All posts filed under: Reviews

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E.P. REVIEW: KARYN KUHL BAND, “The Stars Will Bring You Home”

This six-song e.p. is simply delicious.  Karyn Kuhl’s been part of the New Jersey scene for quite a while (I used to see her when she was in a great Hoboken band called Gutbank – track down their Coyote Records release from ’86!); these days, she’s doing her own thing with The Karyn Kuhl Band.  This tight 4-piece includes James Mastro, guitarist extraordinaire (and owner of the incredible Guitar Bars in Hoboken – when in the area, check them out); Mr. Mastro is also the producer who gives this E.P. a clean, sparse sound that resonates with every instrument and makes Ms. Kuhl’s voice just reach right into you.  Alternating from soft to warm to sultry, this is absolutely, devastatingly good. “Sad Eyes” has a dark quality about it, yet in its semi-bleakness, the guitar figures weaved in gives the song an emotional uplift; a sweeping solo in a country vein counters the swampiness of the underlying keyboard; the deep/heavy rhythm section which is easily recognizable as tight from the first beats is stellar.  And …

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ALBUM REVIEW: CHARLIE FAYE & THE FAYETTES, s/t

The first thing that immediately strikes you when you listen to this first album from Austin-based Charlie Faye & The Fayettes is the vintage AM-radio production; a very warm ’60’s feel that works perfectly in the poppy-soulfulness of the Motown vibe.  Or if, you’re like me,  you can imagine some of these songs being lost Northern Soul classics.   But be assured, these three ladies are of and in the here and now and it’s a joyful sound coming out of my speakers that makes me enjoy this album to no end. Think about this – amongst the players on this album include Pete Thomas (yes, him) on drums, Tony Gilkyson on guitar, Roger Manning on keyboards – and so on.  The three Fayettes:  Charlie Faye on lead vocals, Betty Soo and Akina Adderley on some remarkably silky harmonies have a pretty strong pedigree on their own and this is one of those happy combinations of performers that strike the right balance. Now as for the music itself, which are all original compositions – beginning with …

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ALBUM REVIEW: PARQUET COURTS, “Human Performance”

There is a sudden buzz about Parquet Courts, especially with this new release, their 5th, Human Performance.  I usually stay blissfully unaware when it comes to New York bands (because of my disdain for The Strokes, etc. – those that never represented New York as far as this native is concerned) thanks to the deluge of nauseating hipsterdom and mediocre pseudo “new wave revivalists” or whatever bullshit they call themselves this week.  Nonetheless, the word of mouth from friends who I trust and respect led me to seek this one out and give it a try.  And being that they’ve been at this now for six years, there must be a ripening. Having said that, the first track, “Dust” caught me by surprise – quite pleasantly.  I was struck by the Wire-like manner of the song – a singular riff with taut rhythm and short verses repeated; hypnotic and interesting.  The title track, “Human Performance” has shades of Lou Reed (around Loaded) but vocally, I hear Warren Zevon’s delivery.  Musically, it has again, Wire’s structure …

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ALBUM REVIEW: THOSE PRETTY WRONGS, s/t

You may be tired of me saying “I’m not going to pretend to be objective”, but what’s the point of a review if you’re not being honest?  We’ve already been treated to no less than four songs (one of which, “Fool Of Myself”, the flipside to the debut single, “Lucky Guy” is NOT included on this album, surprisingly), so now we get to enjoy the other seven tracks that make up this debut, self-titled album. And “enjoy” is the key word.  The music Those Pretty Wrongs makes is enjoyable, warm, heart-filling, soulful pop with acoustic flavors and harmonies – and I can ask for nothing better.  I don’t need to give you the background on Those Pretty Wrongs – you know it’s Jody Stephens and Luther Russell and you know their histories.  So let’s focus on the here and now. “Ordinary” – well, there’s no way around it.  It’s going to be familiar, because there is a unquestionably a Chris Bell-like presence.  And it’s beautiful – listen to those harmonies and the guitar arrangement, with …

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E.P. REVIEW: DAN HENIG, “Paper Planes & Hurricanes”

