Crazy Joe and the Variable Speed Band - Eugene

Name: Crazy Joe and the Variable Speed Band
Album: Eugene
Year: 1981
Style: Humor, Disco, Novelty
Similar Bands: Ween (in a bad way), Was (Not Was), MECO, Ray Stevens, Rick Dees
"One-Word" Review: problematic novelty island disco rock
Based Out Of: NYC
Label: Polygram, Casablanca Records & Filmworks

Cover, Record

Record, Back

Eugene (1981)

1. Eugene 4:11 (single)
2. Buzz Me 2:47
3. Gay Ranchero 4:10
4. You 3:23
5. Ugga Ugga Boo 4:25/
6. Little Puffies 4:21
7. Ice Cream 2:58 (single)
8. Stranded in the Jungle 3:26
9. Madam Palm 3:11
10. Blow Up 1:40

Album Rating (1-10): 4.0

Members & Other Bands:

• "Crazy Joe" Renda - Vox, Keys, Producer (Country Cousins, Sherwoods, Alex Parche, Chip Taylor, Stoney Edwards, Bum Bar Bastards)
• Kat McCord - Vox (Fabulour Rhinestones, David Sanborn Band, Guy & Pipp Gillette)
• John Regan - Bass, Musical Arrangement (Frehly's Comet, Ace Frehly, Peter Frampton, Chip Taylor, Wendy Waldman, Lisa bade, Diane Richards, Bowie & Jagger, Rolling Stones, Billy Idol, John Waite, Bonnie Tyler, Michael Monroe, Robin Trower, David Lee Roth, Brad Absher, John Phillips, Rob Arthur, Four by Fate, High Priest, Henning Hallqvist)
• Ed Monteleone - Guitars, Musical Arrangement (Peter Frampton)
• Claude Lehenaff - Drums, Percussion (Frankie & The Knockouts)
• Rob Sabino - Organ, Piano, Synth (Frehly's Comet, Joined Forces, Simms Bros Band, Nile Rodgers, Ace Frehly, Robert Cotter, Ashford & Simpson, Chic, Norma Jean, Sister Sledge, Peter Frampton, Debbie Harry, Odyssey, Blotto, Fonzi Thornton, Michael Gregory, Bernard Edwards, Paul Simon, Bowie, Diane Richards, Madonna, Bryan Adams, Richie Scarlet, Cartoons, Rosanne Cash, Power Station, EG Daily, Mick Jagger, Jeff Beck, Rodney Crowell, Matthew Sweet, Laurie Anderson, Michael Monroe, Terri Gonzalez, Larry Neil, Art Garfunkel, Mick Jones, Todd Rundgren, Carly Simon, Johnny Mathis)
• Diane Scanlon - Backing Vox (Univ of Bridgeport Jazz Rock Ensemble, Felix Cavaliere, Guy & Pipp Gillette, Siji)
• Ace Frehley - Syndrum, Co-Producer (Frehly's Comet, Kiss, For Love Not Lisa, Gene Simmons, Wendy O Williams, Criss, ESP, Still Wicked, Richie Scarlet, Kathy Valentine, Jam Pain Society, Ken Sharp)
• John Platania - Guitar Effects (Prof. Louie & the Crowmatrix, Caledonia Soul Orch, Giants, Chip Taylor, John Prine, Van Morrison, Gary Kuper, Don Cooper, Genya Ravan, Sam Leopold, Randy Newman, Stony Edwards, Gary Windo, Martha Velez, Dean Batstone, Gathering Field, Children of Earth, Greg Kroll, Guy Davis, MJ Nelson, Kendel Carson, Billy Vera, Evie Sands)
• Chris Cassone - Backing Vox, Talk Box, Engineer 
• Mike Hunt - Sax (Billy Blacktooth)
• Gary Axelbank - Radio Announcer
• Dennis Kaplan - Mgmt
• John Nagy - Mixing
• Greg Calbi - Mastering
• Richard Wexler - Photo
• Stephanie Zuras - Design
• Bob Heimall - Art Direction

Unknown-ness: Never heard of this band. Looks like a basic power pop or pub rock band who likes to have a good time (see: guy tugging pizza out of a dog's mouth with his mouth)

Album Review: This entire album is absolutely horrible. Musically, it is OK, mostly leans toward disco,  and when the female vocals are isolated, it can be enjoyable. But each song employs comical vocals or effects, some of which are not very PC sounding, and most of the time, not very musical...take the immigrant, for whom, English is not his first language on "Eugene," or the alien rock band obsessed with underaged girls on "Little Puffies," or the homosexual vocal inflection in "Gay Ranchero." Even on the best track "Ice Cream," which starts out like a nice female r&b pop number with some fun synth energy. It is hampered by the sedated, monotone male speaking voice placed jarringly over some verse and backing the lead chorus. This vocal is the main vocal across the whole record, most of the time seeming more like a failed sketch comedy skit than a musical endeavor. 

The only pop appeal is that Ace Frehley had a hand in this band & it's "popularity." This is his first official work non related to Kiss. He co-produced and is featured on the single "Eugene." Other than that, Joe Renda made a name for himself as a producer more than a performer.

