Great Buildings - Apart From The Crowd

Name: Great Buildings
Album: Apart From the Crowd
Year: 1981
Style: Power Pop
Similar Bands: Rembrandts, Journey, Outfield, REO Speedwagon, Big Star, Wings
"One-word" Review: above-average-generic-power-pop
Based Out Of: Los Angeles, CA
Label: Columbia, CBS Inc

Apart From The Crowd - Cover & Lyrics

Apart From The Crowd- Back & Sleeve

Apart From The Crowd - Record

Apart From The Crowd (1981)

1. Hold On to Something 3:46
2. ...and the Light Goes On 3:15
3. Dream That Never Dies 3:42
4. Combat Zone 3:34
5. Maybe It's You 5:07/
6. One Way Out 3:38
7. Another Day in My Life 3:09
8. Heartbreak 4:42
9. Love Goes Blind 3:53
10. Apart from the Crowd 5:11

Album Rating (1-10): 8.0

Members & Other Bands:

Danny Wilde - Vox, Guitar, Percussion, Keys, Harmonica (the Rembrandts, the Quick)

Richard Sanford - Drums, Percussion

Philip Solem - Guitar, Vox (the Rembrandts, Loose Change, Android)

Ian Ainsworth - Bass, Keys, Vox (the Quick)

Ed E. Thacker - Producer, Recorded

John Boylan - Producer

Paul Grupp - Engineered

Brad Gilderman - Asst. Engineer

Brian Reeves - Asst. Engineer

Ed Cherney - Asst. Engineer

Phil Jamtaas - Asst. Engineer

Wally Traugott - Mastering

Weldon Anderson - Photography

Tony Lane - Visual Coordination

Partick M. - Deanna's Hair & Make-up

Lisa Schulze - Deanna's Hair & Make-up

Roxanne Rifken - Inner Sleeve Photography

David Harper - Direction

Unknown-ness: I’ve never heard of these guys. But, with the “Robert Palmer” girl on the front in clone copies and her leg wrapping around to the back cover with the band in situational postures, it seems like another band in the long line of new wave/power pop generic bands. But it could be great. That’s why I take the repetitive chance on albums that look like this. The song titles are also generic, where they don’t scream jittery new wave, and they do not all ridiculously reference love. Their picture on the inside sleeve shows promise of energetic passion, but again, this is hidden on the inside sleeve.

Album Review: So, after doing some research, this band later became the Rembrandts, pending such hits as that theme song from friends. With that in mind, I begin the album with “Hold On to Something.” Power pop it is. The song starts off with a jolt of drums and guitars. The music could lend itself to jittery nasally vocals, but the vocals are smooth, and multi-layered; somewhat like Journey in the chorus (I think I use Journey as a reference band too much. I need to find some others). It has a nice build up to the chorus, but the chorus is not quite as strong or catchy as I was anticipating. An electric, near-metal guitar solo fills the bridge. It is a driving song, and carries the energy through to the ending fade-out. “...and the Light Goes On” continues the high-energy, soft rock vocals paradox. The harmonized, layered vocals come off like Big Star, and the bridge into the chorus is a drums and vocals only momentum freeze-frame. It is very repetitive, a little too much so. “Dream That Never Dies” has a solid power harmonic chorus, but the verse does not create much interest and falls a little flat getting there. They mix it up a bit in the ending, but come back to the super-repetitive song structure that lasts a little too long. “Combat Zone” has a thick sounding drum intro, and a jerky single chord guitar repetition. Then the verse begins, and the song loses the momentum it built up in the intro. It tries to get it back in a typical power pop hierarchy chord changing progression. They even include minor elements trying to give it a western gun fighter feel, but too little is not enough. The instrumental bridge is reminiscent of a video game, specifically a Mega Man level...it is very driving and progressively gets more intense. You can actually almost hear the Rembrandts hit song in the beginning of “Maybe It's You,” but the vocals start and it sounds like a driving, dance when your angry inspired song (like in Footloose). I can feel the rushed and jittery mood in the music, but the vocals just don’t know how to capture that feeling. Just when you think the song is over, it continues with a harmonica for another minute, and a reprisal of the chorus repeated over and over.

“One Way Out” begins like a grand, theatrical head banging ballad. The chorus’s melody is pretty good, a swaying, slow banging drinkers salute to suicide. Perhaps not suicide, but it is performed as if from an inescapable pit. Oh, and the lead guitarist is also in the pit to play out the sorrows through music on a metal guitar. The harmonizing vocals in the background lift the singer and guitarist out of the pit by the songs end, where it feels like a positive conclusion has been reached. “Another Day in My Life” begins with a catchy double layered vocal. And the vocals continue into the chorus. This is a solid song, carrying the momentum all the way through. It is smooth, but aggressive; catchy, but not too repetitive. It soars through the transitional music sections, but they are short enough to not drag on, and plentiful enough to not be stale. Even the guitar solo is not metal, but more jangely and doesn’t rely on repeating a tedious lick. “Heartbreak” is a dark & dirty bluesy song. It is sung with more true (non-produced) vocals than I’ve heard on the album yet. It almost sounds like a different singer. For a brief second, it takes off into a little fast energetic section, but it returns to a countrified rock song. The tempo picks up and retreats like a rollercoaster, mostly on the fast-paced country genre, but it feels a little long. It ends in a very barroom bluesy band. “Love Goes Blind” starts with just quiet vocals and a jangle guitar. The vocals pick up in energy and the song dips its metaphoric foot into country power pop. It goes in and out, leaving itself in for more time with each return. It continues along this path and eventually balances out between the two tempos with a generic middle ground. “Apart from the Crowd” has a driving drum beat and simple rhythm guitar chords to start off. The harmonizing vocals take over as the lead vocal entity, especially in the chorus. Musically, it possesses a very fun musical section in the bridge between the verse and chorus. But the over all lengthy composition seems sloppy and chaotically built around the weakest musical parts. It has a long fade out, but really, over all, this is a solid album.