This five-song E.P. from Ann Arbor native Dan Henig is a crisp, soulful and completely pleasant listening experience; it fits the time of season as it’s warm and has different elements – groove, danceability and some very mellow moments. Starting with “Hostage”, which has definitely radio-friendly polish and beats, you feel its familiarity and think this is going to be all dance-oriented, but “Crash and Burn” takes it into a smooth acoustic direction and Henig’s vocals are particularly powerful on this track.  “Habit” is another acoustic piece that’s equally mellow and yet has a cool groove about it; “Tell Me” goes right into that electro-pop feel and “Paper Plane” is softer, yet atmospheric at the beginning and building up into modern radio pop. An interesting, well-crafted mix of songs and styles.  Dan Henig is definitely a name to watch as I’m fairly certain he’ll be making an entry onto the national charts sooner than later. RECOMMENDED Paper Planes & Hurricanes is available now   http://www.danhenig.com/

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ALBUM REVIEW: DAVE NACHMANOFF, “Spinoza’s Dream”

It isn’t often a concept album based around the theme of classic philosophers comes along.  However, that’s the case with this new release from Al Stewart’s guitarist, Dave Nachmanoff, Spinoza’s Dream.  Nachmanoff has a Ph.D in philosophy and here he has melded his two worlds and passions to create this interesting song cycle. “That Guy” is an upbeat opening track; poppy and with groove while “Temptation” has some definite Reinardt-esque guitar textures and “One Black Swan” has a very easy ’70’s soulful feel.  The title cut, “Spinoza’s Dream” is gentle, acoustic-bodied and airy; “No Matter How Close” does, indeed, remind me of Al Stewart’s style but has a crispness all its own and to me, “Bruise On My Soul” is possibly the album’s standout with great arrangement, harmonies and powerful (yet simple) chorus.  “The Painter” is another standout with its hooky melody; “Time Of War” has a clever structure of major to minor chords on the verses and some meaty Hammond and “All Good” closes out the collection in an upbeat, hopeful way (listen for …

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REISSUE REVIEW: J.D. SOUTHER, “Black Rose”

If it wasn’t enough that John David (J.D.) Souther’s debut self-titled album was a stunner, then it shouldn’t come as any kind of surprise that his sophomore effort, Black Rose, was a masterpiece.  Originally released by Asylum Records in 1976 and produced by Peter Asher (of Peter and Gordon fame, etc.), this now-expanded 17-track edition recently re-released by Omnivore Recordings breathes new life into this vibrant collection. Featuring the likes of Linda Ronstadt, Glenn Frey, Don Henley, David Crosby, Joe Walsh and Art Garfunkel amongst others, the original ten tracks shine brightly on their own – a brief but powerful piece like “Simple Man, Simple Dream” or a slow country-soul epic like “If You Have Crying Eyes” which features the heavenly voice of Ms. Ronstadt and a string section.  “Bang My Head Against The Moon” is a neatly upbeat groover; “Baby Come Home” is another of those “great lost Eagles tracks” since Souther was very much the unsung 6th Eagle; “Black Rose” is a perfect example of mid-’70’s mellow and there isn’t anything wrong with …

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ALBUM REISSUES: THE CUCUMBERS, “The Fake Doom Years”

I suppose I could go on and on as to why you should immediately download (buy it first, dammit  – these people have families and homes!)  The Cucumbers’ newly released digital compilation of their entire Fake Doom Records output from the ’80’s, the aptly titled The Fake Doom Years.  Start with the fact that these are great, classic, clever pop songs with a sense of humor, intellect, natural-ness, charm and heart.  One of the most wonderfully striking things about The Cucumbers was their unpretentiousness, which came across clearly.  Once you’re immersed in the songs, you’ll understand immediately how good this band was. Coming from the legendary Hoboken scene, The Cucumbers, driven by Deena Shoshkes and Jon Fried, first struck a chord with me by way of their highly-infectious single “My Boyfriend” around 1983 or so – I can remember hearing it on the radio and thinking, “yes – neat – cool”.  I saw them a few times at various venues (including, of course, Maxwell’s).  But here are the facts – this compilation has 19 tracks; …

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POPDOSE VIDEO PREMIERE: THE MONKEES, “You Bring The Summer”

And as quickly as we premiered “She Makes Me Laugh”, here now is another brand new track from The Monkees’ forthcoming album, “You Bring The Summer” – this one written by Andy Partridge of XTC.  A stunningly perfect/apt track for the oncoming warm weather and an exercise of pop magnificence, it’s classic Partridge executed by a classic Monkees performance.  Small wonder – Partridge has always been a fan of The Monkees. It makes you wonder “can this album get any better”?  You bet. Good Times will be released on Friday, May 27th, 2016. http://www.monkees.com/