Stand Out Track: Ice Cream

Links:
Youtube full album
Discogs
Allmusic
Kissmonster
101.5 WPDH
The Stranger
Rate your Music
105.7 The Hawk

Rare Air - Hard to Beat

Name: Rare Air
Album: Hard to Beat
Year: 1987
Style: Celtic Bagpipe Instrumentals, Smooth Jazz
Similar Bands: Cheiftans, Enya, Celtic Thunder, 
"One-Word" Review: Windswept Irish Countryside
Based Out Of: Toronto, Canada
Label: Green Linnet Records

Cover, Liner Notes, Record

Back, Liner Notes, Record

Hard to Beat (1987)

1. Tribal Rites 2:24
2. Taxi Suite 6:10
3. Inside Out 7:08
4. Small as Life 5:36 /
5. Marvin's March (For Marvin Gaye) 2:42
6. The Waiting Room 5:38
7. Dee Dee Diddley Bop 4:23
8. Onward Blindly Onward 4:03
9. Beam Me up 4:05

Album Rating (1-10): 4.0

Members & Other Bands:

• Dave Hillier - Recording, Mixing, Producer, Drum Program
• Ellison Robertson - Cover Painting
• Michael Foster - Cover Photos
• Karl Martens - Cover Design & Layout
• George Balderose - Artistic Manager
• Pat O'Gorman - Highland Bagpipes, 'D' Flute, Biniou-koz, 'Eb' Flute, Bagpipes (City of Toronto Pipe Band, Na Cabarfeidh, Chalk Circle, Mychael Danna, Casadh An Tsugain, Howard Baer, )
• Grier Coppins - Synth, Highland Bagpipes, Bombarde, Whistle, Bagpipes (City of Toronto Pipe Band, Na Cabarfeidh, Bernie Martin, Muchael Danna, Jaron Freeman-Fox, Al Tuck)
• Dick Murai - Guitar, Bass, Drum Program, Bells, Vega Tenor Lute (Na Cabarfeidh)
• Trevor Ferrier - Roto Toms, Brass Drum, Percussion, Clay Drums, Bells, Shakere, Snare Drums, Tabla, Long Drums (City of Toronto Pipe Band, Na Cabarfeidh, Jane Siberry, Pat Kilbride, Kalimba Kalimba, David Essig, Njacko Backo)
• 'Truck Croteau - Bouzouki
• Tom Coyne - Mastering

Unknown-ness: Never heard of this band, but the packaging is odd, as you flip the record over, not from right to left to correctly view the back. From the cover art work, and the ransom letter font on the side A Front, and the multicultural + bagpipe cover on the back, i want to believe this is some interesting indie punk, but i believe it will be more college radio, jangley rock, based on the year. 

Album Review: This is straight up instrumental, bagpipe heavy jazzy soundscapes. There is a little Asian influence and some middle eastern theme in the music too, so it does not always just carry a Celtic feel. On this record Marvin's March & Dee Dee... are both homages to African American culture. Most of the songs feel like jigs and ceremonial songs. The instrumentation is mostly performed on old world devices. They continued to divert to alternate directions, and after this album and the departure of two members, they headed into the direction of Jazz Fusion.

Stand Out Track: Onward Blindly Onward

Links:

Spotify full album
Wiki

Discogs

Allmusic

compass records

amoeba music

Chicago Tribune 1990 article

Yehuda Poliker - Ashes & Dust

Name: Yehuda Poliker

Album: Ashes & Dust

Year: 1988

Style: Hebrew/Jewish Traditional, Mediterranean

Similar Bands: Theodore Bikel, Gruff Rhys

"One-Word" Review: Bleak-wind-echo-klezmer-rock

Based Out Of: Kiryat Haim, Israel
Label: CBS

 Ashes & Dust - Cover, Liner & Tape

Ashes & Dust - Liner Notes & Tape

Ashes & Dust (1988)

1. Efer Vavak (Ashes & Dust) 4:31
2. Chalon Layam Hatichon (A Window to the Mediterranean) 5:36
3. Kshetigdal (When You Grow Up) 4:18
4. Shir Acharey Hageshem (Song After the Rain) 4:06
5. Prachim Baruach (Flowers in the Wind) 4:31
6. Hatachana Haktana Treblinka (Last Station Treblinka) 5:12 /
7. Yalel 2:27
8. Radio Ramallah 5:14
9. Ahva Horeget (Love Kills) 5:02
10. Mikan Vad Bichlal (From Now On) 5:22
11. Kol Meertz Haruach (Voice from the Land of the Wind) 5:43
12. Biglal (Because) 4:49

Album Rating (1-10): 4.0

Members & Other Bands:

Yehudad Poliker - Vox, Guitar, Music, Arrangement, Production

Ya'akov Gilad - Lyrics, Arrangement Production
Halina Birnbaum - Lyrics, Translation
Vladshaw Shlengel - Lyrics

Yoad Nevo - Assistant, Recording
Simon Weinstock - Mixing
M. Hooning - Mastering, Digital Editing
J.Lamme - Cutting Engineer
Jan Saudeck - Cover Photo
Gandy Markus - Inner Cover Photo
Vardi Kahana - Inner Cover Photo
Michael Kleg - Inner Cover Photo
Yehuda Dery - Cover Design

Unknownness: I have never heard of this artist. But I found this tape in a clearance section of a library cast off book & music store, and I was on a hunt for more Eastern European, Klezmer music. I found this bleak looking tape, and decided to give it a try. With a production date of 1988, I really have no idea what to expect.