Stand Out Track: Another Day In My Life

Links:

Allmusic

Rembrandts Wiki

Rembrandts fan site

Rembrandts official site

Power Pop

Bio

Danny Wilde Myspace

Trouser Press

Rembrandts Bio

Power Pop Criminals

Ink 19 Wilde interview

Granati Bros - G Force

Name: Granati Bros.
Album: G Gorce
Year: 1979
Style: Power Pop
Similar Bands: Billy Joel, REO Speedwagon, Supertramp, Mike Viola
"One-Word" Review: Working man's harmonic pop
Based Out Of: Pittsburgh, Pa
Label: A&M

G Force - Cover & Sleeve

G Force - Back & Lyrics

G Force - Record

G Force (1979)

1. What In The World 2:50
2. You Looked So Good 1:57
3. April 2:34
4. I Can Do Without You 2:59
5. No Stone Unturned 3:01/
6. Nite 2:35
7. Nothin' 3:15
8. Make It Last 2:56
9. It Was You 3:02
10. (Someone to) Take Up My Time 2:17
11. She Doesn't Cry 4:37

Album Rating (1-10): 7.5

Members & Other Bands:

Hermie Granati - Keys, Vox, Synth Bass, Asst. Producer

Ricky Granati - Percussion, Drums, Ignitions, Vox

Joey Granati - Synth Bass, Keys, Vox

David Granati - Guitar, Davidtron, Bass, Vox, Sound Engineering

Tony Lee Bonomo - Percussion, Vox
Ray Shulman - Producer, Engineer
Michael Getlin - Engineer
Paul Northfield - Engineer
Rick Hart - Engineer
Bill Thompson - Asst. Engineer

Raider Manadement - Management
Premier Talent - Agency
Roland Young - Art Direction
Junie Osaki - Design
Stan Evenson - Design
Mark Hanauer - Photography

Unknown-ness: I’ve never heard of these guys. But I got the album because of the interesting angle of the cover photograph, their clothing style, and the pictured on the back, which all point to the direction of new wave/rock. Not to mention this is from 1979. I was not too excited about the name Granati Bros. (which luckily pre-dates Mario Bros.) or the album name G-Force, but there is a specific energy given off by the black and white and red color scheme.

Album Review: “What In The World” starts off like a Billy Joel/Air Supply crossover song, with pop piano and slightly metal electric guitar. The vocals are slightly pub rock, but the double layered vocals of the chorus lighten the song to be like Reo Speedwagon or other kinds of lite power pop bands of the era. Its catchy, but also very non threatening. It fades out, and “You Looked So Good” is next. Knowing they are from Pittsburgh, you can almost feel the city’s working class mentality in the middle-class theme songs. The vocals go through many different levels. There is a raspy verse, a harmonized layered chorus, and a separate normal vocal for another part of the chorus. I’m not sure if the vocals come from different brothers, or if it is one changing his voice slightly for different effects. This is a one-trick song, without much depth, but it is a catchy hook they repeat over and over. “April” is a very theatrical vocal and piano supertrampy melody and Billy Joel too. Actually, this song is very much like Mike Viola too mixed with XTC's Skylarking era music. There are some interesting added effects, but the song is sparse overall, and nearly acoustic. “I Can Do Without You” is a dirty barroom jam. It is not fast, but it is still a head banging sleazy song. And the vocals will occasionally take a turn and seem British at times. There is a short pause, and then the music kicks back in for a 45 second breakdown. This is kinda like a poor man’s J Geils Band song. “No Stone Unturned” starts with a catchy guitar lick, and then changes into a bouncy power pop, disco influenced bass number.

“Nite” is a slinky strutting power pop song. The chorus is very unusual in its composition, which makes it very catchy, it feels like they are cramming extra syllables into the hook, but instead of seeming crowded, the syllables guide you through the musical progression better. Unfortunately the song never deviates from the sorta-reggae style of the song, and it is very one dimensional. It would have been nice to combine their great idea with something else, but they just ride the one thing to its end. “Nothin'” is a straightforward rock song. It is meant for the radio, in perfect verse building to the chorus delivery, supported by simple rock guitar melodies, and a simple drum and bass beat. The title is reinvented with a different melody at the end of the song, which creates a depth to the song which is needed for a good song. Its just not that interesting to me, but it is done well. It transitions right into “Make It Last” which is a slower bluesy, smoky pub song. But it is not that slow, and not that depressing, however, there is a dark tone to the song’s melody. It has a fade out and some interesting chimes to carry out the long fade. “It Was You” is like a folksy, wispy Wings type song. It is full of up-tempo hooks and some very intricate melodies. It ends with a stereotypical rock n’ roll drum fill ending. “(Someone to) Take Up My Time” is a groovy, bouncy song with odd nasally vocals, and the keyboard effect from the Popcorn pre-techno disco song. It too has a slight reggae feel. It builds very well into its chorus, but it too is a little dark, and a little too short. “She Doesn't Cry” ends with a power ballad that builds and struts itself out like the typical lighter rock music of the mid 70’s.

Stand-Out Track: April

Links:Myspace

Last FM
Joey's Myspace

Garage Band

Sound Click

CD Baby

Cool Streams
Pitt Radio

DB Cooper - Dangerous Curves

Name: DB Cooper
Album: Dangerous Curves
Year: 1981
Style: New Wave Rock, Power Pop
Similar Bands: The A's, Journey, Cars, Planets
"One-Word" Review: Not-so-powerful-power-pop
Based Out Of: Santa Barbara, CA
Label: Warner Bros. Records, Warner

Dangerous Curves - Cover & Lyrics

Dangerous Curves - Back & Sleeve

Dangerous Curves - Record

Dangerous Curves (1981)

1. Breakin' Out 2:21
2. Bad Guy's Winnin' 2:51
3. Dangerous Curves 4:03
4. When This Day Is Over 1:50
5. Tonight 3:18 /
6. Small Town Talking 3:55
7. Modeling School 3:13
8. Bad Seed 3:23
9. I've Gotta Gun 2:55
10. For Whom the Bell Tolls 3:00

Album Rating (1-10): 7.0

Members & Other Bands:

Thomas Earnest Gamache - Producer, Mixing
Adrienne Miller - Vox (Blue Collar Choir)

Tony Riparetti - Vox (Blue Collar Choir)

Jim Saad - Vox (Blue Collar Choir)

Sue Sadd- Vox (Blue Collar Choir)

Robby Scharf - Bass (Cowsills, Longfellows, Pranks)

Michael Towers - Guitar, Vox, Producer, Mixing

Jon Chapman - Drums

DB Cooper - Vox

Steve Forman - Percussion

Bo Fox - Vox (Blue Collar Choir)

Roger Heath - Guitar (Blue Collar Choir)

Bob Irving - Keys

Randell Kirsh - Vox (Blue Collar Choir)

Richard Seireeni - Art Direction

Gary Panter - Cover Art
Richard Litt - Sleeve Photography
Michael Stone - Recording, Mixing
Van Webster - Additional Engineer

Karat Faye - Additional Engineer
Don Levy - Additional Engineer
Jim Bauerlein - Asst Engineer
Cristy Robertson - Asst Enginner
Cary Pritikin - Asst Engineer
Paul Broucek - Asst Engineer
Phil Jamtaas - Asst Angineer
Fred Ansis - Wry Equalization
Pat Demott - Vox Arrangement

Unknown-ness: I had never heard of these guys, nor the “famous” hijacker that they took their name from. I picked up the album in a dollar bin thanks to the pastel art work on the front. The collage on the back is striking, but not the reason I picked it up. I would have loved the inner sleeve if I had got the album when I was like 10 years old, as there are some “classy” pictures pinned up in what looks to be a garage. But luckily the place I bought this from has a turntable for sampling their product and from three needle drops, I liked what I briefly heard, and picked this up to review. Plus the year was perfect for the musical genre I like.