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ALBUM REVIEW: BLUE ORCHIDS, “The Once And Future Thing”

Once upon a band called The Fall, Martin Bramah was the original guitarist in this most important and seminal Manchester group.  But the overwhelming directing fist of Mark E. Smith dictated otherwise and Bramah left along with original keyboard player, Una Baines, to form The Blue Orchids.  While The Blue Orchids have had their stops and starts over the last 37 or so years, Bramah has seen fit to reform the band with a new line-up, a series of re-issues and a brand new album, The Once And Future Thing.  And for someone who’s been around for as long as Bramah has, he still has a lot of the youthful energy that makes this a fun and interesting listen. Opening with the very mid-’60’s/garage-y “Good Day To Live”, things are off on a very high level; catchy and driving, with the right dash of snarling punk-y vibes for good measure.  “Jam Today” has a late-period Kinks feel and is equally catchy and “Motorway” definitely harkens back to Bramah’s days with The Fall (think “Bingo Master’s …

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ALBUM REVIEW: BOB HILLMAN, “Lost Soul”

Popdose first (re)introduced you to Bob Hillman a few months ago with the video for “Big Sur”.  Now, the first full, new album from Bob Hillman in a decade – and produced by legendary singer/songwriter Peter Case – Lost Soul, is out and available and it’s a scorcher.  No frills, no soft soap, no funny business – this is all meat-and-potatoes, straight from the gut and done with skill. Going right for the kill, the album opens with the pointed “I Think I’ve Taken Enough Shit From You This Year” and it’s one of the best fuck-you songs I’ve heard in a long time.  Sometimes, you have to say what needs to be said with no room for misinterpretation and this song says it all; “Overnight Failure” looks at why a relationship goes south and “Big Sur”, as I’ve said before is sweet, wistful and filled with a perspective and maturity.  The very wryly tongue-in-cheek “I’ll Replace You With Machines” is another great swipe – presumably this time, about former bandmates who push you over …

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ALBUM REVIEW: UP THE CHAIN, “The Prison Break”

What had begun as a vehicle for singer-songwriter Reed Kendall’s solo project has now developed into a full band – a rollicking trio from Philadelphia featuring Noah Skaroff on a mean-walking bass and Kirby Sybert on skins.  Up The Chain have a new album, The Prison Break, and this sounds like what a good old-fashioned rock & roll trio should sound like. Kicking off with “Kelly Green”, which is a neat neo-psychedelic opening montage of drone, feedback, some radio snippets and segueing into “Crumbling The Stone”, for some reason, I felt/heard touches of Buffalo Springfield, especially in the harmonies and some of the riffs (nice use of 7th as well); “Sidecar” is a down-home slice of boogie and as catchy as any of those early rock records you listened to when you were a kid in the ’70’s and “Departed Trains” has a cool Chris Isaak-like feel with its heavy reverb and minor chord structures – it’s also a great “cinematic” track as it has atmosphere and visual lyrics.  “Globe”‘s church organ with echo/delay guitar …

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BOOK REVIEW: GARY SHAIL, “I Think I’m On The Guest List”

I’m not someone who would ever think to buy and read an autobiography by an actor; it’s usually not in my crosshairs of interest for reading when it comes to non-fiction.  Even reading autobiogs by rock musicians is a difficult and daunting task – I think I only ever liked one.  But every now and then, you stumble across something that just looks and sounds interesting and intriguing, so you move out of your comfort zone. Such is the case with I Think I’m On The Guest List, written by British actor Gary Shail.  I’ve known about Mr. Shail as he is one of the stars of (conceivably) my all-time favorite movie, Quadrophenia.  Because I hold that film so personally and by happenstance, finding out that he’d written his own story, I thought “this could be interesting.”  I bought a copy and I have to say, with no other criteria to go on, I’m glad I did. More often than not, celebrity autobiographies are filled with the kind of bluster that makes me inevitably hate …

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MOVIE REVIEW: “THE DAMNED – Don’t You Wish That We Were Dead”

