much use for the idea that personal contentment might take away her artistic edge. A relationship or what happens I life for that matter, will never be TOO good.

What makes Little Honey, and Lucinda William’s body of work so meaningful is, that the mark of a true artist is to synthesize various musical elements, and then create something that is completely original. She has definitely captured that spirit and sense of artistic vibrancy here.- Phil Rainone

Between The Trees

2008-09-14T08:06:00.000-07:00

Between the Trees - The Story and the Song (Universal)

The Story and the Song is a more mature record that draws further on sources like neo-soul and pop punk to stretch the band's expanding skills on songs like "White Lines & Red Lights," or "Words," from these 11 well-drawn, heartfelt songs. Simple but not simpleminded, guitars weave in and around each other over a sturdy rhythm section. Pop punk bands are a dime a dozen, but occasionally one with that special undefinable "something," comes along which makes up for all the uninspired strivers. Between the Trees consistently fine songs with memorable harmonies and alluring lyrics, which help to make The Story and the
Song an eminent strong release by a young, hungry band. - Phil Rainone

Dead Betties- This is My Brain on Drugs (www.thedeadbetties.com)

Opening with a cool, hardcore surf rock intro on "Tuff Shit", which sounds like Dick Dale strangling the lead singer with one of his guitar strings, The Dead Betties go straight for the jugular (pun intended)! "This is My Brain on Drugs" is fueled with an adrenaline rush of punk rock, over a trippy vocal that lends itself to early Jam records. Even with these comparisons, The Dead Betties have created a pioneering sound, including a big handful of ingeniousley derivative single-ready tunes. Updating 60's pop-art rock and 70's glam, the album contains some amazing songs that genuinely get to the heart of the matter, even though they may be talking about fast food, like in "Burger Lust" or "Money Honey," which is all about the Benjamins- punk rock style.The trio of Eric: guitars, Josh: bass, vocals and Derek: drums, even delve into kitschy power pop on "Litterbug." A kicky tune about, well.. being a litter bug! Most of the songs on "This is My Brain on Drugs" have simple, easy to relate to themes, but at the same time their lyrically challanging. Formidable rock 'n' roll guitar-powered, rhythm section heavy, everyone including the listener winds up sharing a good time, with these contagiously loud, pop-rooted, powerhouse punk rock tunes! - Phil Rainone

Forever the Sickest Kids - Underdog Alma Mater (Universal)

As we were criss-crossing between interviews and band sets at this years Warped Tour, we caught the last song from Forever the Sickest Kids set. Interestingly, the crowd didn't disburse as soon as their set ended. Most of them hung there, kind of slack-jawed, looking like they just used up their energy allotment for the day, vibing out to the bands manic mojo! On their new album "Underdog Alma Mater," Forever the Sickest Kids, who hail from Dallas, Texas, are an electronic power pop band that knows how to get any crowd in the party mood. They became the darlings of Pure Volume practically overnight, which proves that the art of music videos is far from dead."Hey Brittany" is a tongue-in-cheek (bite down hard), sort of love letter, minus the emo kitsch, adding punk gusto to the frenzied, but not over the top bratty atmosphere.Clear-voiced, with rich, electric pop punk, FTSK delivers a tastefully loud surge as they flirt shamelessly with mainstream radio, and that's a good thing. The album has an undercurrent of recklessness and individuality that is shored up on songs like the barely contained "Castasrophe," the industrial pop punk of "She's a lady," and the ominous 'Phone Call." Forever the Sickest Kids re-imagine the template, testing varied rough waters with conviction, and wild-eyed enthusiasm. Not great, but getting there. - Phil Rainone

Great Hair, Great Songs

2008-09-06T16:14:00.000-07:00

Glen Campbell - Meet Glen Campbell (Capitol)

Ok, I know what your gonna say, espically the Boss... like after I reviewed The Three Dog Night CD... 'What's Glen Campbell got to do with Punk Rock?!' Well sir, after what seems like a gazillion years of recording and touring, they didn't decide to call this new release "Meet Glen Campbell," for nothing. Glen covers... Hey wait a doggone minute! Didn't I see a copy of The Archies (cool name for a cat also) at The Boss' crib not long ago, right next to a couple of Ramones albums? LOL!

Well ok, maybe Glen Campbell isn't as uptight and outta sight as The Archies, but on "Meet Glen Campbell" he covers Tom Petty ("Walls," & "Angel Dreams"), Foo Fighters ("Times Like These"), Jackson Browne ("These Days"), Paul Westerberg ("Sadly Beautiful"), U2 ("All I Want is You"), Lou Reed ("Jesus"), Green Day ("Good Riddance (Time of Your Life"), and John Lennon's beautiful lament, "Grow Old With Me."

Campbell comes as close as any recent band has to translate the spirit of these ten songs into his own. He plies tales of tribulation, remorse, love, hope, and especially faith in a style that combines an acute understanding of all these genre's music dynamics with at times, grit and determination. He made "Good Riddance (Time of Your Life)" even more sincere and passionate than the original, which is not an easy task. The closer, "Grown Old With Me," which was originally written by John & Yoko, demonstrates surprising melodic subtlety with the use of strings, mandolin, banjo and pedal steel guitar.