Album Review: “Breakin' Out” starts out with a keyboard and Journey-like guitar. The vocals are theatrically anxious. There is a youthful jitteriness that makes much of this power new wave rock stuff great, The A’s had more of it, but this is still not bad. “Bad Guy's Winnin'” continues with the same formula, but they bring in a good pause and launch effect that introduces the chorus. It is a form of the anticipation / delivery that I like so much. But the energy in the vocals is much more subdued here, as is the music. It feels like it is just going through the motions. It is not bad, and has that great keyboard/organ sound in it, but it just doesn’t hold the water that less smooth bands do. There is a great harmonized chorus of voices singing the title in the background. “Dangerous Curves” is an instrumental of Devo proportions at least in the beginning, with the only lyrics the track title. It is a fun, nicely flowing song, with catchy guitar work and driving bass/drums. It loses the computerized rhythm and totally rocks out at the end. “When This Day Is Over” is a bouncy sing-song anthem to getting out of work. It is very empty in its production, as the piano and bass are the only things in the forefront. Drums are light in the background, as is the organ. Even the lead guitar is toned down when it squeals. It features the famous power pop harmonizing as background. The song naturally flows into “Tonight,” which sounds just like a Cars song. It is a juvenile-who thinks he’s an adult themed story teller song. I like this type of call and instrumental response song very much.

“Small Town Talking” starts side two, with guitars bursting through what sounded like a thunder storm. It is a little watching the detectives/reggae in its guitar/bass/drums composition. The guitar solo fades out, which seems like a lazy idea. “Modeling School” sounds a bit like “Urgent” in its vocal performance. But it started off with a dark female chorus singing the title. There is a cool keyboard solo that sounds like it is being performed in an echoing church. This is immediately answered by a short guitar solo in parallel structure. Again the lazy guitar solo fade is used. Bass leads off “Bad Seed” and it is a rushed, driving song. It is jittery with all its instruments and a quick drum beat. I’m not too fond of the metal effect put upon the guitar, or I’m sure this would be the best song on the record. After a minute the pace is sucked out of the song, and replaced with an attempt to be bluesy with guitar and organ solos. The song constantly feels like it is building to something, but it is not that great. The delivery is not as strong as it could be. The breakdowns detract from the overall song’s momentum. “I've Gotta Gun” is a groovy slinky song with dual layered vocals, and some Graham Parker-like effects on the vocals. This song sounds like it would be a lot of fun to hear live, but it is not that great on the record. The organ and keyboard style make the song feel a little creepy, like a downward spiral of decisions, which might be the desired effect for a song that proclaims having a fire arm. “For Whom the Bell Tolls” ends the record with a standard rock song. It feels like chilling prog in its production, from the harmonized guitars and funky bass set low in the background.

The songs are good, they just lack that umph and over all jitteriness that makes albums of this time shine. Perhaps the youthful energy is lacking, and this album feels slightly forced. This is their third album, so that could be true. I can hear where they have potential to be a good band; it just feels like a half-assed effort at recording some descent songs.

Stand-Out Track: Tonight 

Links:

Allmusic

Artist Direct Credits

Bonanzle

Robby Scharf Cowsills Discography

PVAc to 44.1 khz Blog

Rate Your Music

the real "DB Cooper" wiki

Jerry Harrison - Red and the Black~ & Casual Gods*

Name: Jerry Harrison
Albums: The Red & the Black~, Casual Gods*
Years: 1981~,1987*
Style: New Age New Wave~ Synth Rock*
Similar Bands: Talking Heads, Brand X~, Max Rebo Band (Star Wars)~, Lou Reed, INXS*
"One-Word" Review: Buried-funk-rock-under-overdatop-synth
Based Out Of: Milwaukee, WI
Label: Sire, WEA Records, Warner, Warner Bros*

The Red & the Black - Cover & Insert

The Red & the Black - Back & Insert

The Red & the Black - Record

Casual Gods - Cover, Liner Notes & Tape

Casual Gods - Inner Photo

The Red & the Black (1981)

1. Things Fall Apart 5:03
2. Slink 4:22
3. The New Adventure 5:07
4. Magic Hymie 4:52/
5. Fast Karma/No Questions 4:00
6. Worlds In Collision 5:09
7. The Red Nights (Instrumental) 4:02
8. No More Reruns 4:27
9. No Warning, No Alarm 3:36

Casual Gods (1987)

1. Rev It Up 4:17
2. Song Of Angels 3:35
3. Man With A Gun 4:35
4. Let It Come Down 4:52
5. Cherokee Cheif 4:20 /
6. A Perfect Lie 4:25
7. Are you Running? 4:20
8. Breakdown in the Passing Lane 4:36
9. AKA Love 4:10
10. We're Always Talking 4:40
11. Bobby 4:03

Album Rating (1-10): ~5.0 *6.5

Members & Other Bands:

Jerry Harrison - Vox, Produced, Arrangements, Guitar, Bass, Synth, Clavinet, organ, piano, Melodica, Percussion, Mixing, Sleeve Design, Cover Photo~*(Modern Lovers, Talking Heads, Bonzo Goes to Washington, The Flying Hearts)
Dave Jerden - Producer, Engineering, Mixing~