  

Album Review:  I was unaware that this was an Israeli pop album about the holocaust, as Wikipedai has pointed out. Yehuda’s father escaped from Auschwitz, so I can only imagine this has some second-hand story telling and spirit, and ultimately lead up to the bio-pic Because of that War a few years later. The album is all in hebrew, so I’ll not be able to understand the lyrics except by the emotion evoked.

Efer Vavak (Ashes & Dust) feels like an Italian folk song as it starts out with what sounds like an accordion and strumming guitar. Once the singing begins, the Yiddish theme emerges, and the result is an emotional, powerful ballad.
Chalon Layam Hatichon (A Window to the Mediterranean) is a darker, more sinister song at the beginning, with a gloomy hum stalking in the background. But the singing has a much more positive and hopeful approach. The transition/bridge between verse and the chorus has a nice hook in its build. There is a very earthy, and new age feel to the song as well, with the way the guitars echo and there is a breezy like chime in the background with a similar echo effect.
Kshetigdal (When You Grow Up) initially feels like theme music from a Dragon Warrior game when the warrior is tired, but in a safe and familiar place. Comfort and wisdom note the song’s character. The music is not a solid straight line, it is jagged and its flourishes are start/stop. Only the chorus glides by effortlessly.
Shir Acharey Hageshem (Song After the Rain) has a little bit of a western / Blaze of Glory feel to it, mainly thanks to the twangy guitar, and percussive march in the background. The chorus is repetitive in lyric, but it rolls the lyrics over the same melody over three keys, and is enjoyable in the anticipation and delivery feel.
Prachim Baruach (Flowers in the Wind) begins in a new age fashion too, but one that is bleak and sinister. The echoing bell/chimes effect is entrancing, and sometimes off-key. I like the atmosphere the song creates. The song also has loud booming bass drums that are sporadic, but when they hit, remind me of something big, like Genesis or something. An electric guitar wallows in pain and adds the perfect anger/frustration to the songs already confused emotion.
Hatachana Haktana Treblinka (Last Station Treblinka) begins with strumming guitars faint in the background, and an oscillating hum. This is the song that reminds me a lot of Gruff Rhys (from Super Furry Animals) live performance, were he begins instruments one at a time, and the lyrics over top are mostly spoken or echoing chants rather than sung. The song builds, and a steady drum beat starts around 2:15 in. There are controlled metal screeches that come and go, perhaps mimicking trains passing.

Yalel seems to pick up with the twisting metal sounds from the previous side/song, and progresses like a Middle Eastern religious chant with a circular buzz in the background.
Radio Ramallah continues the Middle Eastern sound, and reminds me a little of Faith No More’s Wood peckers from Mars in the very beginning. The song is more rocking than the other songs that felt more folky and traditional. There is a rock drum beat, and the song’s pace is quicker and surer. The chorus is catchy and besides FNM, it also feels like the rock/Mid-Eastern blend that Firewater or Gogol Bordello are popular for (and to a lesser degree, System of a Down, but I hate even mentioning them).
Ahva Horeget (Love Kills) continues with the hard rock/ Eastern European style of music. This song reminds me of a mix of Ween’s Stallion part 5 & I Can’t Put My Finger on It. It is a soaring, driving, near-disco song with the violin-sounding strings. Suddenly out of nowhere about 4 min in, the singer just shouts for seemingly no reason, except for perhaps the song’s climactic point. It ends in an electric fury and an echoing of guitar.
Mikan Vad Bichlal (From Now On) is another wind swept song-scape, with acoustic guitar leading the way, echoing as the entire album has before it. It is somewhat sad and solemn song once the vocals begin. It grows in confidence, and gets a little aggressive in its optimism, backed by the familiar echoing chime/bells effect. The song continuously feels like it is just starting out, building to something grand, but it never really unleashes the anticipated delivery. And with a whoosh effect, the song ends.
Kol Meertz Haruach (Voice from the Land of the Wind) continues the echoing wind effect, and backs it up with somber violin/string composition. This too starts out sad and beaten down. The vocals grow louder and it is loud calling out/chant/shout, with a yearning emotion. And like a whisper or a gale, it quietly fades away.
Biglal (Because) starts with spoken vocals with massive echo. The music begins with a sinister, almost industrial stripped down drum and guitar rhythm. The vocals continue to be spoken, not sung, and the song drives on, growing more intense with a Middle Eastern buzz in the background.

Overall, the album has a few select catchy & memorable hooks here and there. On a whole, it is depressing, which I believe was mostly the concept of design, with the topic being such a horrific tragedy as the holocaust. There are a few instances where the rock and traditional moments blend together flawlessly, but there is even more dead space and tedious construction to make it grow better on repeat listens.

Stand Out Track: Radio Ramallah (live)

Links:

Wikipedia

IMDB Because of That War 

Israel Music

Dartmout Jewish Sounds Archive

Allmusic

Low Pop Suicide - On The Cross of Commerce

Name: Low Pop Suicide
Album: On the Cross of Commerce
Year: 1993
Style: Alternative, Gothic New Wave,
Similar Bands: Nine Inch Nails, Gene Loves Jezebel, Lucy Show, Tool, Filter, Alice in Chains
"One-Word" Review: Droning Heavy Alternative
Based Out Of: Los Angeles
Label: World Domination, Capitol Records

On The Cross of Commerce - Cover, Album Art, CD Tray

On The Cross of Commerce - Liner Notes, CD, CD Back

On The Cross of Commerce (1993)