This album should serve well to those detractors who think of Glen Campbell as "The Rhinestone Cowboy," and maybe rightly so, but if like Neil Diamond, who did two creative albums with Rick Rubin, he chooses his songs, producers and band members well, this style should serve him well into the future.- Phil Rainone

Endless Summer

2008-08-27T17:18:00.000-07:00

Brian Wilson- That Lucky Old Sun (Capitol)

The Beach Boys have always been greater than the sum of their parts, creating amazing records year after year (not counting the gazillion "Best Of" computations), and could also at times walk the fine line by creating cool solo albums (Carl, Dennis, Mike, and Bruce). Whether they were mega-hits like the early 60's "Summer Days/Summer Nights" album, where it felt like you were at the beach with the music blasting and the Summer bunnies were boppin' down the beach with the radio, or "Surfs Up," where the Boys were disillusioned, and downhearted with what was going on with the environment back in the 70's. Brian Wilson's new album "That Lucky Old Sun," finds him reuniting with his original label Capitol Records. He and the stellar band that he's been playing with for over five years are once again greater than the sum of the parts, helping to flesh out Brian's passion for music and melodic melodies. With songwriting support from Van Dyke Parks who help co-write the recently long, unfinished "Smile" album, and Scott Bennett, who also helped produce the new album, Brian is back in his element, writing, producing and arranging with passion and excitement.

The feel and texture of "That Lucky Old Sun" is more a combination of 70's cycle albums like "Surfs Up," "Holland," or "Smiley Smile." Simple, melodic stories like "Oxygen to the Brain," "Room With a View," or the upbeat, perennial Summer song, "Forever My Surfer Girl." On tunes like "Been Too Long," and just about any song here really, Brian and the band create spot-on Beach Boys- like, beautiful harmonies. In-between some of the songs Brian a mixes in a few interesting narratives, on the line of "Holland's" beautiful, "California Saga," trilogy. The boogie-woogie upbeat piano of "Going Home" is underpinned with darkness that changes to bright sunshine with lines like, "At 25 I turned out the light/ 'Cause I couldn't handle the glare in my tired eyes/ But now I'm back, drawing shades of kind blue skies." Brian deals with his demons that refer to his famous mental breakdown in 1967, but you can feel the goodness in his songs and the
healing feeling in his heart.

"That Lucky Old Sun" tends to be nostalgic, but in a good way. Brian reminisces about his deceased brothers Carl and Dennis in "Southern California," with praise and fondness, rather than remorse and sorrow. On the upbeat "Oxygen to the Brain" Brian sings with a reborn will, "I wasted a lot of years," but his self-confidence is evident when he ends with determination, "I'm filling up my lungs again and breathing ife." Whether or not Brian and the rest of the remaining Beach Boys Mike, Bruce, and Al get together again or not, Brian is writing and performing again with a natural soulfulness and passion that was evident in the his first solo album, "Love and Mercy" in the 90's. - Phil Rainone

BB King - One Kind Favor (Geffen)

BB King went back to "the BB King that was," with a four piece band including Dr. John on keyboards, Nathan East on stand up acoustic bass, and Jim Keltner bringing his best R&B chops to the session. According to King, "My voice is nothing like it was, and maybe my playing isn't like it was, but I believed that we could do something different than what I've been doing recently and not worry about sounding contemporary." And that is exactly what came out of these recording sessions that were produced by T. Bone Burnett. Style, class, and some of the best blues like, "The World Gone Wrong," "Sitting on Top of the World," and the ageless, subtle blues rocker, "See That My Grave is kept Clean," recapture much of the spirit and sound of BB's early recordings, complete with rich, horn section blasts, vintage-style distortion on the vocals, that electrifies King's lion's-roar vocals, and stinging lead guitar played live in the studio. Burnett is as much a music curator as he a producer, like when he recenty produced Robert Plant and Alison Krauss' magnificent "Raising Sand" album. For King's album Burnett found blues oldies ranging from the Mississippi Sheiks' "Sitting on Top of the World," to Howlin' wolf's "How Many More Years."

The title of the album was taken from a line in the opening cut of Bind Lemon Jefferson's "See The My Grave is Kept Clean," that is heartbreakingly intimate. The songs flow, ebb, rock, roll and are full of soul. They have the feel that no one at this recording session was working, but more like they were creating… Creating a slightly altered cadence that both reflected and reframed these 12 covers which influenced King in the 1950s. They evoke his musical journey that he's still traveling today, as he approaches his 83rd birthday. - Phil Rainone

Matthew Sweet- Sunshine Lies (Shoutfactory.com)

On Matthew Sweets new album Sunshine Lies, he shuffles around a few pages of psychedelic hard rock riffs from The Beatles' "Yellow Submarine," is inspired by some of Donovan's universally, cosmic lyrics, and just for fun, breaks out a vinyl copy of The Stones' "Her Satanic Majesty's Request," plays it backwards, than spreads some of his magical mojo all around creating an unmatched, unpretentious album featuring a whirling mellotron, upfront vocals, and a cornucopia of musical instruments. For all the impressive name dropping Sweet plays nearly all the instruments himself, and also wrote and produced, and manages to maitain a consistent feel throughout "Sunshine Lies," which is a bit like R.E.M. and early dB's, creating sincere power-popish tunes. The album never overdoses on pleasantness, or moderate tempos. Adventurous and entertaining, this album easily outclasses most neo- psychedelic wannabees with
abundant invention and originality that will definitely rock your socks off! - Phil Raionone

Reivisiting Mott, and Some Rare Live Bowie

2008-08-20T15:16:00.001-07:00

The Mott The Hoople/ Ian Hunter Anthology - Old Records Never Die (Shoutfactory.com)