Nona Hendryx - Backing Vox, Arrangement, Lyrics~
Bernie Worrell - Organ, Clavinet, Synth,~Bass Synth*,
Yogi Hornton - Drums~*
John Cooksey - Drums~
Steve Scales - Drums, Percussion~
Georde Murray - Bass~
Tinker Barfield - Bass~
Adrian Belew - Guitar~
Dolette McDonald - Backing Vox~
Koko Mae Evans - Backing Vox~
Butch Jones - Engineering~
Eddy Schreyer - Mastering~
M& Co - Sleeve Design~*
Chris Callis - Cover Photo~
Ernie Brooks - Asst. Producer, Songwriting, Vox*
John Sieger - Songwriting*
Arthur Russell - Songwriting, Vox*
Monique Dayan - Songwriting, Vox*
Alex Weir - Guitars, Bass*
Chris Spedding - Bass*
Robbie Mcintosh - Bass*
Rick Jaeger - Drums*
David Van Tieghem - Drums, Percussion*
Jim Liban - Harmonica*
Dickie Landr - Sax*
Arlene Holmes - Vox*
Lovelace Redmond - Vox*
Joyce Bowden - Vox*
David Vartanian - Recording, Overdubs, Mixing*
Jay Mark - Recording, Mixing*
Dave Avidor - Overdubs*
Robin Lane - Overdubs*
Eric E.T. Thorngren - Overdubs, Mixer*
John "Tokes" Potoker - Overdubs, Mixer, Additional Engineering*
J.C. Covertino - Overdubs*
Don Peterkosky - Asst Studio*
Nick Delre - Asst. Studio*
Tony Masciarotte - Asst. Studio*
Mark Roule - Asst. Studio*
Fernando Kral - Asst. Studio*
Stan Katayama - Can Am*
Tom Vercillo - Sountrack
Bob Brackman - Soundtrack*
Jack Skinner - Mastering*
Sebastiao Salgado/Magnum - Photography*
Gary Kurfirst - Management*

Unknown-ness: I was not familiar with him when I bought the record and tape. It was only after I looked up information that I realized he was in Talking Heads, whom I like, but am not a huge fan of obviously. I got the record first because of the usual draws: its artwork and year. The repetitive nature of the album name and the stylized photo of Jerry on the front stood out from the rest of the records. It looks like an album full of energy with the Chinese-styled sunburst on the back. And 1981 was the tail end of the great new wave/rock records that I like. Knowing the Talking Heads ties, I can only hope for their earlier style, but looking at the song lengths, they will probably be the (still good) percussion driven, drawn out style of latter Heads stuff. And as far as Casual Gods, I got it because I recognized the name from the record I had just bought, still not knowing the TH connection.

Album Reviews: ~“Things Fall Apart” starts off with some xylophone and tribal beats mixed together with standard drum. The grooving, danceable bass begins with the jangley repetitive guitar. His moderately deep vocals are reserved, sounding like he’s leaving off the last syllable of the lyrics as he rushedly sings. A chorus of female vocals backs him up. They rise in energy together and settle back, paralleling each other. Synth and electronic sounds glide around, and sound like 80’s new wave jokes in its production, rather than bringing the funky element I’m assuming they were going for. “Slink” is next, with funky Talking Heads style rhythms, and vocal performance both from Jerry and the female chorus. The music is splattered with the 80’s over-the-top synth production. I really can’t believe this is not a talking heads song, and I guess that is just a hat tip to how important Harrison is to the Head’s sound. “The New Adventure” begins with high pitch vocals echoing as they fade in. More laughable synth effects add. I mean, what is that supposed to be: A trumpet, sax, or just a weird keyboard? The vocals are tired, but calculated, alas, they are not to my liking as they don’t flow very smoothly over the off-tempo song. There is a sitar sounding instrument used for part of the song, and the nonchalant vocals return, part joy division, part Lou reed in their seemingly non-existent effort. It fades out without any notice, and “Magic Hymie” begins. A sparse, yet funky bass beat leads into a drum fill that starts a song that sounds like something out of Return of the Jedi: Jabba’s Palace. There are oddly placed vocals and samples layered deeply on the track, and it really just chaotically runs over the steady drums and bass beat. It is impossible to reference all the style changes and idiosyncrasies that draw and quarter the song in different style directions.

“Fast Karma/No Questions” begins the second side with a more refined style with its funky bass and keyboard beat over steady drumming. The lead vocals are mixed with echoing reverb. It never strays from the basic rhythm, even if it displays some energy filled vocals toward the end, the music carries it well. It fades into the next song, “Worlds In Collision.” A humming, metallic bass beat, combined with an industrial sounding drum beat and spoken vocals give way to a funky Stevie Wonder style keyboard section. It then reverts back and forth between the two styles, continuing with the monotone, barely sung vocals. Dog barking is added, along with a soaring synth guitar sound. It is one part Russian Propaganda recreation and one part Van Halen played as a midi file. The song breaks down at the end to the point where it should just end, and it fades out, but right into the instrumental “The Red Nights.” It is an ethereal, hollow song, like new age relaxation music. It is aquatic sounding and like a whispering wind through the trees at the same time. Cue some chanting female vocals and rock metal guitar mixed low in the back, and you have yourself a perfect musical accompaniment to those black t-shirts the dirty kids wore in high school with a wizard summoning lighting bolts while perched on a mountain top. A driving, alarm sounding guitar and grooving bass beat fade in at the start of “No More Reruns.” The vocals are more sung here than they have been in the past, kinda like a deeper version of The Walkmen. It is a good song, but it comes off a little long, with a long fade out to boot. “No Warning, No Alarm” starts out strong, but the synth production of the time period drag it down, and away from the solid Talking Heads song it could sound like. The vocals are a type of chant rapping, and keep the rhythm going. He breaks out with some good singing vocals for the chorus, supported by the choir of female vocals. Lead metal guitar (courtesy of Adrian Belew) solos come in for no real reason, detracting rather than adding to the song. But even as it ends the album, it is the most consistent, and funky song on the record. And it too features a long fade out as the record ends.

* “Rev It Up” is the first song on the tape. And instead of the stereotypical synth sound, we first hear a very tinny guitar strummed and echoing drums. This is more straightforward without all the superfluous production. There is still a huge Talking Heads style presence here. And then the squeaky synth keyboards play their annoying, grating solo. “Song Of Angels” begins with techno dance synthesizer and morphs into a light OMD ballad, yet still with the funky beat. The vocals are reminiscent of David Byrne, especially with the female chorus supporting his voice. Part Lou Reed, part Robyn Hitchcock, “Man With A Gun” quietly creeps along with catchy guitar hooks, and proud, smooth vocals. A second comparison of the vocals could be made to Flight of the Conchords’ Jermaine, when he tries to sound mature and knowledgeable. It is a good song too, though. Drum Machine sounding percussion and back to the first album’s synth sounds start “Let It Come Down.” The vocals here sound like Michael Hutchence when his vocals were calm and reserved. It also sounds a bit like the Dire Straits, but I fear that I compare most things that sound like this to them, so I’ll just end the comparison there. Right as the song gets set to build up, it fades out. “Cherokee Chief” is a growling metallic synthesizer, dirty and shady in its sound. It is a barroom stomp, driving and motivated by the static drum beat. Toward the end, he totally breaks into a David Byrne chorus chant. It sounds identical to a myriad of TH songs. And it fades out.