1. Here We Go 4:29
2. Kiss Your Lips 3:00
3. My Way 4:07
4. Disengaged 3:10
5. It's Easy 2:12
6. Your God Can't Feel My Pain 4:22
7. Crush 4:30
8. Ride 4:42
9. Gimme Gimme 4:01
10. Imagine My Love 4:24
11. All In Death Is Sweet 4:42

Album Rating (1-10): 4.0

Members & Other Bands:

Dave Allen - Producer, Bass, Art Direction (Gang Of Four, Shriekback, The Elastic Purejoy, King Swamp)

Rick Boston - Producer, Guitars, Vox, Art Direction (Rickie Lee Jones, The Januaries)
Dave Ogilvie - Reproducer, reconstructor

Ken Marshall- Engineering

Jeff Ward - Drums

Michael Vail Blum - Recoding & Mixing

Brian Gardner - Mastering, Vocals

Chrissie Scheft - Vox

Cynthia Coulter - Bass

Steven R Gilmore - Sleeve and Art Direction

Ron Stone - MGMT
Susie McKinley - MGMT

Allison Hamamura - Agent

Fred Ansis - Laywer

Melle Steagal - Drums

Unknown-ness: I kind of remember knowing these guys, but I cannot recall what this album is like. I got this in a bottom shelf dollar bin in a California record shop in 99, but I don’t remember why. From the gothic artwork, and religious / angry at religion wording, I imagine that this will sound like depressing goth rock or industrial, or some sort of blend spurred on from Nine Inch Nails fame. I imagine it might be like the band Stabbing Westward or, just from the name probably, Pop Will Eat Itself.

Album Review: “Here We Go” starts with a grinding metal guitar, but with an echo, it feels very dream pop distant. The vocals are smoothly gliding over the melody, almost like it is played backwards. It feels very much like 80’s gothic new wave, updated a bit for the 90’s with a deep alternative bass lines in the background. But the foreground displays the ringing guitars and it sounds very ethereal.
“Kiss Your Lips” rocks out much heavier and darker from the start. This sounds a little like Tool (music and vox) or mid-career Metallica (heavy guitar breakdown in chorus).
“My Way” is heavy again, but there is a melody underneath the heavy guitar that is much catchier, and a fun bouncy baseline. But the rest of the song is a little empty. It is very vocals centered, which are not that interesting or catchy. But they do sound like Filter or any heavy alternative band.
“Disengaged” has a muted jangly guitar in the outset, but then a heavier bass line comes in, and the rest of the song stomps to a darker beat. The nervous, fluttering vocals remind me of NIN in this song, but the music is not nearly as unique or groundbreaking. There is anger in the vocals during the chorus, but it feels like an act.
“It's Easy” fades into with a heavy, metal guitar playing a jangly hook. The vocals almost have a country feel to them, the way they sing over the loud, muddled guitar. No percussion or bass, just fuzzed metal guitar and a very sing-song melody.

“Your God Can't Feel My Pain” starts with a humming, Middle Eastern tinged intro, and then comes crashing in with a heavy guitar hook and Alice in Chains style vocals, but the hum remains, amplified if anything. The hum seems to grow, promising to overtake the entire song. The song itself is somewhat one dimensional, as it is just a growing buzz, not changing too much or offering much diversity in its 4+ minute length.
“Crush” takes us back into the gothic new wave & jangly, soaring, guitar pop. Full on instrumental for the first minute and a half, we are joined with deep vocals, chant-spoken over the music, like Fad Gadget or Bay of Pigs. But the majority of the song is just the ringing guitars and drone rock.
“Ride” continues the dark new wave, with a slight update of electronic alteration of the guitars to make them sound like they are skipping. The vocals are strained but emotional. It has a bit of a programmed, mechanical edge to it, with some of the percussion sounding a little industrial.
“Gimme Gimme” begins with a drum beat only. And then the bass is added. Next are shrill power drill guitars followed by a Duran Duran style rhythm guitar. He instruments are added one at a time like many Nitzer Ebb songs. The vocals are overly strained, and they sound like they are ready to explode like a bottle of shaken soda.
“Imagine My Love” starts right off with a Middle Eastern feel again. But it starts with an intensity and speed that remains constantly driving. The chorus repeats at random times it feels, but it is one of those annoyingly catchy hooks that resonates and burns itself into your memory. The song ends with the guitar hook from 2 Live Crew’s My Seven Bizzos, which was stolen from Jimi Hendix’s “Voodoo Child.”
“All In Death Is Sweet” has a slow gradual start with random guitar and drum fills. Then a liquidy guitar begins playing lovingly, reminding me of Ween jam songs. There is finally cohesion of the drums and guitar, but it is a slow, wispy ballad. As a complete instrumental, the song tries to capture a Jimi Hendrix Jam Band vibe, with the instruments slipping in and out of structure, and never really sticking together long enough to catch a beat.