This two disc compilation covers a lot of stylistic ground in 32 tracks. From the opening cut, "Rock and Roll Queen," "Walkin' With a Mountain," & Whisky Women," the whole disc will have you rockin' and reelin' right from the get go! Amazing songs like the Bowie-penned glam rocker, "All The Young Dudes" and the band's fine contributions like "All The Way From Memphis," "Ballad of Mott The Hoople," and the singalong rocker, "Roll Away The Stone," were all geared for for easy chart ascent, without the typical go-for-the-jugular commercialism. These songs were instead, like mini rock operas. Storytelling at its finest and sometimes ferocious, as in the case of "The Golden Age of Rock 'N' Roll." A cover of The Velvets' "Sweet Jane" rivals Bowie's cover of "Waiting For The Man" (the live version is on the newly released David Bowie Live Santa Monica '72), both offering provocative readings of pop culture at it's sleeziest. Sadly missing is Mott's original version of "Ready For Love," which beats the crap out of Bad Company's (Mick Ralph's later formed Bad Company with Paul Rodgers), stiff-as-a-board version. For sheer fun, try the shout-along rocker "Honaloochie Boogie." Disc two is all Ian Hunter solo material. Like the Mott disc, the songs sound like they were recorded with first-take enthusiasm and a free wheeling vibe. "Once Bitten Twice Shy," "Just Another Night," and the over-the-top smash "Cleveland Rocks" (originally titled "England Rocks") find Hunter in a groove. He sounds loose, loud, blunt, and to the point. Significant tunes for anyone interested in his music. The apply titled song for the anthology, "Old Records Never Die," is a slow burner, that compares life to making music. Hunter looks back and forward with pain, sorrow, happiness and joy, but never gets drearly nostalgic. Bookended with rockers like "When The Daylight Comes," and "Central Park N' West," you're given a breather, as both are incessant rockers that will have you bound for the dance floor!More current numbers out of Hunter's song book, "Still Love Rock and Roll," from 2001, and "Words (Big Mouth)," from Hunter's recent solo album in 2007, are inspired, rather than just functional. Uncluttered, Ian Hunter delivers songs genuinely soulful, gritty, and are personally reflective. A unique combination and overview of a long, and hopefully longer musical career! - Phil Rainone

David Bowie - Live Santa Monica '72 (EMI) (available on CD and vinyl)

Throughout his lengthy career, David Bowie has worked in many musical areas, and virtually all of them have proven enormously influential, even if it's taken years for the rest of us to catch up with him. He could shift gears, styles and fashions almost as often as shirts, and by example, help keep pop and rock developing and changing. Even his choice of cover songs has helped to define hip over the generations. On Santa Monica '72. he does The Velvet Underground's "Waiting For The Man" with almost as much tension as the original, glamming it up at points to create a fresh look at the junkie nervously waiting for his fix. Bowie's played an essential role in glam rock, new wave, post-punk, neo-soul, dance music, etc.

Although he actually started recording in the late 60's, on this disc we join David Bowie and The Spiders From Mars - including lead guitarist and vocalist Mick Ronson, Trevor Bolder (bass,) Mick Woodmansey (drums,) and Mike Garson (keyboards) - in progress at the dawn of the 70's in Santa Monica, California’s Civic Auditorium. With ticket prices at $5.50 a pop, this was originally an unreleased, live radio broadcast on KMET. It was Bowie and the band's first live radio appearance in the US. I don't know if they video taped the show, but Bowie is one of those performers whose show is both a sound and visual experience. I had seen him when they did the "Station to Station" tour. The show was done in black and white (lighting, outfits, instruments, etc.), which was very dramatic, and fun! In his Ziggy Stardust persona, Bowie and The Spiders From Mars must have been extremely musically intoxicating! When the band gets down to guitar-heavy rock 'n' roll, which comprises about 3/4 of the show, courtesyy of Mick Ronson's adventurous and thrilling playing, it's virtually unmatched as the rest of the band plays like whirling dervishes, inspiring Bowie to new heights. The opening song "Hang on to Yourself," is classic Ziggy, with the band morphing into the best rock and roll band in the world, at least for the night. Bowie and band slip back into their hippie-folkie-caberet days with catchy versions of "Changes," Space Oddity" and "Andy Warhol." The redemptive "Life on Mars," and "Queen Bitch" are essential cornerstones here, echoing the glam-sci-fi decadent world that Bowie had been assembling for the last three albums. About a year or so later he would take a brief "retirement" from music, only to come back stronger and more vibrant with "Aladdin Sane" and the "Pin-Ups" covers album.

On Live Santa Monica '72, Bowie's alien role-playing was in earnest, and they spat out some of the grittiest rock 'n' roll this side of Jupiter like, "Moonage Daydream," "The Jean Genie," and the apocalyptic "Rock 'N' Roll Suicide." The album peaks with a super-charged "Suffragette City" with everyone including the band and the audience on board for a joy ride that paints a bleak picture of the future of rock 'n' roll with slow, burning cinematic strokes, and a killer ending ("Rock 'N' Roll Suicide" was the one song the encore), with the band head over heels into the song. You can just picture Bowie on the edge of the stage asking the audience to "Turn on with me!" and to "Give me your hands!!"

This is one of those turning point albums. Whether you were there or not, you can feel the electrifying push and pull of the band and the audience as one! - Phil Rainone

Simple (Guilty) Pleasures Are The Best!

2008-08-13T17:35:00.000-07:00

Three Dog Night - Greatest Hits Live (Shoutfactory.com)

History teaches us not to dismiss kiddie pop rock. Stevie Wonder was once ‘Little’ Stevie Wonder, and let's not forget the impression that bubblegum pop (Herman's Hermit's, The Archies, etc.), left on punk bands like the Ramones and Joan Jett and the Blackhearts (both covered "Indian Giver" by the 1910 Fruitgum Co. with conviction.) Cynical purists disdain tweenybopper music as crap, fostered by Svengalis (aka: "The Suits") who sit in the their gilded palaces counting their gold records. But bubblegum can be a great farm system, honing skills that pay dividends further on down the road.