“A Perfect Lie” enters with a typical bass beat and jittery reggae organ synth. Here, Harrison shares the vocals with female back ups that come to the front. It feels very simplistic, especially given the back catalogue of what we’ve co-me to expect on these albums. Sure, a loud guitar solo fills some space, and his vocals are much more melodic than the first record, but the percussion leaves an empty feeling for the song. It seems the same bass beat continues into the next track “Are You Running?” It has the same formula of dual vocals and odd synth sounds in minimal usage. The synth sounds would not be out of place in video games, especially Sonic the Hedgehog. Adding extra echo & reverb to the vocals, “Breakdown in the Passing Lane” loses no time in picking up the slow funky yet simple dance beat. The song evolves into another INXS type song played to the musak genre. Oh, but there is a harmonica in this one. And there is a long, well, breakdown that features an “I Just Called To Say I Love You” era Stevie Wonder sound. More echoing synth effects splatter on the front end of “AKA Love.” As the album is more melodic, that mindset is quickly fading into nonsense as most of these synth music numbers are stripped of their thick, full complex sound, and instead come off as abridged samples, where the high or low end of the stereo is tuned out, leaving out crucial sections of the production. Perhaps the album is just 2-3 songs too long. A cold drum beat along with a catchy vocal melody introduce “We're Always Talking” and it leads into an even catchier chorus. The synthesizers do not draw attention away from the dark dance beat of the track. But then around 2:30, the synth effects are introduced as a buzzing assortment of distraction, and offer reason to be turned off from the song. But the chorus is perhaps the catchiest thing on either album. The final track, (also repeated as an un-reviewed remix on the album) “Bobby” possesses a liquid bubbling effect acting as the bass. There is nothing else much to the song except the slightly tribal percussive synthesized beats. It feels very minimal and empty of production. The vocals are calmly uttered, with injections of shouts and emotion along the body of the song after the first 2 minutes. Synth keys begin around 2:30, and the song slightly grows thicker. The vocal is distorted with a barrage of effects, really, whatever seems to be found as keyboard functions, one at a time. The album winds down with what sounds like a distorted didgeridoo swirling like it is flowing down a bathtub drain.

Stand Out Tracks: ~No Warning, No Alarm

*Song of Angels

Links:

Wikipedia

Allmusic

NNDB

Discogs

Quotes

IMDB page

Apple article

Talking Heads Bulletin Board

Talking Heads JH bio

Trouser Press

Haberdasher - SONGS ON LOVE nos 48602-48608

Name: Haberdasher
Album: SONGS ON LOVE nos 48602-48608
Year: 1997
Style: Math Rock, Noise Punk
Similar Bands: Oxes, Battles, Sonic Youth, Helmet (a bit)
"One-Word" Review: Calculated-Repeate-Shoegazing-Prog
Based Out Of: Baltimore, MD
Label: Reptillian Records

SONGS ON LOVE nos 48602-48608 - Cover, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 - Back, Record & Reptilian Records Catalogue

SONGS ON LOVE nos 48602-48608 (1997)

1. 48602 5:13
2. 48603 4:43
3. 48604 5:23
4. 48605 2:53
5. 48606 4:06
6. 48607 4:42
7. 48608 9:51

Album Rating (1-10): 7.5

Members & Other Bands:
Adam Cooke - Mixing Engineer
Nate Fowler - Guitar (Oxes)
Emmanuel Nicolaidis - Drums (More Dogs, Thank You)
Michael Bouyoucas - Keys (More Dogs, Thank You)
Steve Santillian - (More Dogs)
Kirk

Unknown-ness: I’ve never heard of these guys, but the name is a perfect name, sounding like an obscure punk/indie band. The simple cover reminds me of Wire, as they have been compared to sonically as well. What is really intriguing is the decision to juxtapose something as emotional as love, with the idea to name the songs about it as concurrent numbers. The spacious grey cover gives room for the names of songs/numbers to be written like on an excel spreadsheet on the back. This record is cool, because it is labeled specially out of 300 copies. As for the content, I can only assume it is going to be some kind of mechanical or highly evolved futuristic music.

Album Review: “48602” starts off with a minimal industrial/mechanical thudding drum beat. It is not timed, and not meant to be on a specific beat until the bass comes in as a quiet hum. Together they both lay down angular and disjointed rhythm, accented by guitar tweaks here and there for 2 minutes. Then the moody space guitar notes quietly play over the groundwork. The song builds, but that actually is the song, a continuous build throughout the track until the last minute. The guitar, slightly off key, gives way to a noisey onslaught of buzzing guitar work, sliding up and down the musical scale. It ends suddenly, with an abrupt stop. “48603” begins with a quiet hum for 30 seconds, and the progressive building drum & bass beat is echoed with the repetitive guitar strumming over top. The guitar production is liquid and murky with the essence of space pop. There are vocals here, but they feel like the singer is barely in the room, and is forced to chant the nasally vocals from across the room. The song continues in a dreamy, head spinning loop, which changes tempo and instrumentation once in a while, but never the swaying rhythm never skips. “48604” begins with creepy sea-swaying guitars & bass, crashing cymbals and minimal chanted, hushed monotone vocals, which are added in bits more as an instrument’s compliment rather than a front piece on display. Danger is afoot, as the guitars crash for a few bars followed up with a Jaws inspired bass effect. It winds down, as if the threat of a tsunami washes away out to sea. “48605” quietly comes onto the sonic map, nearly absent for the first 40 seconds, with light bass. Then a marching drum beat is coupled with a repetitively strummed guitar, but the effect is not as driving as I’d expect.

