Todos Tus Muertos - s/t

Name:Todod Tus Muertos
Album: s/t
Year: 1997
Style: Punk, Hardcore, Reggae
Similar Bands: Misfits, Bad Brains, Rage Against the Machine, The Clash
"One-Word" Review: Dark Angry Dub-Core
Based Out Of: Buenos Aires, Argentina
Label: Universal, DBN

Cover, Liner Notes, Pics

Lyrics, CD Back, CD

Todos Tus Muertos (1997)

1. El Feretro 2:20
2. Demasiados Revueltos 3:38
3. Diez Segundos De Masacre 1:53
4. Turbulentas Tinieblas 1:41
5. !A Combatir! 2:25
6. Dieciocho Horas 4:51
7. Dias De Escuela 2:38
8. Gente Que No 2:38 (single)
9. Armas (Para La Paz) 5:01
10. No Mas Apartheid 3:21
11. Viejos De Mierda 1:23
12. Mas Bajo Que Tu Status 3:19
13. Tango Traidor 3:35

Album Rating (1-10): 7.5

Members & Other Bands:

• Cristian Ruiz - Bateria [drums] (Linda Valori, Malrecetado)
• Felixx Gutierrez - Bajo, Coros, Collage Sobre Interno [bass & vox] (Los Laxantes, Los Muertos, Fermin Muguruza, Las Plantas De Shiva, El Fuego Del Amor)
• Fidel Nadal - Voz, Kalimba, Foto Sobre Interno [vox] (Lumumba, Los Intocables, Tijuana No, Negu Gorriak, Mano Negra, Anouk, Fermin Muguruza, Desorden Publico, Alerta, Mancha de Rolando, Joxe Ripiau)
• Horacio "Gamexane" Villafane - Guitarra, Vox, [guitar & vox]Produccion Artistica, Teclados, Tipografia (Los Laxantes, Los Muertos, Los 7 Delfines, Sobrecarga, Los Fabulosos Cadillacs, Cienfuegos, Fermin Muguruza, El Fuego Del Amor, Los Sedantes)
• David Wrocklavsky - Teclados [Keys] (Sobrecarga)
• Sergio Rotman - Saxo Alto (Los Fabulosos Cadillacs, Cienfuegos, Mimi Maura, El Fuego Del Amor, El Siempreterno, Los Sedantes, Pez, Leon Gieco, A77aque, Fidel, Los Telepatas, Futbol, El Mundo, Los Cafres, Santana, Lulu Lewis, Diente Perro, Los Pepiniyoz)
• Naco Goldfinger Saxo Tenor (Los Fabulosos Cadillacs, Leon Gieco)
• Dany Lozano - Trompeta (Los Fabulosos Cadillacs, Leon Gieco, A77aque, The Tories, Federico Aubele, Santana Los Cafres)
• David Gomez - Percision
• Mundy Epifanio - Produccion Ejecutiva
• Poppy Manzanedo - Coordinacion General
• Walter Chacon - Tecnico de Grabacion
• Andy Cherniavsky - Foto de Tapa

Unknown-ness: Never heard of this band, but came across this CD in a box of leftover CDs from someone's move. I have a strong idea that, based on the dark & death artwork, not to mention a cover that reminds me of the Misfits, i'm guessing this is punk with a dark subject matter. Based on the address and lyrics, the Argentinian band performs in Spanish, but i'm really excited to see how the horns are used, if the sheer speed of the songs pushed them into Ska territory, or they just play HC punk with horns.

Album Review: They definitely have a darker edge with their punk rock, very similar to the Misfits. It is not pop punk on the surface, although some of the songs do use a catchy three chord structure (and their "single Gente Que No does reach ska-pop status), it is a deeper, dark tone with fast, driving guitars at times. They also mix it up with some reggae influence, which still carries a dark, unsettling tone...as the listens progress, the reggae style shares equal stage with the Hardcore Punk.