When I first heard that a documentary had been made about The Damned, I was absolutely chomping at the bit to see it.  My love and respect for this band is well known to all and sundry; listening to, reading about and hearing The Damned has always been a constant joy for me.  And thinking that someone had finally taken the time and care to make a film was both a moment of celebration and the thought of “this is long overdue”.  I’ve always felt that The Damned were deserving of so much more of the spotlight, the accolades, the financial rewards that the other bands from that first punk rock wave/class of ’76 seem to have been reaping in the last few years.  Every time I turn around, I hear in commercials and soundtracks the Pistols or Clash or Buzzcocks, etc.  – and I begrudge none of them for gaining their well-deserved place in our culture.  But The Damned, who had an endless amount of talent and a catalog of splendid music, never seem …

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ALBUM REVIEW: Chris Bolger, “No Promises”

Chris Bolger is another of those amazing musicians whose name you’ve heard but can’t understand why he’s not in the stratosphere of stardom.  Well, no worries – his newest album, No Promises is filled with prime cuts of meaty power pop – of the glorious riff-laden, Rickenbacker twang and rich harmonies – and you will have your appetite filled nicely with this sonic blast of damned fine rock and roll.  To sweeten the pot, amongst the players who grace this fine release include (once again) super-drummer Dennis Diken, bass master Graham Maby and the everywhere guitar hero, James Mastro. Opening with the ridiculously catchy and instantly classic “Easier”, my first thoughts were that it was a great, lost Van Duren track (on the order of the Are You Serious? period); that familiar, delicious sound of a Rickenbacker carries this track along with the singalong harmonies; “Souls Turn Blue” feels like one of those great AM radio-friendly singles from around 1971 (!) and the title track, “No Promises” is a tender and melancholic acoustic piece, driven …

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ALBUM REVIEW: BUTCH YOUNG, “Mercury Man”

Butch Young has been one of those names on the scene for a long time – you know you’ve heard of him – you know you’ve heard his music and yet…  But now, with Mercury Man, you should be able to say with solidity and clarity, “yes, I do know Butch Young – isn’t “One Foot In” amazing?” and the like.  A native son of Wayne, New Jersey who once played in the splendid-pop band In Color (where his bandmate was the always-wonderful Nick Celeste and producer was the other-always-wonderful Richard Barone), Mr. Young relocated to California and has been doing his thing out there since. Mercury Man is one of the most solid, cohesive pieces to come into my consciousness and it’s an instant guide for how to write a bold, brilliant pop song.  Except he delivers twelve of them.  Saying they’re Beatlesque may sound overplayed but just with the two opening stunners, “Mercury Man” and “Persephone”, these are glorious post-’68 pieces of orchestrated brilliance – a little Lennon and a little Harrison.  He …

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ALBUM REVIEW: KAREN HAGLOF, “Perserverance And Grace”

2014′ s Western Holiday was a stunning solo debut from guitarist-turned-oncologist-turned guitarist again, Karen Haglof.  Recorded in Brooklyn’s Cowboy Technical Services Recording Rig – run by guitar legend Eric “Roscoe” Ambel and produced by another legend, Steve Almaas, the songs were just an out-and-out rock & roll marvel.  So it come to be that now, Ms. Haglof’s second album, the deftly-titled Perseverance And Grace is about to be unleashed to the public and I would say has surpassed its predecessor (!).  Part of it may be due to working in different atmospheres – Cowboy Rig, Mitch Easter’s Fidelitorium in Kernersville, North Carolina and Old Colony Mastering in Boston – and add the continuing of working together with the same core players (Ms. Haglof on guitar, Mr. Almaas on bass and guitar and Mr. C.P. Roth on drums and keyboards) to give it that even-more seasoned sound (plus, special guest vocalist Liza Colby does not hurt at all…). Take one listen to the title track and you can easily understand why – it’s a thumper of …

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BOOK REVIEW: JOE BIEL, “Good Trouble”

A gripping and fascinating read – this is the author’s own story.  And Joe Biel is not just an author – he’s a survivor of alcoholic reality, the do-it-yourself punk lifestyle, the owner and founder of Microcosm Publishing and a person with Asperger’s syndrome.  A heavy load, indeed, but this wonderful book is filled with some very high highs and some despairing lows. For someone who has endured a great deal of turmoil (not of his own doing, either at the hands of others and his disease), Biel tells the story in a very matter-of-fact, lighthearted way because the gist of this is:  one way or another, triumph over tragedy even if it’s with your own endless devotion to working at it.  And work he did, starting Microcosm as both a punk label and ‘zine.  Not all the tales are sad; some downright hilarious moments of typical adolescent punk fuck-ups and foibles are part of the stew, but the most powerful moment comes when he tries to convey his pain at being mocked, especially by …