“48606” finally breaches into noise and feedback guitar work, this is a very urgent and driving song, with a quicker off-beat, angular drum rhythm. It feels video game is, with its changing musical scale and rushed motivational atmosphere. It has little breaks where the buzz rests and the quiet bass fills in. But it picks right back up with the drums starting, and the guitars “talking” to each other. And the guitar onslaught kicks in. Lots of repetition is used in the ending of the song, but it a solid, solid song. “48607” is back to the dreamy, creepy production of showgazing bass over echoy eerie guitars. The elements are brought in, growing in volume, and the progressive drone commences. Yelled vocals are added, but are too high and mixed in the back for their words to have too much meaning. The tempo switched to a marching beat halfway through the song, and the vocals, occasionally used, are more monotone. The guitars come off as a series of repetitive beeps and bops. And the last song, the monstrously repetitive 9 minute epic, repetitively titled “48608” begins slowly with what sounds like the band testing their instruments. It consists of tinkling guitar, drums and bass all seemingly played separate of each other, yet all over top. Then after a minute and 15 sec, the bombastic guitars and drumming take over, and the wall of sound is created, slowly pushing the listener along for a minute, and it relapses into a ringing effect that fades with time, and a random couple of drum fills are added, and the driving sound-wall returns around 3:30. This section of the song tires out around 5 minutes, and the buzzing ring returns louder, with dismal effects randomly entered, like we’re back to the instrument testing. What sounds like a guitar-on-keybaord sample is looped in the background, behind buzz and fuzz, which now picks up the driving momentum of the song. It feels like it loses track here, but I’m sure this is what was planned, down to each note. The drums feel like they are about to pick up as all the instruments gain an intensity and urgency back to their manipulation. But the drums kinda fall to the waist side, and the alarm-like guitar buzzing becomes irritating as it does not morph into anything more. The instruments quiet down as they exit the song in an exhausted style.

Stand Out Track: 48606
Links:
Best new band Baltimore City paper 9/96
Panzan's Blog
Reptilian Records
Lord Baltimore Recording Staff
Balti City Paper - Oxes 6/00
Math & Noise Blog
Balti City Paper - Thank You 6/08
More Dogs Myspace
Oxes - Wikipedia
Discography Grunnen Rocks
T-DT-B Discog
Thank You Myspace

Tammy Faye (Bakker) - Run Toward The Roar

Artist: Tammy Faye (Bakker)
Album: Run Toward the Roar
Year: 1980
Style: Gospel Pop
Similar Bands: ???? 50's female vocalists, perhaps?
"One-Word" Review: lite-joy-cry-gospel
Based Out Of: North Carolina
Label: PTL Club Records and Tapes

Run Toward The Roar - Cover & Sleeve

Run Toward The Roar - Back & Record

Run Toward The Roar (1980)

1. Fill Me Up Lord / Thank You Lord for Loving Me The Way That You Do 5:37
2. Lord I Need You Right Now 3:57
3. Alleluia / Rejoice, You're A Child of the King 4:44
4. Before the Rocks Cry Out / I Live / He Is Exalted 5:00
5. My Dependable Friend 3:32 /
6. Run Toward the Roar 2:56
7. Oh, How I Love Jesus / Thou Art Worthy 5:12
8. Love Song for Grandma 2:56
9. All in the Name of Jesus 3:47
10. Its Real 4:51

Album Rating (1-10): 2.5

Members & Other Bands:
Tammy Faye Bakker - Vox, Front Cover Design & Layout, Back Cover Design
Gary Sanford Paxton - Produced, Arranged, Engineer, Remix Engineer, Backing Vox, Front & Back Cover Layout, Back Cover Design
Gene Rice - Engineer, Remix Engineer
Warren Peterson - Engineer
Steve Halger - Engineer
John Darnell - String / Horn Arrangement, Conducting
Buddy Skipper - String / Horn Arrangement
Don Tweedy - String / Horn Arrangement, Conducting
PTl Singers - Background Vox
Heritage School of Evangelism Choir - Backing Vox
Jeannie C. Riley - Backing Vox
Reba Rambo - Backing Vox
Brad Kelley - Backing Vox Arrangement
Pax Superpickers - Music
Jerry Carrigan - Drums
Bob Nickerson - Drums
Gene Chrisman - Drums
Bob Gelotte - Drums
Steve Schaffer - Bass
Bobby Wood - Keys
Morris Chapman - Keys
Alan Steinberger - Keys
Novella Williams - Organ
Pete Wade - Guitars
Harold Bradley - Guitars
Cindy Reynolds - Harp
Bill Wiggins - Percussion
Terry McMillan - Percussion, Harmonica
John Darnell Section - Horns
Shelly Kurland Sections - Strings
Glen Meadows - Mastering
Charles McCallen - Front & Back Cover Layout
Boomer & Linda Castleman - Front Cover Design & Layout & Photos
Phil Egert - Cover Photos & Back Photos
Greg Crouse - Back Cover Layout
Lloyd & Juanita Tytlandsvik - Owners of TN Game Farm & Lions.

Unknown-ness: So I saw this record, and yes, I know who Tammy Faye is. That is exactly why I had to get this album. Most gospel or god records, have images of stained glass, or people reading/singing hyms, or just your typical religi-crap. But this, this goes beyond that, running with the lion/king metaphor a great distance into fantastic artwork. Since it drops all the normal religious imagery, opting for a stylish atmosphere (however weird or awkward it comes off) I can only hope that this is an attempt to cross-over from religious music to pop; or since it was 1980, into new wave. I’d love to hear an evangelical attempt at modern (at the time) music, trying to gain fans with what was going on in pop music and spread her word of “faith” by sacrificing all her choir beliefs and values. However, the songs are religious titles, and do not try to mask her platform. But the surreal Tammy Faye poses on the back and the background of lions in collage makes a great argument as to what this record could hold. My hopes and expectations are set very high by this artwork.