This copy is a reissue of their sophomore 1988 album, that sings about political oppression, racism, immigration abuse, and land reform. The name translates to All Your Dead, and is a reference to the people killed in Argentina during the "Dirty War" under the dictatorship of Jorge Rafael Videla in the late 70's. "Gamexane" passed away in 2011, but they have done occasional reunion shows

Stand Out Track: Gente Que No

Links:
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Prophets (Thee) - Playgirl

Name: Thee Prophets
Album: Playgirl
Year: 1969
Style: Pop Oldies, Psychedelic, Vocal Group
Similar Bands: Herman's Hermits, Happenings, Buckinghams, Sunshine Express, The Vogues, Tom Jones, Bee Gees
"One-Word" Review: Tame neutered bubblegum vocal pop
Based Out Of: Milwaukee, WI
Label: Kapp, MCA, Universal

Cover, Record

Back, Record

Playgirl (1969)

1. Playgirl 2:05 
2. Broken Heart 2:22
3. Man Enough 2:13
4. It Isn't So Easy 2:29
5. Magic Island 2:31
6. Double Life 2:13 /
7. Some Kind-A Wonderful 2:17 (Single) (cover: Drifters)
8. Heartbreak Avenue 2:38
9. They Call Her Sorrow 3:08
10. I Pretend I'm With You 1:52
11. Kind of a Drag 2:03
12. Shame Shame 2:18 

Album Rating (1-10): 6.0

Members & Other Bands:

• Carl Bonafede - Producer
• Dan Belloc - Producer
• Lew Douglas - Producer, Arranger
• Brian Lake - Organ, Vox
• Jim Anderson - Guitar, Vox
• David Leslie - Bass, Vox
• Chris Michaels - Drums
• Tex Meyer - Write-Up
• Don Brown - Write-Up
• Stan Malinowski - Cover Photo
• Milton Sincoff - Artistic Design
• Bill Bradley - Engineer
• Ed Cody - Engineer
• Ron Malo - Engineer
• Don Van Gorden - Remixing

Unknown-ness: Never heard of this band, but they look like another run-of-the-mill late 60's pop group trying to be the next big thing. They probably won't be unusual or break out of the light male vocal ensemble that really owes more to Jack Jones and other crooners more than the Beatles or the Kinks.

Album Review: Strings and light smooth vocals perpetuate the album along, but there are a few shining moments, like "Man Enough" has some drive and big band pop energy. And single Playgirl is a bit in the a Motown swing vibe. "Magic Island" almost has a solid pop backbone, but it loses all of its appeal as it's tries to appease parents with a light lofty orchestral production. This album would be a lot better if it were a lot simpler. But it can't escape the safe zone with production half in cohorts with Tom Jones or Mitch Miller, and one foot trying for the youth appeal. The Youtube link has more songs than what are on this album, and almost every non album track is better than the songs here. It looks like Jim Anderson only wrote 2 songs on here: They Call Her Sorrow & It Isn't So Easy...the rest are covers. Apparently, even the band was unhappy with this album, as their musical tendencies were more toward Hendrix, Cream, Vanilla Fudge, not bubblegum pop, but the record company had their name & ownership, and ran it into the ground.

Stand Out Track: Man Enough

Links:

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Klaxons - Myths of the Near Future

Name: Klaxons
Album: Myths of the Near Future
Year: 2007
Style: Indie Rock, New Rave, Brit-Pop
Similar Bands: Robbie Williams, Franz Ferdinand on Coke, Under the Influence of Giants, Blur, Jez Osborn (from Peep Show)
"One-Word" Review: Sound An Alarm Dance Pop

Based Out Of: London, England
Label: Geffen, Universal, EMI, Rinse

Myths of the Near Future - Cover, Back & Case Back

Myths of the Near Future - Liner Notes & CD Tray

Myths of the Near Future - Liner Notes / Lyrics & Insert

Myths of the Near Future - Liner Notes / Lyrics & Insert

Myths of the Near Future - Liner Notes / Lyrics

Myths of the Near Future - Liner Notes / Lyrics & CD

Myths of the Near Future - Liner Notes / Lyrics
Myths of the Near Future - Liner Notes / Lyrics

Myths of the Near Future(2007)

1. Two Receivers 4:20
2. Atlantis To Interzone 3:18
3. Golden Skans 2:47
4. Totem on the Timeline 2:43
5. As Above, So Below 3:57
6. Isle of Her 3:56
7. Gravity's Rainbow 2:39
8. Forgotten Works 3:27
9. Magick 3:32
10. It's Not Over Yet 3:37
11. Four Horsemen of 2012 2:18

Album Rating (1-10): 8.0

Members & Other Bands:

James Ford - Producer, Mixing, Drums

Jimmy Robertson - Engineering, Mixing

Nick Terry - Mixing
Ed Shackleton -Recording

Jamie Reynolds - Bass, Vox, Lyrics, Artwork

James Righton - Keys, Vox

Simon Taylor - Guitar, Vox, Lyrics, Artwork

Steffan Halperin - Drums

Tony Beard - Managment

Jazz Summers - Management

Unknown-ness: I had never heard of this band, but fromt he cover artwork, I get the image of The Liars. But with their futurestic name and album title, I foresee a more electronic direction for the album. I used to love the game Klax, and there is actuall an image in their collage artwork that reminds me of the tile stacking game, so perhaps there is more to the future electronic style than just their name & album.

Album Review: “Two Receivers” begins with an epic drum rhythm that phases into song. There is an anxious repetitive keyboard echoing like an alarm in the background of this otherwise average indie song with an upbeat, dancy tempo. The song does have many layers of simple sounds which create a mass of depth in the music as well as vocal layers. It is almost too much chaos.
“Atlantis To Interzone” begins with an obvious rave style. Even the words DJ are used. An alarm rings out on repeat along with a female soulful voice repeating Oh-Oh-Oh’s. This is the chorus. The song is a bit like Peep Show's genre mocking song by Jez "This is Outrageous." The verse is just fast indie pop played at dance beat speed. Like a sped up Franz Ferdinand. This would have been a fun song to dance to at a show. The verse is a catchy little section, and is fast, yet is still the break in the driving, anxious tempo. They even employ surf-guitars in the instrumental break.
“Golden Skans” takes us back to a Robbie Williams like introduction and basic pop song. The speed is still speedy and driving, but it is less neurotic as the previous songs.
“Totem on the Timeline” starts with a simple driving drum beat. Then an angular bass line is added and the vocals fall somewhere between Blurs bouncy fun and Franz Ferdinand’s cool guy lounge-singing. This could be the band’s equivalent to a footballer’s chant-along number.
“As Above, So Below” features a reverberating guitar in the beginning giving a jittery feeling to the song. The song is bold and has a loud distorted blast as its bridge between verse and chorus. Then the song clears free and marches on with the verse. The template repeats, making a very catchy song until the end. All the templates overlap creating the chaotic musical thickness.
“Isle of Her” has the feeling of two melodies sung in the round with minimal music in the background, just driving the song along. It is organic but it feels like the song never quite gets to the place it is driving toward.

“Gravity's Rainbow” starts out with a dark driving bass line. Then angular drums and guitars are added, and the vocals are a higher pitch harmonized chorus, akin to the Bee Gees. The melody is a fun little rollercoaster, easy and fun to follow. There are some electronic pulses and effects that make me think of Braniac, but it is nothing that chaotic and calculated. The song builds all the way to the end playing grand finale with layering the vocals on top of one another.
“Forgotten Works” feels like a disco song at the get go. It is informal disco, updated as many angular dance bands have done in the recent past. The chorus is a very sing-songy chant rolling down the musical scale repeatedly.
“Magick” continues the Rave-music feeling with a loud horn honking in beat and electronic hooks repeating to drive you crazy. Then dance-band drums and vocals begin and there is a bit of evil carnival in the sound coming off the keyboard. There is a stop start breakdown which functions as the chorus before the dancy verse comes back in unrelenting force. It’s like a shorter hook than “Sandstorm,” and not quite as catchy, but similar: All that with angular vocals included. The song builds at the end with guitars shredding, the vocals get more intense and the beat loudens until it just cuts off all together.
“It's Not Over Yet” begins with an annoying alarm sounding keyboard hook. That disappears as the vocals begin, but return to form the bridge between verse and chorus. This song has high pitch vocals like the band Under the Influence Of Giants uses. But the verse is light and somewhat wispy as it easily glides by. As the end winds down, it evolves into something that reminds me of the mystic music when The Goonies find the treasure.
“Four Horsemen of 2012” is a heavy spoken/megaphone shouted song that still has an alarm sounding rhythm but is absent of much musical accomplishment and is more like the band letting off steam or just burning calories. It is definitely a fireball of energy all used up at the end of the run.