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ALBUM REISSUES: THE FEELIES, “Only Life” and “Time For A Witness”

I’m pretty sure that I won’t be saying anything new or different about The Feelies – I’m sure it’s all been said before since the short summation about this band is that they’re great; they’ve always been great and are not only great, but legendary.  Nevertheless, their back catalog from A&M Records has now been lovingly re-issued by Bar/None; both albums – 1988’s Only Life and 1991’s Time For A Witness also come with download cards for bonus tracks, more recently recorded, and liner notes by Rick Moody and Michael Azzerad, respectively.  So although that’s more than enough to buy both, a few thoughts on the actual music… “It’s Only Life” is about a sweet a melody as you can ask for and a perfect way to open an album; the inevitable Lou Reed-styled vocal delivery can’t be overlooked but it fits the song’s mood and those little guitar fills shimmer; “Too Much” has a quasi-psychedelic and hypnotic feel; “Deep Fascination” is one of those wonderful pieces of dream-pop from the era and “Too Far …

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ALBUM REVIEW: VAS, s/t

I’ve written about and shared with you music over the last few months from a wonderful new band, VAS (originally known as “Elder”).  We premiered three tracks previously and now Popdose is happy to be the first to bring to the national stage the self-titled debut album from VAS.  I once said that this band’s sound is built around great slabs of soundscapes that are dramatic and lush – and that not only holds true, but is shown/heard to greater effect with these new songs that are unveiled.  Most importantly that this is a young band who already have a great, intuitive sense of sculpting a melody and will, undoubtedly, go from “already very good” to “predictably great” in not too long a period of time. The track “Vipers” is a perfect example – starting quietly and subdued with a tautly understated guitar/rhythm/keyboard that immediately builds up in a dramatic manner with a hypnotic guitar riff and then exiting on a quiet piano/vocal fade; “Soda Pop”, which was their introductory bow, has a swirling keyboard …

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ALBUM REVIEW: BOB MOULD, “Patch The Sky”

There’s always a certain amount of expectations when a new release comes out from a long-established artist that you’ve admired over the span of time and I will grant you, it’s not always fair – certainly to the performer nor to yourself because, of course, you’re bound for a letdown sooner or later.  Bob Mould is one of those musicians who I come to expect the unexpected from for a lot of reasons.  Mostly because it isn’t fair.  But what I do expect – if nothing else – is consistency.  And on Patch The Sky, his 12th solo album, starting after Husker Du with two and resuming after Sugar in full, there is no lack of consistency, coherence and (I know this word gets used a lot when referring to Mould) catharsis.  Of his more recent return to louder guitar/faster tempos, the sound and production of this album is possibly one of the best he’s done yet, so it shows at 55, he’s still reaching and stretching, rather than resting on his laurels or legend. …

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ALBUM REVIEW: GRAYSHOT, “Borders”

This Minneapolis trio, consisting of two brothers, Aaron (guitars/keys/vocals) and Christian (bass/keys/vocals) Ankrum and Reese Kling (drums) deliver their sophomore effort and I’m liking what I’ve heard – once again, trading on the warm soundscapes of ’80’s synth-pop and veering but never plunging into modern theatre-pop/rock, which is Borders‘ saving grace. “Far From Me” has all the right textures of a great lost China Crisis track – something out of 1982 in all the ways I appreciate – pure ’80’s synth; “Echo” is a little more modern pop friendly, but has enough restraint that it remains a quality song and doesn’t go into bombast and “Opposites” is a sharp, taut, pop song with a capital “pop” (and this track shines with great production) – easily has hit potential by its radio-friendly timbre.  “In Control” has some shades of Joy Division (because of its tempo) but the melody is bright, which would lead it more to a New Order-influenced piece; “Mystery” is another excellent and interesting track, as it starts as an acoustic-strummed number but then …

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E.P. REVIEW: VANESSA FORERO, “From The Uproar”