Album Review: “Fill Me up Lord / Thank You Lord for Loving Me The Way That You Do” Is the first medley of the album. It is a gospel ballad with Tammy Faye singing over simple piano and a choir of ooooing in the back. After the drums kick in (kinda) the choir echoes Tammy’s lyrics, and they do a team chant. The organ is added in verse three, but it is not much, and does not detract from the vocals. But do any of them realize the sexual nature of the song…I mean to make a porno version of this song, you would not need to change a word. This is the Lord Juice song. After the third verse, the medley changes to the Thank You section, and the gospel gets a bit more groovy with brass and an R&B beat. It slows down, but maintains its Motown groove. We get glimpses of emotional singing, but it never goes into full-blown energy. “Lord I Need You Right Now” begins like the first song did: as a gospel ballad with piano and vocals/choir in echo. A very slow drum beat is added and the horns come back. We then get story time around 2:15, where Tammy gives an inspirational monologue about how people need to be saved. Then her tearful, strained siren voice wails for the remainder of the song, and she gives a little cryptic reminder that “you are they to someone” in her high pitch talking voice. “Alleluia / Rejoice, You're A Child of the King” is the next medley, that opens like Bing Crosby’s “White Christmas.” The Alleluia is uttered over and over again, in a similar fashion to Leonard Cohen’s version, but not quite. This is the orchestral ballad section of the medley that continues for the first 3 minutes of the song before it hits the theatrical gospel section. Her voice shakes, almost sounding like Sleater Kinney or something that is oddly comparable. Except that it is nothing like them. “Before the Rocks Cry Out / I Live / He Is Exalted” begins as a waltzing ballad with a little orchestral flair. This too is theatrical in its singing and composition. It smoothly transitions to the “I Live” section, picking up the horns a bit more, with the same melody. But it slows down to a near stop to finish out the medley for over 2 minutes. A swirling orchestra emerges building up the atmosphere, but it settles into another couple of refrains of “He Is Exalted” with only a little more energy. “My Dependable Friend” is a story song about how it was to be without Jesus, and how she met him. I can just see if sung after a bit of a dialogue on their evangelical telethon of a show, about how Tammy personally found religion. It is a slow and confidently sad song. The tempo is that of a sad Country and Western song.

“Run Toward the Roar” is the title track, and begins like a country and western tempo disco track. The song is a complete metaphor of young Jesus and its transition into King. I think. Don’t quote me; I am trying to listen as little as I can. Something about roaring lions are Satan, and he’s defeated, but run toward his ugly head. Weird. I really don’t get it. However, there is a cat’s meow sampled at the very end. Ohhhh! I (still don’t get it). Another gospel slow sing-along begins in “Oh, How I Love Jesus / Thou Art Worthy.” The music picks up a little, but is not a fun song. The song reverts to a quiet number with the second part of the medley. But triumphant trumpets sound and her voice slowly croons over the lyrics. You can hear the famous tears of joy stream down her face, leaving virtual deltas of mascara deposits along the way. It ends in over exuberant passion, with building orchestra and a held final note. “Love Song for Grandma” is a country blessing to the memory of her grandma. It stands out from the rest of the songs, as it is not a total religious rapping of the knuckles. It is sung like a camp fire sing-along. The same verse chorus melody repeats over and over as a way to make it easy to memorize. Swirling strings and a piano begin “All in the Name of Jesus” yet another in a long string of old fashioned vocalist displays, evilly embedded with religious banter. Around 3 minutes, she begins reciting what sounds like a bible verse to end the song, finally ending with: “So said the man. Jesus.” A more standard gospel tempo begins “Its Real.” It is not the floor stompin’ and soulful bellowing, hand clapping good gospel, but it is better than the slow orchestral stuff on here elsewhere. It is Tammy’s vocals buried under the chorus of the choir. Then her voice stands out with a bull frog deep baritone man’s voice underneath doing “ba-roops.” The organ is there buried in the background and the horns and strings are minimally used as well. But the song builds in a grand sense toward the end, and settles back in on itself as the final note is held.

Stand Out Track: Fill Me Up Lord / Thank You Lord for Loving Me The Way That You Do (only because of the obvious sexual innuendo the song portrays)

Links:

Rate Your Music

Flickr Album Cover

Bizarre Records.com
Vinyl Oddities

CBS Story on TFM
Sparkle Pony

Wikipedia
Tammy Faye Homepage

7/21/07 Passsing on CNN

Gary S Paxton rate your music page

Stevie B - Party Your Body & In My Eyes

Name: Stevie B
Album(s): Party Your Body~, In My Eyes*
Year: 1988~, 1989*
Style: Dance Club Pop
Similar Artists: Power Station~Seduction~Tony!Toni!Tone!~Bobby Brown~Whitney Houston Church Songs*
"One-Word" Review: dancefloor-sweat-rhythm
Based Out Of: Miami, Fl
Label: LMR (Lefrak-Fuhrman-Moelis Co.~,Lefrak-Moelis Records*), Little Major Records Distribution~

Party Your Body & In My Eyes - Covers

Party Your Body & In My Eyes - Backs Party Your Body & In My Eyes - Records

Party Your Body (1988)

1. Party Your Body 4:34
2. I Need You 5:06
3. Stop The Love 5:00
4. Day N' Night 5:02/
5. Dreamin' Of Love 4:08
6. No More Tears 6:01
7. Spring Love 5:03
8. Baby I'm A Fool For Love 4:52

In My Eyes (1989)

1. I Wanna Be the One 4:54
2. Girl, I Am Searching For You 4:45
3. I Came To Rock Your Body 5:00
4. Love Me For Life 5:12 /
5. In My Eyes 5:09
6. Lifetime Love Affair 4:11
7. Come With Me 4:39
8. Children of Tomorrow 4:46

Album Rating (1-10): ~8.0 *7.5

Members & Other Bands:Stevie B (Hill) - Wrote, Arranged, Vocals, Instruments, Drum Programs, Computer Edits, Percussion, Produced, Mixed, Engineered~*
Tolga Katas - Instruments, Computer Edits, Percussion, Samples, Produced, Mixed, Engineered~* (Linear, MTS)
PJ Austin - Computer Edits~
Herb "The Pump" Powers - Mastering~*
Herb Moelis - Executive Producer~*
Samuel J. LeFrak - Special Thanks~
Laurence Moelis - General Counsel~
Bonnie Schifano - Copyright Coordinator~
John McKinzie - Art Direction & Design~
Dadgel Ataby - Music Arrangement*
Glenn Gutierrez - Music Arrangement. Computer Programming*
Jimmy Starr - Mixed, Engineered*
Lee Lebowitz - Cover Design*
Johnny Cruize - Photograph*
Claudette DeBarros - Fashion & Design*

Unknown-ness: I never heard of Stevie B. But I saw this at the thrift store, and did not buy it for a few weeks. Then, after I saw Kanye West’s mullet, I was inspired to go back and give these albums a chance if they were still there. The crazy early 90’s artwork, style and especially hair made me want to get these sure-to-be cheesy records, with nearly each song with the word love in the title, like an Air Supply album. I was not sure what exact style this was going to be, but I was pretty sure it was going to be danceable. And I hope the joke-y-ness of the albums does not wear too thin, if the albums are not stratightforwardly good already.