Stand Out Track: "Totem on the Timeline"

Links:

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Modular People

Fever Tree - s/t

Name: Fever Tree
Album: Fever Tree
Year: 1968
Style: Psychedelic Folk Rock
Similar Bands: Association, Strawberry Alarm Clock, Bee Gees, Blind Melon, Doors
"One-Word" Review: every-style-60's-pop
Based Out Of: Houston, TX
Label: UNI, Universal City Records, MCA

Fever Tree - Cover & Record
Fever Tree - Back & Record

Fever Tree (1968)

1. Imitation Situation 1 (Toccata And Fugue) 2:32
2. Where Do You Go 2:25
3. San Francisco Girls (Return of the Native) 3:58
4. Ninety-Nine and One-Half 2:45
5. Man Who Paints the Pictures 2:32
6. Filligree and Shadow 3:51 /
7. The Sun Also Rises 2:41
8. Day Tripper / We Can Work It Out 3:27
9. Nowadays Clancy Can't Even Sing 3:00
10. Unlock My Door 3:45
11. Come With Me (Rainsong) 3:45

Album Rating (1-10): 7.5

Members & Other Bands:Walter Andrus - Engineer
Scott Holtzmsn - Producer
Vivian Holtzman - Producer
Dennis Keller - Vox (The Bostwick Vines)
Michael Knust - Guitar (The Bostwick Vines)
Rob Landes - Keys, Woodwind, Organ, Harp, (Rob Landes Trio)
John Tuttle - Percussion (The Bostwick Vines)
E.E. Wolfe - Bass (The Bostwick Vines)
Frank Davis - Assistant Engineer
Mic Leitz - Assistant Engineer
Mike Shields - String/Horn Assistant
Jill Gibson - Cover & Liner Photo
Harry Golightly - Liner Photos
David Angel - String/Horn Arrangement
Gene Page - String/Horn Arrangement
Diane White Hudson - Dust Cover Sketches
Martha Armstrong - Calligraphy

Unknown-ness: I’ve never heard of this band. But from the psychedelic tree in the background, the costumes the band is wearing, and the energy in the name Fever Tree, I’m guessing this is a solid Psych-Rock band from the mid-late 60’s. It could be lighter than I expect, but I always hope for the best when it comes to a descent band name and exciting cover art.

Album Review: “Imitation Situation 1 (Toccata And Fugue)” is introduced by a thunderous drum rattle, and followed by a segment of Bach’s “Toccata and Fugue” as suggested by the parenthesis in the title. Grand echoing vocals are then brought in, and lonely vocals are repeated until the music drops off into a buzz, and the next song begins immediately.“Where Do You Go” is a dirty, fuzzy 60’s garage band. It is powerful, and hard hitting for a folk band. Then the music hits a still spot where the bass and light drums play and a flute is added over top. This instrumental section builds nicely into a resurgence of the vocals. The electric guitar is very catchy and just an over all delightful sound. The song winds down like the quick burst of energy is overSan Francisco Girls (Return of the Native) is their “hit,” sounding like the Bee Gees of that time period. It has a nice way of building into a psychedelic garage song. The vocals are proud and confident, and when combined with the music, remind me of a male counterpart to a less chaotic Janice Joplin. The song resets itself with lighter vocals again, and flute echoing in the background. Again the bridge builds, but instead of hitting the chorus, it slinks back into a psychedelic zone out.“Ninety-Nine and One-Half” begins with a scream, and enters typical psychedelic classic rock territory with raspy vocals and continuous wailing electric guitar. It has a nice trippy groove to it, a style that was rekindled by Blind Melon in the 90’s. “Man Who Paints the Pictures” is a driving psych song with booming drums, electric guitar and strong, confident vocals. It reminds me of Ween’s “Stallion pt. 5” with its driving tempo. But the guitar’s sound and flute lock its footprint firmly in classic psychedelic rock. “Filligree and Shadow” is a lighter, trippy renaissance fair folk number. It is very much along the lines of the early Bee Gees or Strawberry Alarm Clock. It possesses a marching, drummer boy cadence with a dark side. The dark is balanced by the light of the orchestral strings in the background. The song breaks down into bass hum and other noise overtaking the proud, bold chorus which is still audible in the background in a messy chaotic swirl.