This British-born (with Colombian lineage) singer songwriter makes her initial bow with a self-financed E.P. called From The Uproar.  Five songs deep, this is a wonderfully rich collection of songs that immediately leave you wanting more.  Having had another two lives as a composer for television and movies AND as a best-selling author in Britain, it’s nice to see she’s putting herself in the spotlight with her incredible voice and melodic sensibilities. “Heaven Knows” has a hypnotic acoustic riff, rooted in South American flavors but has all the elements of radio friendliness; “Same Boat” is a rollickingly warm, catchy piece – again, employing the “native” feel of her Colombian roots; “I’ll Be Wrong Again” is a sweet and emotionally touching piece with its delicate melody and lyrics of a broken heart.  “Raven” is a vividly colorful piece; Ms. Forero’s vocals shine by showing her (quite dynamic) range and “Anhela” is sung in Spanish and is slow, silky and simply lovely. Every now and then, it’s a pleasure for me to get out of my usual …

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ALBUM REVIEW: EAST OF VENUS, “Memory Box”

This release makes me alternately happy and sad.  Happy because of who the musicians are; knowing them as well as I do from their amazing work (and actually knowing some of them) and sad because of losing one of their members before this album saw the light of day.  I take a great deal of solace in knowing that Omnivore Records has seen to preserve the legacy of East Of Venus with Memory Box, which is simply beautiful – as it will become timeless in your hearts and minds upon hearing. To give you a brief background on East Of Venus – they were (I hate having to use the past tense) Michael Carlucci (Winter Hours), Glenn Mercer (The Feelies, Wake Ooloo), Stan Demeski (The Feelies, Luna) and Rob Norris (The Bongos, Living With Elephants – who was reviewed here on Popdose). The music is a wonderful mixing and melding from all of those bands, but still is their own. The album features original material, as well as covers of The Red Buckets’ “Jane September,” …

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ALBUM REVIEW: PETER BUCK, “Warzone Earth”

Good thing I didn’t let this one slip through the cracks.  This guy just doesn’t slow down – rocking harder than before and belting out ballsy numbers as if he’d led a band all his life.  I mean, he did – except not as the frontman, but as the guitarist who influenced an entire generation.  And on this, his third solo album, the aptly-titled Warzone Earth, Buck’s taking no prisoners. “It Ain’t Killing Me” is a high octane, full-throttle rock spitter that Buck unleashes with his deadpan vocal style and it just kicks hard and fast; “World Spins Around You” features Wilco’s Jeff Tweedy’s lead vocal and is gentle and emotionally charged and “Gun Shaped Heart” is an instant Stooges-styled classic with a clever chord structure of minor chords bouncing off the poppier major notes. “Saturday Sunday Monday” has a complete Jesus & Mary Chain/Velvets feel, awash in noise and heavy fuzz and yet, by virtue of the lyrics, it’s a sad and mournful track and “I Hate My Life And The Way I Live” …

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ALBUM REVIEW: EMITT RHODES, “Rainbow Ends”

There has been a great deal written/talked/whispered about the long-awaited, highly-anticipated return of Emitt Rhodes, with good reason.  His long-out-of-print albums (four, from the early ’70’s) are considered musical prizes to those lucky enough to have them; his songwriting, performances and production styles are almost other-worldly and because he stopped releasing new music in 1973, the myth surrounding him has grown exponentially. There’s more than enough ample history available to read up on Mr. Rhodes and the past; what led to his abandonment of recording, etc., so I’ll leave you to find the details on your own.  What is important is the fact that he has indeed released a brand new album of all new material and it IS worth the advance buzz, hyperbole, etc.  Because it doesn’t matter how much time has gone by – Emitt Rhodes still has it.  That indescribable ability to construct a song with feel, refinement, melody and words that provoke thought.  It’s as if no time has passed by virtue of that alone. The title cut, “Rainbow Ends” is …

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ALBUM REVIEW: FREAKWATER, “Scheherazade”

Not new to any scene; in fact, been missing in action for over a decade, Freakwater return with their new album, Scheherazade.  A crushing, 12-track collection, this album sees and hears the off-kilter harmonies of Janet Bean and Catherin Irwin, who have been doing this since 1989.   Although they eschew any kind of classifications (rightfully so), their country-fied flavor/twang/vibe immediately send chills right up the spine of the fortunate listener as those voices blend beautifully and the music (sometimes deliberately understated) carries you away. “The Asp and the Albatross” is one such track, filled with a wrenching that you just can’t put your finger on; “What The People Want” starts off in such a deliciously sinister way; dark and swampy and then the vocals – always that little bit disjointed – wrap you up tightly and makes you feel it and “Take Me With You” just makes you ache from those voices and that gentle acoustic guitar.  The only word that applies is exquisite. “Velveteen Matador” sounds like it walked right out of 1968 Nashville; …