Stand Out Track: Imagine My Love

Links:

Wiki
Fan page
Allmusic

Misfits Central
Trouser Press

American Minor - The Buffalo Creek EP

Name: American Minor
Album: The Buffalo Creek EP
Year: 2004
Style: Americana, Classic Rock
Similar Bands: Black Crows, Iron Butterfly
"One-Word" Review: Car-on-the-Lawn Rock
Based Out Of : New York, NY/Huntington, WV/Champaign, IL, West Virginia, US
Label: Zomba, Jive, Chrysalis

Buffalo Creek EP - Front & Back

Buffalo Creek EP - Inside & CD

Buffalo Creek EP (2004)

1. Walk On 3:23
2. Buffalo Creek 3:34
3. Movin' On Up 3:34
4. Get On It 3:04

Album Rating (1-10): 4.0

Memberd & Other Bands:

Robert McCutcheon - Vox

Bud Carroll - Guitars

Joshua Gragg - Guitars

Josh Knox - Drums

John Goodmanson - Produced, Engineered, Mixed

Benmont Tench - Hammond & Wurlitzer (Tom Petty & Heartbreakers, Mudcrutch)

Howie Weinberg - Mastering

Rodel Delfin - Management

Michael Tedesco - A&R

Nick Gamma - Art Direction & Design

Clay Patrick McBride - Photography

Unknown-ness: I’ve never heard of these guys, and this is a CD I received from a friend trying to cut back on his collection. What can I say; I’m a bit of a hoarder, so I took it. Based on the brown cardboard case and the wood-cut stamp looking artwork, I’d say these guys will be bluesy rock. I’m not a big fan of this genre, so I can’t compare it to too much. I’m just glad it is only 4 songs long, so it will not be too much torture if it is unpleasant.

Album Review: “Walk On” has shaky raspy vocals and rocks out right away. It takes elements from classic rock, the Black Crows and other southern rock bands of this niche. It feels like it would have had a nice place to thrive in 1995, with the dirty riffs and crunching melodic guitars.
“Buffalo Creek” is this albums namesake. And it feels a bit Black Sabbathy, with head banging guitars. The raspy vocals continue. The middle section lightens up with light guitars and vocals. But that turns into wailing guitars for the instrumental section.
“Movin' On Up” is more meandering and psychedelic, but it still fits into the bluesy rock style they’ve set in motion. The chorus is more rocking, and it returns to the original form when it gets back to the verse.
“Get On It” starts right off into power rock. The verse lets the guitars retire for a bit. The song is structured like a Tom Petty power pop song. But the rocking guitars are given their own chorus.

I don't really go for this sort of music, its jut not appealing to me, but it sounds like it is done well. I'm picking the stand out track based on the fact that it does stand out a bit more than the rest, and it is the album title, too.

Stand Out Track: Buffalo Creek

Links:

Myspace

Star Pulse

Blog Critics

all music

Joan of Arc - The Gap

Name: Joan of Arc
Album: The Gap
Year: 2000
Style: Electronic, Ambient, Folk
Similar Bands: Neil Halsted, Wilco
"One-Word" Review: Jarringly-mashed-up-folk-song-ideas
Based Out Of: Chicago, IL
Label: Jade Tree

The Gap - Cover and Insert Covers

The Gap - Back & Lyrics

The Gap - Record

The Gap (2000)

1. (You)[I] Can Not See (You)[Me] As (I)[You]Can 3:19
2. As Black Pants Make Cats Hair Appear 7:48
3. Knife Fights Every Night 5:07
4. John Cassavetes, Assata Shakur and Guy Debord Walk Into A Bar... 0:54
5. Another Brick in the Gap, Pt. 2 2:57 /
6. Zelda 1:56
7. Pleasure Isn't Simple 3:18
8. Me & America (or) United Colors of the Gap 5:18
9. Your Impersonation This Morning of Me Last Night 9:11\
10. Outside the Gap 2:45

Album Rating (1-10): 4.0

Members & Other Bands:

Tim Kinsella - (Cap'n Jazz, Owls, The Sky Corvair, Friend/Enemy, Everyoned, Make Believe)
Mike Kinsella - (Cap'n Jazz, Owls)
Todd Mattei - Photography (Friend/Enemy)
Jeremy Boyle - Keys (Cap'n Jazz)
Matt Clark
Elliot Dicks - Engineer
Alan Douches - Mastering
Rebecca Gates - Vocals (Spinanes)
Ryan Hembrey - Bass, Vox
Jeremy Lemos -Recording
Damon Locks - Vox
Casey Rice - Producer
Sheik LaBod - Additional Recording
Tania Bowers - Vox
Julie Pommeleau - Vox
Paul Koob - Art Direction & Design

Unknown-ness: I’ve never heard of these guys. Well, that’s not completely true. Since I began to research these guys, I came across a promo photo that I distinctly remembered and was interested in a few years back when I’d check out the local concert listings. So I have been familiar with them without really knowing who they were. This was a record that I got from a friend who moved to Chicago (ironically) and she gave this to me since she did not like it too much. I really do not know what to expect on this, except, from the minimal and busy artwork, perhaps some experimental and ambient noise mixed with standard indie fair.