So, here's where I'm going with this... Back in the day, Three Dog Night, who were named after what an Eskimo needed for warmth (three of his sled dogs) to keep from getting frost bite on those frigid Winter nights, was one of this Tweener's fave five, including Iron Butterfly, Beach Boys, Tommy James & the Shondells, The Beatles, and a gazillion others. Having seen their live concert back in the early 70's in Asbury Park (back when Asbury Lanes was still a bowling alley, and The Stone Pony was Mrs. Jay's Restaurant - yummy burgers, fries and root beer) was thrilling! They were one of the premier singles bands around. Pop hits like "Celebrate," "Easy to be Hard," and the over-the-top-rocker, "One" (it's still the loneliest number) easily reached the top of the charts back in the late 60's and early 70's. This never before issued live album was recorded on their world tour '72/'73. The single disc of 12 songs represents Three Dog Night at the height of their popularity. Compared to "Live at the Forum" a few years earlier, the mojo, moxie and musical magic the band conjures up is head and shoulders above the earlier disc. On stage (they should put out a DVD of this live show), Three Dog Night cuts loose with a freewheeling energy that blows the audience away. I remember seeing them in Asbury and feeling excited and energized! I think their show ran a little long, and my buddy Gary and I missed the last train home, and had to call his Mom to come pick us up at like 1am. She was NOT a happy camper, trekking all the way from South Amboy and back, but she was like a second Mother to me. The vocal pyrotechnics, three part harmonies, and sweat-drenched showmanship were part of what made the world disappear (and Gary and I to forget about catching our train home!) Three Dog Night were a covers band, but you'd never know it. Using a cornucopia of writers like Randy Newman ("Mama Told Me Not to Come"), Laura Nyro ("Eli's Coming"), and Harry Nilsson ("One"), among other notable artists, they also tackled gritty blues, performing a stellar cover of "Try a Little Tenderness," which Otis Redding had made a hit with a few years earlier. Sorely missing on this live album is a cover of Jimmy Cliff's "Sitting in Limbo," and The Band's "Chest Fever," which was a huge number the whole band could rock out on. Otherwise, this is a great ride back to the future. It's steeped in clear, jangly guitars, and a poppin' rhythm section, three-part harmonies that are to die for, and cotton candy choruses that can be found on later bands like Cheap Trick or currently We The Kings. Hearing their music live again is a reminder that the genre's commercial saviors had arrived. Overall, "Greatest Hits Live" is a blast - as assured as any pop rock album released in recent years. I'm ready to dust off my old Three Dog Night 45's and put them on my MP3 player, via the Numark turntable I just brought with a USB port! - Phil Rainone

Scratch Is Back!

2008-08-11T17:58:00.000-07:00

Lee "Scratch" Perry - Repentance (Narnackrecords.com)

Certainly eccentric, possibly mad (even his past record company's acknowledges it), Lee "Scratch" Perry is one of Reggae's most influential producers, with a career that spans the entire history of the genre. From talent scout, to producer, to recording artist, he was involved in hit after hit for Jamaican artists, assembling the original Wailers, and producing their earliest hits in the 50's. He also collaborated with The Clash on "Complete Control," with his "dub" style of music being an even a bigger influence on The Clash's Sandinsta album. He also had his hands in the mix on Junior Murvin's on "Police and Thieves, " which The Clash covered, and The Beastie Boys' "Dr. Lee PhD." Perry has also done extensive solo work, composing, arranging, and singing, as he has done on this new release, Repentance. He's created some new signature tunes like "Shine," "Pum Pum," and Chooga Cane." These songs are definitely where the bass is the place, where space constantly shifts, where age does not wither (Lee's easily in his 70's), where reason sleeps with dub, and they all get bounced around, turned upside down, every which way! This is where reason and mindless fun are soulmates.

As in the past, Lee pushes the frontiers of dub with his heavy sounds ("Crazy Pimp"), surprising tricks (Baby Sucker"), and unorthodox methods ("Santa Claus"), bringing it all full circle with "Party Time," the crowning jewel. If you ain't out on the dance floor rump shakin' to this mad, mix master monster of a hit, than you ain't alive! With guest artists running the musical/artist gambit like Moby and adult entertainer Sasha Grey, once again Lee "Scratch" Perry shows those young gun DJ's (you know those guys like DJ Fuck Head, and all those jerks that think they're the cat's ass with their Pro Tools "scratch and sniff" crap), that he's the originator, and the real deal! - Phil Rainone

Reverend Patyon's Big Damn Band - The While Fam Damily (Sideonedummy.com)

Comprised of only three people ( they do make quite a ruckus) who are related - that being the good Reverend Payton, guitarist extraordinare, his wife Breezy Payton on washboard (not as easy an instrument to play as you might think), and on drums you have his brother, Jayme Peyton. Theses three country-blues aficionados, play a combination of folk, meshed with some of the finest finger style guitar (think Robert Randolph and the Family Band), this side of the Mississippi (they're from Indiana). Talk about authenticity, The Reverend Peyton's Big Damn Band is so damn good that they were hand-picked by none other than Flogging Molly to open for the Irish folk rockers. To try to put their music in a nut shell would be impossible. The Rev's vocals sound like cross between Leon Redbone and JJ Cale. Rough and gruff, like melodic, metallic sandpaper. On a strictly musical level, the album has a country/funk feel, and an inviting rhythm section. There's even a bit of upbeat, romantic crooning on "I'd Love You Baby." It's more of a tongue-in-cheek romp, about a guy who has a girlfriend, but has a hankering for another fair young maiden, trying to keep a little something on the side. Fun and funny!This triumph should not go unnoticed by the masses. This disc is ragged and righteous! - Phil Rainone

Punk To The Last Drop

2008-07-08T19:20:00.001-07:00

Less Than Jake - Gnv Fla (Sleepitoffrecords.com)

Following a decade-and-a-half spent establishing themselves as one of Ska's most prolific and successful artists, Less Than Jake has taken a major step in controlling their past, present and future. They recently set up their own label, Sleep it Off Records. They also re-released four of the band's early titles including "Pezcore," and "Goodbye, Blue & White," and they've included a DVD with each CD of live shows from around that era.