“The Sun Also Rises” is a piano based number at the outset. Then it diverges into a psychedelic lounge singer number. “Day Tripper / We Can Work It Out” Instrumental folk guitar picking and single note bass eventually come together (no pun intended) to begin their cover of Day Tripper. It is slowed down a bunch and made more orchestral. The vocals are pretty close parody to the Beatles. The lyrics are forced right into “We Can Work It Out” without much of a choice for one verse. Slowed down and with brass and more orchestral renderings of the popular (and my favorite) Beatles song.“Nowadays Clancy Can't Even Sing” is a psychedelic carousel waltz. It bobs from side to side, and is crooned like the very best lounge singer with everything to lose.“Unlock My Door” is a quiet balladeer’s song storytelling of desire toward a specific love. Acoustic guitar bombards the middle section, sounding like progressive music a little. After that rant, it returns to delicate echoing finger picking and retelling of the first verse. “Come With Me (Rainsong)” begins with a wash of rain and quiet piano. Gentle guitars are added. The vocals are solemn and comforting, sounding like a religious song written for a Jesus type to sing.

Stand Out Track: Where Do You Go

Links:
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Wikipedia
Psych Interview w/ Knust
German Fan Site
Landes's Church
Landes's Site
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Keller's Message about Knust passing

Ho-Hum - Local

Name: Ho-Hum
Album: Local
Year: 1996
Style: Alternative Rock
Similar Bands: Lemonheads, Buffalo Tom, Jayhawks, Spoon, Counting Crows, Paul Westerberg
"One-Word" Review: honest-carefree-radio-play-naivety
Based Out Of: Little Rock, Arkansas
Label: Universal Records

Local - Cover, Back & Liner Notes
Local - Inside Liner Notes & CD

Local (1996)

1. Around the World 2:51
2. Get Down 4:10
3. Pills and Guns 3:31
4. Disappear 4:40
5. Don't Go Out With Your Friends Tonight 2:54
6. Moon Lies Beautifully 4:10
7. Wake up Call 3:27
8. One Out Of Ten 2:34
9. It's A Lie 3:53
10. Frozen 3:19
11. I Can't Swim 3:36
12. Here She Comes 3:12
13. Superhuman 3:34
14. Pure D. Wrong 3:49

Album Rating (1-10): 7.5

Members & Other Bands:

Clive Langer - Producer (Madness, Bush, Dexy's Midnight Runners, Elvis Costello, TMBG, Dogs Die In Hot Cars, Morissey, Bowie)

Alan Winstanley - Producer (Madness, Bush, Dexy's Midnight Runners, Elvis Costello, TMBG, Dogs Die In Hot Cars, Morrissey, Bowie)

Tom Lewis - Executive Producer

Stephen Marcussen - Mastering

Lynn Goldsmith - Photography

Kevin Kirby - Cover Painting , Guitar, Harmonica, Mandolin, Vox (Mulehead)

Sandie Lee Drake - Art Director

Lenny Bryan - Guitar, Piano, Keys, Vox

Rod Bryan - Bass, Piano, Screams, Vox

Dave Hoffpauir - Drum, Vox (Mulehead)

James Hooker - Organ

Luis Jardin - Percussion

James Brown Jr - Horns

Harvey Thompson - Horns

Charles Rose - Horns

Vincent Ciesielk - Horns

Unknown-ness: I never heard of these guys when I bought the CD at Streetlight records in Santa Cruz for fifty cents about 10 years ago. I liked the artwork and look of the cover: the cartoony ghosts seem happy-go-lucky mixed with the boredom band name of Ho-Hum (which is also a great onomatopoeia for the ghosts) made for a reason to buy it. The picture on the back also has a run down carney feel to it, and the band looks like a bunch of average guys, so it shows at least a bit of not-sucking promise. And it was fifty cents.