Album Review: “You)[I] Can Not See (You)[Me] As (I)[You]Can” is a slow moving acoustic with echo lullaby. It reminds me of a Jeff Buckley sketch mixed with some James – Laid material. It has the liquid echo and light mid range vocals. But it is ultra simple. The vocals and music cut in and out at random points, and it is so random that I am not entirely sure that this is how the song sounds or if it is my recording of the record. The end increases in energy as a wall of sound builds until the song cuts out and makes way for the next track.
“As Black Pants Make Cats Hair Appear” is a tune up session of random little melodies played on the guitars and random drum fills. It feels like experimental Jazz with out any boundaries. The percussion includes a clanging of what sounds like glass bottles and metallic chains. Around 1:20 the music picks a melody and the drums support it and for another minute a tangible song evolves. But the percussion goes on its own for a few bars until it returns for the melodic chorus. It is repetitive but catchy. At different points a chorus of vocals or a wispy female voice overlaps the nasally lead vocals. There is a slow breakdown as the instruments, aside from the melody holding “dream guitar,” all decide to evolve in their own distinct directions. The instruments withdraw slowly, and a synthetic robotic chirp is added as the song repeats its chorus toward the sudden ending.
“Knife Fights Every Night” begins with a short section of melodic piano and strings, but if only this melody were maintained, I might be able to follow it much better. But the annoying tempo changes and instrument breaks make it hard to get a grasp on this song as anything more than an art form. A bass line echoes down the scale from high to low pitch until it distorts out of the song. Like a whale swimming by a submarine and or if a star’s Doppler shift would be audible. The vocals feel inconsequential, as just part of the music’s landscape, rather than being anything catchy to guide the song along.
“John Cassavetes, Assata Shakur and Guy Debord Walk Into A Bar...” is just a repetitive bass line with odd string picking sounds and slow rhythmic trash can percussion. Randomly picked guitars also become involves with the song, but they quickly end, leaving a repetitive siren like “spinning top” of a noise to finish out the track, which I think is actually “Another Brick in the Gap, Pt. 2” and I just cut it off before the entire track played out.

“Zelda” begins side 2 with what feels like a bunch of song ideas tied together with a lovely guitar. The drums are crashing and beating out of whack with the rest of the song, and it feels like two ideas were laid over to make one track, sometimes it matches nicely, sometimes one music pulls attention away from the rest of the song in a jarring way. The song transitions into “Pleasure Isn't Simple” and it feels like it is basically the same song.
“Me & America (or) United Colors of the Gap” starts off from the start sounding like a song, at least more so than the rest of the songs. The vocals are assured and have a distinct melody, and the music, drums included adapt the song pleasurably, rather than detracting. The bass line is a little off, but it plays out interestingly, and not detrimentally. The music cohesively takes over, and the string section flows in a fun fashion over the bass and depressed guitars. The drums are smooth and rhythmic in their play.
“Your Impersonation This Morning of Me Last Night” is again, a light acoustic guitar inspired song. As I feel I have to compare the music to being song-like or not, this is definitely more like the delicate intro to a moody, romantic folk ballad. The drums are mixed far down in the background and barely come out except the quick rat-a-tat fills and cymbals. About 2:30 in, the first vocals surface. Quiet, hushed monotone words pick up unusual melodies out of the backing music. The vocals begin to repeat, and sound like mentally ill ramblings, repeated over and over accompanied by a rocking motion for comfort. The vocals fade out in an echoy shuddering whirlpool of synth fuzz. The acoustic guitar continues to jangle out the rest of the song with the familiar melody it’s played for the entire 9 minute song.
“Outside the Gap” begins as soon as the guitar ends, with a phantom echoing bells and haunting, quiet buzzing and cymbals reverberating across the soundscape. There is no real melody here, just ambient ringing and a short set of vocals melodically talking over the end of the song, as if reading the album in epitaph.

Stand Out Track: Me & America (or) United Colors of the Gap

Links:
Allmusic
Wikipedia
website
Artist Direct
myspace
Tim Kinsella's Myspace?
Tim Kinsella Wiki
Last FM
The L Magazine

Gratitude - S/T

Name: Gratitude
Album: S/T
Year: 2005
Style: Pop-Rock Emo Radio
Similar Bands: Better Than Ezra, Semisonic, U2, Dishwalla
"One Word" Review: throwaway-alterna-radio
Based Out Of: San Francisco, Ca.
Label: Atlantic, Velvet Hammer Music and Management Group

S/T: Cover, CD, Back (Promo)

S/T (2005)

1. Drive Away 3:19
2. Last 3:23
3. All in a Row 2:53
4. The Greatest Wonder 4:11
5. This is the Part 2:54
6. Feel Alright 3:55
7. Sadie 3:46
8. Someone to Love 4:36
9. Another Division St. 3:44
10. If Ever 3:39
11. Dream Again 3:09
12. Begin Again 3:47

Album Rating (1-10): 4.0

Members & Other Bands:
Jim Scott - Produced, Engineered, Mixed
David "Beno" Benveniste - Exec. Producer
Mark Weinberg - Guitar (Crumb)
Thomas Becker - Drums
Bob Lindsey - Bass (Attention)
Jonah Sonz Matranga - Vocals (Far, Onelinedrawing, New End Original)
Jeremy Tappero - Guitars (Far, Attention)

Unknown-ness: I saw one video/song of theirs on Comcast’s music on demand cable service, and liked it enough to recall their name from memory when I saw the promo cd a few months (year?) later for 88 cents. From what I can remember, they were a catchy hard rock band, possible straying into the metal/emo territory. The sleeve & cd give off the vibe of a hardcore album, with the minimal artwork, black and red color scheme, and stenciled name/leaf logo. But I think they are more pop than that, from a little that I’ve read. But I don’t think I ever listened to this CD.