The music on Gnv Fla, which is named for their hometown of Gainesville, Florida, is far from formulaic. It's intoxicating ska that contains some of the most irresistible grooves anywhere. Within the framework of songs like "City of Gainesville," "The Life of the Party has Left the Building," and the seriously funny "Devil in My DNA" are simple, densely melodic lyrics weaved with an intricate web that serves as a base for the powerfully energetic vocals, that are enhanced by the bubbly punk-rock harmonies.

As much as LTJ's music flows in the studio, it is really meant to be heard live. Last Summer we - my son Steve, and friends and fellow Jersey Beaters Frank and his son Tim - saw them at Starland. As co-headliners, they opened for Reel Big Fish, and to be fair, it was a tie as to who was better musically, but Less Than Jake had a sort of The Price is Right, game show set, which put them over top in sheer, madcap fun and frivolity! Less Than Jake are on tour now with revolving touring mates like Mustard Plug, Suburban Legends, and Goldfinger, to name few. The songs on Gnv Fla have the feel that they’ll be allowed to go on longer in the live show, and the interaction between the band members and the audience will be more playful and intricate. So whether you’re a hardcore Less Than Jake fan, or a newbie checking out the ska/punk scene, Gnv Fla will bring a smile to your face and will cause instantaneous mosh pits! - Phil Rainone

Zebrahead - Phoenix (Myspace.com/Zebrahead)

Phoenix is one of the better punk albums to come out this year. This high energy, genre-bending disc has a crisp, metallic guitar sound and clear, comprehensive vocals. Hard-hitting songs like "HMP," "Hell Yeah," or "Mental Health," are like a big, sloppy (very cool), rush of punk, rock, demi-metal, and speedcore. A lyrically provocative record of substance and merit, that's topped off with crisp production and a thick guitar sound. Ali Tabatabaee sings and plays guitar in classic garage thrash, as the rest of the band - Greg Bergdorf- guitar, Matty Lewis- vocals/guitar, Ben Osmundson- bass, and Ed Udhus- drums - fully engage in their craft. No clumsy lyrics, or rudimentary production, this album proves that Zebrahead is not restrained by any kind of simple genre formula, especially listening to the closing song, "Sorry But Your Friends Are Hot." Spoofing that TV commercial "Who's in your fave five?", the tune is full of old-school piss-and-vinegar scorch. With lines like, "I'm the king of unaccountability/ I was born with the devil on my shoulder," denial and unbridled sex run rampant throughout a story of flavor-of-the-month-sex. The results of all these elements make up Zebrahead's blend of pop punk elements, and foundation-laying heaviness. They also include a DVD, "Broadcast to the World." Now, this is exactly what I'd want from a band. Music videos, tour footage, and a live show performance that includes some of these new songs, as well, as old favorites. The DVD makes this a complete Zebrahead experience. - Phil Rainone

New Wave Still A Groove, 30 Years Later

2008-07-06T15:18:00.000-07:00

Blondie - Parallel Lines (Expanded 30th Anniversary Edition) (EMI/Capitol)

Back in '78, CBGB's was a fertile musical breeding ground for the new generation of poets (Patti Smith), punks (Ramones), genre-benders (Talking Heads, B-52's), and new wave (Blondie,) to name just a few. This two-disc 30th Anniversary Edition includes a DVD for Blondie's music videos (MTV wasn't around yet) that shone a light on the band as a musical force that you couldn't ignore. "Hangin' on the Telephone" with its urgent guitar/drums/keyboard/vocal prowess, was in direct contrast with the pop swagger of "Sunday Girl" (French version here), and "Picture This." Than comes the Pop Rock Vamp meets Saturday Night Fever, the buoyantly pop and genre-crossing "Heart of Glass." All of which became MTV-worthy. That Blondie may be remembered as perhaps the best singles band to emerge from new wave - in fact, a world class hit making powerhouse (yeah, they deserved to get in the Rock and Roll Hall of Fame, where Madonna didn't) - is extraordinary. For those who recall the humble genesis and occasional side steps into rockabilly, like the cover of Buddy Holly's rave-up, "I'm Gonna Love You Too," these New Yorkers had secured a recording contract that few expected to surpass
the commercial level of say, Lou Reed; i.e., a moderate fluke hit single, maybe a charting album, but mainly cult status. How could the immovable, generally disgusting commercial music establishment of the day somehow reverse itself and open up to Blondie? They were able to put the sounds in their heads on plastic - sounds that weren't just "Pure Pop For Now People," but pure pop for hit radio - in the most sincere , uncynical and popular resonating tradition. They engaged in an inspiring, positively subversive musical style where anything was possible. Original band members, singer Debbie Harry, guitarist Chris Stein, drummer Clem Burke, keyboard player Jimmy Destri, guitarist Frank Infante, and bassist Nigel Harrison, maintained a distinctive group identity. It's fair to note that many other singers/bands wet their musical toes in the same exotic waters only after Blondie set the precedent. Moreover, Blondie largely pursued their commercial and artistic goals in nonconformist fashion, often to the dismay of their record company and even some of their fans (I remember them opening for the Ramones at Convention Hall in Asbury Park all those years ago, when Parallel Lines was first released - seeing all the disco ducks salivating to hear the only Blondie song they knew, they were seemingly suffering through the best part of the band's set until they could finally "get down and get with it" to the disco-fied "Heart of Glass"), like the French version of the sultry smooth "Sunday Girl," the 7-inch single version of "Heart of Glass" and the nosebleed/headbanging remix of "Hangin on the Telephone," all of which are included on this 30th Ann. Edition. Some of their dabble weren't always successful like the doesn't-go-anywhere, zombie-ish "Fade Away and Radiate," but otherwise Blondie displayed childlike exuberance which at points extended the band's reach beyond its grasp on a few
of their future releases. On Parallel Lines, producer Mike Chapman took over the console, imposing his exacting, disciplined approach. In the liner notes Debbie Harry said in hindsight, "Making Parallel Lines" was a whole different experience compared to the previous records ("Blondie" & "Plastic Letters"). Mike Chapman had us working long hours and we did take after take until it was perfect, so it was labor intensive. We were very optimistic about this album and we had a lot of
confidence in the material." Throughout Parallel Lines, the band seems totally in control of every musical form it takes on, from the zombie metal of "One Way or Another" to the pop-a-billy punch of "I'm Gonna Love You Too," to the hit bound electro-disco flirtation of "Heart of Glass." Listening to it today, it still sparks of freshness and musical diversity. Blondie's on tour, and recently played in the area. They're currently in Europe, and hopefully they'll be back this way toward the end of the year. - Phil Rainone

