Kurt, of Kurt’s Krap, finds out what happens in the story of a girl after she cries a whole river and drowns the whole world.
John from Lost in the ’80s takes a fond look back at diminutive/ambiguously gay rocker Billy Squier:then links us to a rather amazing bedroom cover of “They Don’t Know.”
Jeff Vrabel spits on the grave of the morning DJ.
Steve from Maybe We Ain’t That Young Anymore says “Hello, world!”
Lastly, of course, here’s what I’m reviewing at Bullz-Eye this week:
Gil Ray’s I Am Atomic Man!:
(“Scott Miller fans, and baby boomers who grew up imagining Amazon women on the moon, will probably get the biggest kick out of I Am Atomic Man!, but Ray’s songs are solid, memorable, and leavened with enough enjoyably low-key humor to make this worth a bite for anyone who enjoys good, old-fashioned, well-written pop music.”)
Louise Setara’s Still Waters:
(“Unfortunately, aside from three or four well-chosen numbers, the bulk of the record runs to bland balladry â€” reducing even the great Ladysmith Black Mambazo, who make a bizarre cameo on “Sylvie,” to window dressing, and suggesting, ultimately, that while Setara may aspire to songwriter status, her true gifts lie in interpreting the work of others.”)
John Mellencamp’s Freedom’s Road:
(“Whether you ever cared about Mellencamp’s music or not, it’s impossible not to listen to couplets like “I’m an American / And I respect your point of view:and I wish you good fortune with whatever you do” without giggling, cringing, or both.”)
David Kilgour’s The Far Now:
(“Veering between full-band workouts and intimate acoustic numbers, the album presents Kilgour at his most low-key and memorably atmospheric â€” think the crystalline vocals and easy melodies of late-period Lloyd Cole, with maybe a touch of Neil and Tim Finn’s gauzy kitchen-sink production thrown in for good measure.”)