Album Review: “Drive Away” starts off with vocals, sounding like an emo version of Better than Ezra. It also has a bit of Semisonic thrown in there with heavier guitars. The chorus is a bit annoying, but the song has some catchy bits too. It sounds like it was made for high school kids cryin in their cars, running away from home, to live it out in their girlfriend’s garage for a day before missing mom. “Last” launches into more emo with the strong generic vocals, and guitars that crash to a waltz beat. They would feel right at home covering the BtE song “Good” “It was goooood, living with you whah-haa.” Next, “All in a Row” starts with an anthemic guitar section, and the song is dotted with him breaking his normal flat vocal with an energetic yell. They are really trying to rock out, but it comes off limp and meandering like U2. The next song is a slow ballady track called “The Greatest Wonder.” It grows in strength, really like a U2 song this time with its anthemic drum march. His emo interpretive singing comes in, sounding a bit like Ours, with half the talent. “This is the Part” is a rushed, driving song, with emo lamenting. There are a lot of breaks in the song, and overall, it sound like terrible music. “Feel Alright” adds to the heavy-ish guitar that comes off weak and harmless like a declawed kitten. When you realize how sad a declawed kitten is, then you have this music’s metaphor down perfectly. Now I have to equate them to Dishwalla, cause yup, they fit there too.

“Sadie” starts off with a sad ballad intro about, guess who, Sadie. The pace picks up to pop rock pathetic status, Harmonized vocals don’t really help, as it is just harmonizing one yelled note, rather than filling in the musical background. It is the held notes that he emotionally echoes that really just sound annoying and a bit off. “Someone to Love” tries to be an acoustic ballad with chugging bass and tack-a-tack drums. It gives off the same sentiment as Jefferson Airplane’s famous track, but in a pathetic rich kid theme. “Another Division St.” starts off with guitar potential, but is ruined with the singing. I’ve come to realize I really just can’t stand this type of vocals that chooses to annoyingly hang onto the last syllable of a lyric in a raised volume, emo-yelling style. And the reason is because I like a hook. Hooks are best generated in the exact spot where bands like this choose to hold the note, and I just cannot identify or enjoy this alternative. “If Ever” starts out quietly, like half of the album does. It is another relationship song, but the vocals are performed a bit more simply, which is a good thing. The quiet nature of the song does not make it stand out, but this is another ballad that cries out for a synthesizer to put that specific zinging electronic effect behind the guitars to make the melody stand out. “Dream Again” the intro of the song is has a good quick start/stop guitar melody, but as soon as the drums kick in, it is abandoned for note-held verse lyrics. Sure it is revisited a few times, but the rest of the song erases the building of value it generates. “Begin Again” starts with a whisper of vocals and a metronome drum beat. The music starts with is a nice stop/start rhythm, and quickly smears into uncalculated noise and joins the boring vocal melody into another generic track. But the song does give us a fade out, which is very nice of them.

Stand Out Track: Drive Away

Links:
Allmusic
Wikipedia
Myspace
attitude myspace
attitude page
Jonah page
Bob myspace
Jeremy myspace
David myspace
Sound as Language review
Last FM
Indie London

Fire Deuce - Children of the Deuce

Name: Fire Deuce
Album: Children of the Deuce
Year: 2005
Style: Screech-Metal
Similar Bands: Megadeath, Guns N Roses
"One-Word" Review: Halloween Hairband

Based Out Of: New York, NY
Label: CI records, Lumberjack Mordam Music Group

Children of the Deuce - Cover & Back

Children of the Deuce - Inside & CD

Children of the Deuce (2005)

1. Children of the Deuce 4:32
2. Fast Food and Fornication 2:47
3. Victory 3:33
4. Keep it Steel 3:34

Album Rating (1-10): 4.0

Members & Other Bands:
J.E. Deuce (Joey Eppard) - Guitars, Bass, Vox, Mixed, prodeuced (Three, Math)
Cleveland Stever (Travis Stever) - Vox, Guitar, Bass (Coheed and Cambria)
Deuce Freely (Billy Riker) - Guitar, Bass (Three, Math)
Gart Deuce (Chris Gartman) - Drums (Three)
Clyde Dirty Deuce (Claudio Sanchez) - Honks on the Harp, Vox (Coheed and Cambria)
Deuce Newton (Josh Eppard) - Drums (Weerd Science, Coheed and Cambria, Three)
Deuce Shishkabob (Mark Schiskie) - Trumpet
Dom Della Deuce (Joe Stote) - Keys

Unknown-ness: I never heard of these guys. I don’t remember exactly why I bought this record, except that it was for a dollar in an Amoeba music bin. Perhaps I liked the name Fire Deuce. Perhaps it was because of the art work, which looks like a Victorian castle’s velvet wallpaper print. Either way, there are only 4 songs on it, so I doubt I bought it for the titles. I think I expected it to be some kind of eastern European style music, perhaps from the picture on the front.

Album Review: “Children of the Deuce” starts off the ep with bells ringing and staggered metal rhythm guitars. The vocals are gruff and fake-deep…like they are really trying to be deep. Then they transform to Axl Rose style vocals. The chorus is actually pretty good, following the staggered start/stop style. There is a silent lucidity section, and yell-screeching vocals over the driving guitar and drums repeating the chorus and album title. Half of the song is pretty good, but the jokey metal side (as I’m sure is just trying to bring some humor to the song) kinda makes it drag its feet. “Fast Food and Fornication” features a nice driving guitar and complimentary horn section. But the metal high pitch vocals are not to my tastes. There is a chorus of female backing vocals which would make the song stand out if it weren’t for the soaring (and ear soreing) vocals. “Victory” is a more 80’s rock driving song, and feels more at home with the shrieking vocals. And in this song, they drop their own band name. It is not bad for the genre, but I’ve read that these guys, a spin off of Coheed & Cambria (whom I’m not familiar with) made this as a kind of tongue in cheek project. So it is meant to exemplify the specific aspects of metal. And in this case it involves unintelligible voice cracking. “Keep it Steel” has a bit of a progressive (which is another aspect that these guys pull from their main projects for this side project) bass and guitar work in the beginning, and it repeats throughout the song. There are some high vocal attempts, but they are never nailed, perhaps on purpose? Metal guitars rumble and scale throughout the end of the song, which finishes off with a jungle-rhythm percussion solo.