Summer Love, with Special Sauce

2008-07-06T15:17:00.001-07:00

G. Love & Special Sauce - Superhero Brother (Brushfire Records)

Having played with Jack Johnson and written, produced, and played with John Hammond is not too shabby. In fact, it's part of a coolly diverse 360 degree circle that G. Love’s new album, Superhero Brother, is part of. G. Love & Special Sauce are hip-hop at its sweetest. But you won't hear them on rap/hip-hip radio stations, and they're anything but stereotypical, even when it comes to the blues.

They build albums much like Beck: A cool, eclectic mish-mosh of flavors and genres with a positive vision, hard work, and serious musicianship. They make it look like a breeze on tight tunes like "City Livin" or the boss, super hit single of the Summer, "Peace, Love, and Happiness." The band has the stuff inside that separates them from flavor-of-the-month bands. Blues, rock, and a propulsive, rhythm section that can bang out a beat, or play a cool, syncopated percussion is the baseline for just about every song here.

When the band's first single, "Cold Beverages" came out in 1994 I was hooked. Here was the bridge that you could easily cross, and ride on the energy that makes this band so unique. While "Crumble" verges on sweet, neon-soul, "What We Need" is funkified rock enriched with potent blues power. Betcha didn't think they knew how to rock 'n roll! G. Love's vocal delivery can be ironically sweet like in "Grand Mother," or knife sharp and direct, thick with dread like on "Wiggle Worm."

His 10th album, "Superhero Brother" is assured and versatile, an ambitious mixed bag that widens the band's range, and broadening their appeal as well. Stronger and more outspoken than ever; humor, anger, and love mingle with politics as the words twist, turn, jump, and sprawl out to create a message of music for listening, dancing, and sometimes serious contemplation. I'm not sure if G. Love & Special Sauce have played on the Warped Tour in the past, but they should definitely be considered now, and in the future. - Phil Rainone

Waking Up To The Alarm

2008-07-06T15:15:00.000-07:00

The Alarm - Guerilla Tactics (Lovehopestrength.org)

Starting out in the 1983 with their self-titled EP through 1991's "Raw," The Alarm created catchy, anthemic songs ("Marching On," "Sixty Eight Guns," "Spirit of '76," to name a few) that were slices of roughed-up folk rock. Musically, they were the exception to the rule, as they were the square peg in the round hole playing a mix of punk, alternative, and 60's protest folk, when it came to MTV and the slick, polish band's that the music channel was shoving down the throats of their millions of views.

Then as now, The Alarm represents the bridge between bands like the Clash, U2, or John Hammond, and Old 97's or rising stars Motorama, respectively. In fact, on their new album "Guerilla Tactics," lead singer/ guitarist Mike Peter's penned a tribute to the Clash ("Three Sevens Clash") and the punk scene that was exploding in the late 70's. Producer Gilby Clarke (Gun's 'N Roses) gives The Alarm pretty much a free hand, balancing the album between studied intensity and an all out rocker. The focus is on Mike Peters' vocals, that open up the sound of the band with intense dynamics and a strong rhythm section that propels the songs with anarchic grace.

One of the center pieces (15 songs in all), is "Love, Hope, and Strength" which, besides having a heaping share of echoed guitars, sweeping vocals, and bluesy harmonica slices, is also the name of Mike Peter's own cancer charity, Lovehopestrength.org. (Mike was diagnosed with Chronic lymphonic Leukemia in
2006, and with chemotherapy has been in remission. They even captured Mike's battle with cancer with a TV documentary "The Road to Recovery, that came out in 2006).

“Alarm Calling" is an energetic dance-rocker with a catchy melody, and is one of the many album's standout cuts. Along with their raw, expressive, close to the heart catalog, this album would fit perfectly into The Alarm's live set (they're playing at Joey Harrison's Surf Club in Ortley Beach on July 9, and House of Blues in Atlantic City on July 11).

Lyrically subtle, shining with muscular finesse, and combining the band's past, present, and future, this is an impressive Alarm album. - Phil Rainone

The Perfect Summer Soundtrack

2008-06-25T17:19:00.000-07:00

The Beach Boys- US Singles- The Capitol Years (1962-1965) (Capitol)

Springsteen and the E-Street Band are playing around the area, and "Girls in Their Summer Clothes" is the hit-bound, feel-good single of the Summer of '08. The B-52's just released a terrific new album, and are touring for the first time in quite a few years. I'm at the beach in Point Pleasant with my checkers beach towel (I've got the plastic checkers too), my Yankee frisbee & hat, a Dunkin' Donuts Smoothie (reduced calorie), with a shot of vodka, and my MP3 player on shuffle, while the Beach Bunnies are passing around the tanning lotion (yummy!). And The Beach Boys just released a groovy box set of 16 CD singles from 1962 to 1965.... Welcome to Summertime in New Jersey!!