Album Review: So apparently this album was produced by the amazing duo that is responsible for many great albums of Madness, Dexy’s Midnight Runners, They Might Be Giants and Elvis Costello. How the album actually comes across is anybody’s guess, but the pedigree is there. The album begins with “Around the World” an alternative, Lemonheads-ish melody, and a lot of little musical changes that are all full of hooks and are interesting. There is an organ in the background that carries the song, and adds a psychedelic ? and the Mysterians quality to it. The vocals are not that competent, but they are good in an honest way. A buzzing fades into the next song “Get Down,” which is slower and more alt-country than the first song, feeling more like Buffalo Tom or the Jayhawks. There is a short, dark section that mimic’s the heavy guitar hook of Enter Sandman. There is a transitional bridge of repetitive note playing and it feeds right into the chorus for another verse, before ending with the “Exit Light/Enter Night” riff. A drum fill leads into “Pills and Guns” which feels like a fast pace Spoon song (“June’s Foreign Spell” to be precise). It’s not quite as catchy as Spoon, but if it were a little less produced, and more focused, it could easily be a Spoon song. But on the other hand, I can hear a little Counting Crows in his voice, the way he ends his lines, the down turn of the vocal note is similar. “Disappear” is a slow, drawn out mumbling song. Some kind of synthesized sounding horn and string sections appear here very briefly, which build the song up, but it quickly limps back into its slow groove. It sounds a little Pearl Jam-ish in his vocal delivery. “Don't Go Out With Your Friends Tonight” is an upbeat rock song, sung like a true radio-friendly alternative garbage track from that time period. I’m thinking like Everclear or something. The chorus has a little catchy part to it, and the secondary chorus is even catchier, and this does redeem the song a bit, but the verse to start off with was kinda lame. Ok, the song is good. I take it back. There are a lot of little intricate catchy parts like in the opening track that keep it interesting. “Moon Lies Beautifully” is a meandering half ballad, half fuzzy, introspective grunge song. It picks up like a Lemonheads song (or like Sugar) again. The vocals are not over-exerted, but they are meaningful and inspired all the same. “Wake up Call” features a wailing guitar played repetitively like a siren, I’m thinking Dinosaur Jr. here with more Eddie Vedder-ish vocals, but not quite as annoying. The chorus features a shifting in and out of emotional near shouting and settling back into a monotone rolling vocal. It is actually pretty catchy.

In “One Out Of Ten,” you can feel the momentum building up in the chugging guitar chords, and the stutter-stepping vocal melody. It is unleashed in the same Replacements / Paul Westerberg way of fast pace guitars, that are not threatening, and more anthemic. When it comes back after a background count off, it becomes very toe-tappingly catchy and ends at a place where you wish there was more of it. It is like a faster version of the chorus in the Shawn Colvin song “Sunny Came Home” The next song slumps down into an alt-country song with “It's A Lie.” But it picks up some fuzzed out guitars for the chorus, which is just basically a chance for the instruments to rock out rather than change up the vocal melody. The instrumentation in the chorus sound like Better Than Ezra’s “Good.” At the end it goes back and forth from lite harmonica sleepy jamming to hard, heavy fuzz-rock until it fades out on the jamming. “Frozen” starts off immediately catchy. But the chorus feels like it should be catchier than it is. It feels like there is too much noise and production that drowns the melody in guitars that don’t help the cause. This song feels like it should have been included on the Singles soundtrack. “I Can't Swim” is a slow shoe-gazing melodic ballad. The melody is slow and droning, but the music is trying to be rocking. And it does rock out with accompanying vocals in small sections, but it comes across as a little kid digging his feet in the dirt, shy and embarrassed about not being able to swim. “Here She Comes” is even slower and mopey than the previous song, but it has a positive, head held high feeling. The breakdown is a couple measures of good Elvis Costello inspired song structure. But a shouting vocal ruins any progression of the song. The catchy chorus reminds me a little of Graham Parker too. “Superhuman” begins with electric guitar and a rhythm guitar added like an oldies slow dance song. It is a lazy, care free sun hammock lemonade sipping tune. A trumpet helps push the feeling along too. And it ends in a three note song wrap-up. “Pure D. Wrong” has lots of pent up energy, and is a good recap and way to end the record. It gets going and is fun to ride along with. The vocals are an enjoyable trip along the instrument melody, full of fuzzy guitars and quick, driving drums, and guitar solo fills. The music reminds me of Richard Butler’s Love Spit Love. And with an record unplug wind down, the album is over.

Stand Out Track: Around The World

Links:

Wikipedia

Allmusic

Band's Record Label Playadel

Rob Bryan's web designer site

Myspace

yahoo music

Langer & Winstanley site

Mulehead review No Depression

Rod Bryan on Towncraft

Rod Interview on Arkansas Times

Ark Conservation Alliance Rod Bryan

Rod Bryan.com