Stand Out Track: Fast Food & Fornication

Links:
allmusic
wikipedia
myspace
CI Records
Last FM
Nation Master Encyclopedia

Convoy - Black Licorice

Band: Convoy
Album: Black Licorice
Year: 2001
Style: Southern Pop-Rock
Similar Bands: Big Star, Afghan Wigs, Teenage Fanclub
"One-Word" Review: poppy,updated-classic-rock.
Based Out Of: San Diego, Ca
Label: Hybrid, Atlantic

Black Licorice - Cover, Liner Notes, CD & Tray

Black Licorice - Liner Notes & Back

Black Licorice (2001)

1. Gone So Quick Tomorrow 4:12
2. Here's Lookin' At You 3:53
3. Caught Up In You 3:31
4. Anythime She Wants It 4:21
5. Is He In Your Heart Tonight 4:35
6. Weekends 2:56
7. Alice 3:40
8. Wet Cement 2:51
9. So Much you Can Do 3:23
10. Eleventeen 4:04
11. Loosen Up 4:19
12. Goodbye Everybody 3:14
13. California Girls 5:13

Album Rating (1-10): 4.0

Members & Other Bands:Jason Hill - Vox, Guitars, Piano, Orhan, Moog, Mellotron, Bass, Producer (Louis XIV)
Brian Karscig - Vox, Guitars, Piano (Louis XIV)
Robbie Dodds: Vox, Guitars, Lap Steel, Pianos, Mellotron, Harmonica
Jeff Winfrey - Bass
Mark Maigaard - Drums, Percussion (Louis XIV)
Doug Meyer - Pedal Steel
Kevin Savigar - Strings
Shaun Cornell - Bowed Upright, Asst Engineer
Blake Helander - Horns
Steve Vertigan - Horns
Jim Rogers - Horns
Joe Augustine - Manhattan Street Sound, A&R
David Bianco - Producer, Recorded, Mixed
Raphael Serrano - Asst Engineer
Vic Anesini - Mastering
Brad Bogart - Management

Unknown-ness: This was another part of the CD mail package. I've never heard of these guys. With the shiny metallic packaging, and interior headshots, the art work makes me think that they are trying to appear to be an intelligent indie-alternative band. The CD tray picture tried to prove that they have “cred” & roots in Burt Bacharach & The Beach Boys, by displaying those album covers amongst stacks of vinyl.

Album Review: The album begins with a fade in of vocal harmony, with a backwards, skipping effect in “Gone So Quick Tomorrow”. The song is full of more vocals harmonizing, and the song feels like a southern influenced pop track. It is not very heavy, and similar to, but not as catchy as Big Star. “Here’s Looking At You” starts as a slow country-folk ballad, with strings quietly playing in the background. The bouncy piano keeps it from a complete ballad, and I can hear a little Bob Dylan influence in how the vocals are sung. “Caught Up In You” starts with a drum beat and guitars answer sporadically over top. The song is trying to be heavier, but it really does not pull it off. The chorus is catchier, and there are some less usual instruments overlaid musically as well as extra vocals. “Anytime She Wants It” has more of the Big Star style song structure, and the first set of vocals attempt to mimic Alex Chilton. The guitar is filtered through a watery distortion effect. “Is He In Your Heart Tonight” begins with a fade-in of strings. And the song plays as an acoustic, alt-country regretful/jealous ballad. “Weekends” starts as a slow bluesy southern rock jam. But then it kicks in, complete with country slide guitar, but a good catchy melody. The energy drains out of the song quickly, and it becomes stale. “Alice” starts with a slow piano intro. Drums and guitars enter the mix, but don’t bring much energy. “Wet Cement” is a nasally alt-country pop-rock number. “So Much You Can Do” is a laid back Big Star pop song, but is strangely catchy. But it is too repetitive for its own good. Distorted watery vocals start off “Eleventeen.” After a minute, harmonizing vocals take over, and the song takes on a southern psychedelic feel. It reminds me of a slowed down version of “Are You Gonna Go My Way?” “Loosen It Up” is another minimal, Bob Dylan stylized song. Instruments are introduced along the way, and the energy picks up, but it is still a loosely structured jangley pop song. “Goodbye Everybody” starts with annoying vocals talking more than singing over top of a slow piano. This sleepy song tries to take off after about a minute. “California Girls” features an electronic drum beat and a lite daybreak guitar. It is has playground stylized sing-song melody, and gives a nod to the Beach Boys, talking about west coast and east coast girls. After a fake ending, there is a gospel & tambourine style chant about donut holes to end the record

I really did not like anything about this album. I cannot even pick out a stand out track, because to me, there are none. It is just too light, and too repetitive for my taste, as it crosses boundaries of genres I am not fond of. I like Big Star, so my relating these songs to them is just because it is the closest thing I am familiar with. It does not give them credit or a good critique.

Stand Out Track:

Links:Convoy - Wikipedia
Convoy - Myspace
Convoy - Allmusic
Convoy - Melodic.net