I know what you're thinking - do we REALLY need another box set from The Beach Boys? And my answer is a great big... YES!!! This box set includes original A and B-sides of their first four years with Capitol Records, alternate versions, unreleased songs, live versions, and mono/stereo mixes (The Beach Boys use their five part harmonies like instruments so yes, there are important and fun differences in the mono/stereo versions), on 16 CD's (I wish they would have put them on vinyl also), 66 tracks in all. Think of it like when they released The Beatles' "Anthology" (they were labelmates and friendly rivals back in the 60's - Paul McCartney said that The Beatles' were inspired by "Pet Sounds" to make "Sgt. Pepper," just as Brian Wilson was inspired by "Rubber Soul" to create "Pet Sounds.") You get an interesting, fun perspective into the recording process, cool alternate versions of classics like "In My Room," "Fun, Fun, Fun," and one of my all-time favorites, the ultimate dance tune, "Dance, Dance, Dance," along with a whole slew of hits, and near misses (like the a capella version of "The Lord's Prayer," which takes you to church.) There's also a bonus disc consisting of "All Dressed Up For School" (unreleased), "I'm so Young" (unreleased), "Help Me Rhonda" (alternate mono mix), and "Graduation Day" (stereo mix), all of which add gap-mouth joy to all that has come before it on this box set. The collection also includes a 48 page photo book with faux sand finish (very cool), all in a 60's hotrod and surfboard-inspired red and yellow box.

I hope they're going to follow-up with more from the vaults like they did with the Beatles. Brian Wilson recently re-signed with Capitol Records. Hopefully he and the rest of the surviving members - Mike Love, Al Jardine, and Bruce Johnston - will kiss and make up. I think they could still make a few very good albums together. I think I'm gonna throw these discs in my CD player when I'm at the beach, and just let the bunnies vibe out to the soundtrack to my Summer! - Phil Rainone

Appreciative Bluesmen Pay Homage To A Master

2008-06-25T17:09:00.000-07:00

Solomon Burke - Like a Fire (Shout! Factory)

Solomon Burke brought gritty, fired-up blues down from the mountain top to a generation of rockers. On Like a Fire, a few of those appreciative musicians pay "The King of Soul" back in spades. A showcase for both writing and playing on this album features Danny Kortchmar on guitars, and Steve Jordan on drums, among others, and has songs written by Eric Clapton (he and Solomon also collaborated on the soulful, "Thank You,") Jesse Harris ("You and Me,") and Ben Harper ("A Minute to Rest a Second to Pray;" Harper also plays dobro and adds his spitirualized vocals).

Over the last six years the 68-year-old soul singer, has re-emerged from commercial oblivion with a string of albums that showcases his genius for ragged-voiced ballads and pure blues power. Produced by Steve Jordan, the songs emphasize Burke's up-tempo funk side, without detracting from his powerfully restrained soulfulness. Since his last album "Nashville," Solomon Burke and his band have not taken the easy way out. What could have easily been albums and shows that were watered-down, Vegas-style shenanigans reach for higher ground with songs that dig deep into ancient, 50's/60's soulful blues and highlight Solomon's electrifying voice and the band’s undaunting backbeat and emotionally fresh style of playing. These soulful jams find them gliding from a burly growl into bliss, sending out prayers that could save him at the altar, or in the boudoir. - Phil Rainone

From First To Last Release First Rate CD

2008-06-02T17:22:00.000-07:00

From First to Last (Interscope)

From First to Last's raucous, original sound is beyond dispute. What a lot of other bands use as a minimal pop punk factor, From First to Last expand on, creating sometimes brilliant, brutal hailstorms of hyper-distorted riffs, and pulverizing bass lines. This band is harder, louder, and meaner than nine out of ten bands of their genre. Framed by graceful, looming melodies, and enduring lyrics, the band by-passes self-indulgence in favor of free-form expression, and the result is a broad musical palette.

A lot of records belong to a specific time, but From First to Last's self-titled album continues to measure up as an ace slab of educated pop punk, right in tune with the ground rules laid down by Blink 182, Green Day, and others of that ilk.

This is an upbeat, emotional release that seasoned listeners have come to expect from a band that holds itself to high musical expectations - Phil Rainone

Mindless Self Indulgence - If (theendrecords.com)

One of the most unique and hard-working bands today ( you have to see them live
for the complete musical experience), Mindless Self Indulgence's music is infectious, featuring feisty electronics, metal, punk rock sound. They are seemingly untouchable when it comes to vulgarity, oddity, and uniqueness. If there had to be a genre distillation for what MSI are doing, it would be, hardcore, comic book musical.- It's in their sound and stage presentation. Dramatic keyboard/guitar-soaked songs that are literally begging to become off-kilter teenage anthems, with never ending choruses.
Technically, the songs are well-arranged and catchy, with some cinematic emoting. Full of synth beeps and boops and swishes that emphasis hardcore-influenced breakdowns, "If" plays like it's looking to get picked up by a teenager-geared Marvel movie. "If" is full of emotional choruses, and the album will have a lasting impact.
Mindless Self Indulgence are a band that that loves to make noise! - Phil Rainone

Old Grungesters Still Going Strong

2008-05-16T17:35:00.001-07:00

Local H - 12 Angry Months (Shout! Factory)

A few years ago we (my son Steve, and our friends and fellow Jersey Beaters, Frank & Tim), caught Local H's set at the Surf & Skate Fest in Asbury Park (now re-christened The Bamboozle, that's held in The Meadowlands). They were AWESOME! High energy that lit up the Paramount Theatre like a couple (they're a duo) of whirling dervishes spewing out some loud, reverberating alt-rock 'n' roll! On 12 Angry Months the unique two-man line up of Scott Lucas on vocals and guitar, and drummer Brian St. Clair explore post-breakup relationships and love gone sour. The stories are chronicled in these 12 songs (each song corresponds to a month), with bitterness, regret, and longing, with an I-hate-myself-for-loving-you feel that exposes raw nerve endings.

Throughout the album, Local H give themselves free rein, and the result is jangly, ringing, and at times wild. Weirdly tuned guitars that sound like a cross between an organ and strings are twisted with a powerful drumming wallop that can take the songs from extremely wild to moody, and haunting. "24 Hour Break-up Session" is a masterpiece of passion turned into a macabre memory, that intertwines a very powerful guitar/drum combination that probably hasn't been heard since Blue Cheer reared its ugly, rock/ blues/psychedelic head back in the 60's.

The songs on 12 Angry Months captures both the beauty and creepiness of a good relationship gone sour. The band's command of the versatility of the music, and lyrics are pivotal without diluting their brutal strength and emotional accessibility one iota. 12 Angry Months is Local H's first new studio album since 2004's Whatever Happened To P.J. Soles, which was just as explosive. Add it to their arsenal of music that they've been performing since 1995, and hearing them now (we saw them about five years ago), they make the change from great noise band to great band!

Listen to "Michelle (Again)" from 12 Angry Months by Local H

The Fletchers - Bright Blue Lights (thefletchersmusic.com)

The Fletchers have made an album that is confident, emotionally accessible, and encouraging. The opening cut "Above This" has precise drumming, and is awash with loud, but subtly interwoven guitars and harmonies. "Telephone" suffers from a flatness in the production that pops up now and then, but the band's staggeringly original and memorable music easily distract you. Durable from start to finish, The Fletchers write convincing songs like "Fatty," "Disorder," and "Paris" that are filled with melody, energy, and intelligence. I don't know how much time they had to flesh out and refine these 12 songs in the studio, but the music doesn't falter one bit. A sigh of a band that should sound even better live! - Phil Rainone

B.B & Dusty - Two Classics!

2008-05-13T14:59:00.000-07:00

Dusty Springfield - Live At The BBC DVD (Universal)

In a career that spanned five decades, Dusty Springfield's star shone the brightest in the 60's. With a string of hit records including "You Don't Have To Say You Love Me," "I Only Want To Be With You," "Son Of A Preacher Man," etc., she was one of the quintessential female vocalist of the era. In 1966 and 1967, Dusty hosted two very successful TV series for the BBC in England. This DVD shines a fresh, interesting light on these 61 performances. The combined sound and vision gives even the most hardcore Springfield fan a new view of the depth and breath of Dusty's stage presence. Motown standards like "Nowhere To Run," "Heatwave," or "Get Ready" were like fresh clay in Dusty's hands. She shaped and molded them into three minute-plus musical pop bulletins that, along with the backing musicians ( no names given), her arresting vocals and down-home style, was like turning lead into gold! Imagine, if you will, a parallel universe where a pretty blonde pop star can actually not only carry a tune (fill in the name of your favorite of-the-moment "pop tart"), but also write some of her own songs, and fret over artistic integrity. There's no making out with Madonna, no messy divorce, no custody battle, no changing your AKA from "The Queen of Soul" to "The Empress of Music." Instead there's raw, intense talent, and a credible, long career. In other words. Dusty Springfield is the real deal, and here in living-color, and for over two hours you'll understand why. Dusty could touch your heart ("I'll Never Stop Loving You, "Time After Time"), as well as your mind ("Pick Yourself Up," "Can't We Be Friends"), and not miss a heartbeat. She was a true, original talent. Extras include Dusty's appearances on The Tom Jones show, among others, and an "Audio Jukebox" that features all the songs from her shows, plus six studio versions of some of her most well known hits including "You Don't Have To Say You Love Me," and "Son Of A Preacher Man." Soulful and searching, Dusty Springfield was one of a kind, and this DVD is as enlightening as it is fun. - Phil Rainone

B. B. King- Live At The Apollo (Verve/ Universal)

On Live At The Apollo (recorded in 1991), B.B. King and his big band blast their way through these ten tunes like cosmic shamen of funk, R&B, and especially the blues, at one of the musical cradles of all things Soul. Opening with a horn-rich performance of "When Love Comes To Town," originally done with U2, they lay out the groundwork for the lovesexy crunch and urban clatter of "Sweet Sixteen," followed by the I'm-sick-of-love, slow barnburner "The Thrill Is Gone." Throughout the album, B.B.'s back-up band and singers grabbed at styles from Al Green, to James Brown, yet ultimately landed in the lap of King's unmistakable guitar playing and soulful strut that ring from the rafters and back, from the fabled Apollo Theatre. The band is a tightly orchestrated, precise unit that sparks through hits like, "Paying The Cost To Be The Boss," "Since I Met You Baby," as well as some crucial covers like Willie Nelson's shot-and-a-beer night cap, "Nightlife," and J & J Belvin's soul sturrer, "Guess Who." The closing number "Peace To The World," showcases B.B. King and the band's cosmic wit, and is like an upbeat mix of The Impressions' "People Get Ready," and O'Jay's "Love Train." Pure transcendence. Throughout the show they combined forces that wielded their way through the man's six-plus decades long string of hits with reverence, and above all, a sense of mischievous fun that B. B. played off like a coy teenager. All this added a sense of spontaneity to the planned out performance that ignited their whole set! - Phil Rainone