Albums Reviewed: ~“Party Your Body” starts off the first album with latin synthesized horns and typical 90’s dance pop. The vocals are light and non-threatening. The music feels like a steamy, seedy night in a dance club, like he scene from National Lampoon’s European Vacation where Rusty dreams about dancing to “Some Like It Hot” by the Power Station. It is just like that song. “I Need You” starts with new wave conga synth and Stevie yelling out with plenty of reverb. This is a light, generic pop song, but it is still catchy. It has great lines like “Sha-Na-Na-Na-Na-Na-Baby.” The synth bass is a very satisfying liquid deep effect and in uncontrollably pleasant every time it is used to punctuate the end of the musical loop. “Stop The Love” is more 90’s rap in production, and it ends up heading toward something by Denise Williams or any other synth dance pop act from the 80’s or early 90’s. It was an over done style, but that does not mean it was bad. It generates the image of a smoky disco, flashing lights, and care free grinding. Or a near empty skating rink. Lyrically, he borrows directly from The Jackson 5. “Day N' Night” picks up with a slightly slower version of the song directly before it. It features a short breakdown rap shoved in the middle of the song, but it is not given much time to take hold and throw off the smooth catchy rhythm.

“Dreamin' Of Love” starts with the popular synth keyboards, and new wave effects even similar to OMD or Pet Shop Boys. The backing music could even have been used in video game music. There is even some scratching of the vocals to the rhythm. “No More Tears” is slower and features a more island synth rhythm. It is a much simpler, empty sounding song, where besides the vocals; only the bass drum and clicking metronome-like percussion keeps the momentum going. It fades out, and up next is the biggest hit on the record “Spring Love.” It starts with laser like synth keyboard sounds. The sweet, comforting storytelling vocals roll over the catchy melody at another video game like example…it kinda reminds me of Dr Wily’s music from Mega Man 2. The nervous wood block and clicking percussion build a great dance base for the song. It is also a little like Milli Vanilli, but a little less catchy. For a regular listening song, it is a little long, but perhaps for a dance floor, it is perfect. “Baby I'm A Fool For Love” is the last of the songs, and enters with a percussive cow bell mixed with the beat. The jazzy synth adds and the quiet and smooth vocals begin. It feels a little like it should be a Bobby Brown song. The song and album ends in a fade.

* “I Wanna Be the One” picks right up with the same synth sounds. The melody is even catchier and its shaky quality adds even more charm. I might have actually heard this song before…it kinda sounds familiar. It is more complex than anything that appeared on the first album, the chorus is a different catchy (but similar) melody than the rest of the song. The song is a really good pop song, as you wait for the chorus to drop, and it is pleasant when it finally does. The final note is held onto as the song fades out. “Girl, I Am Searching For You” has a grand classical themed synth intro that quickly turns to dance floor rhythm. The song builds well as a pop song, but the delivery does not please as much as it should. The song is missing something in its production that would make it feel bolder and more enjoyable. But the music style definitely takes me back to the radio fare that was on in the early 1990’s. And the follow-up to his “Party Your Body,” “I Came To Rock Your Body” is a little more jazzy, and less danceable, taking its cues from Prince. The strength feels like it is uncontrollably slipping through Stevie B’s fingers with these last couple of songs, when compared to the stellar opening track and last album. They just feel even lighter and airy and lack that dancy punch the first album had. Going all Whitney Houston on us, Stevie B gives us the church prayer “Love Me For Life.” It is perfect for a middle school dance, but not for a Miami Nightclub. This would even make, with different production, for a great monster ballad.

The album’s name-sake starts side B “In My Eyes.” It is a jumpy Latin-jazz synth, but the vocals drain any minimal energy from the song. They are quiet and smooth, but in a negative way for the first time here. The chorus is a bit stronger, and very repetitively catchy, but it does not save the song. “Lifetime Love Affair” starts off just like a Pet Shop Boys song. It has a bit of a “Smooth Criminal” beat. Again, this is more of a pop song than a dance track. The energy is really saved for the chorus, it really breaks through the quiet and safe range that all the songs have run through so far. The repetitive chorus at the end of the song is very good and makes it memorable. “Come With Me” follows up with more jittery electronic dance music, back on track and into the clubs. The build up to the chorus is very strong, the delivery is better than “Searching For You.” There are some generic effects thrown in, perhaps just because they can, and I guess they add a bit to the song, and make it less repetitive. But there is a fade out, where it should be a cold stop. Oh well, still a solid song. “Children of Tomorrow” fulfills the weak theme for this album: to end both sides as Whitney Houston church ballads. I can’t even finish this song up.

Stand Out Tracks: ~Party Your Body
*I Wanna Be The One

Links:wikipedia
Myspace
Allmusic
Discogs
VH-1 page
Last FM
Rate Your Music
Glenn Gutierrez's Blog: G's Odd Spot

(the) Heart Throbs - Cleopatra Grip

Name: (the) Heart Throbs
Album: Cleopatra Grip
Year: 1990
Style: Gothic Shoegazing Pop
Similar Bands: Darling Buds, Shakespear Sister, Luna, Belly, Gene Loves Jezebel
"One-Word" Review: dark-cavern-vampyro-rock
Based Out Of: Liverpool, UK
Label: Elektra, One Little Indian,

Cleopatra Grip - Cover, Notes, Tape

Cleopatra Grip (1990)

1. Tossed Away 3:55
2. Dreamtime 3:54
3. Big Commotion 5:04
4. In Vain 4:30
5. Slip & Slide 3:19
6. Here I Hide 4:32 /
7. Calavera 6:01
8. I Wonder Why 3:31
9. She's In A Trance 3:44
10. Blood From A Stone 3:25
11. Kiss Me When I'm Starving 4:34
12. White Laughter 5:14

Album Rating (1-10): 7.0

Members & Other Bands:
Rose Carlotti - Vox, Guitar (Angora, Tom Patrol)
Rachael Carlotti - Bass, Vox
Stephen Ward - Keyboards
Alan (Borgia) Barclay - Guitar
Mark Side - Drums
Martin Hannett - Mix
Gil Norton - Producer, Mix
Frank De Freitas - Producer
Rob Stennett - Producer, Engineer
Derek Birkett - Producer
Chris Allison - Producer
Bill Price - Mix
Dave Meegan - Mix
Mark Wallace - Mix
Chris Sheldon - Engineer
Brian Pugsly - Engineer
Me Company - Design

Unknown-ness: I have never heard of this band. But I liked the font and imagery on the cover of the tape when I saw it at a thrift store. With the color and picture, it reminded me of the 4-AD albums like Luna and Breeders, but a little more girly and gothic, like Siouxsie Sioux and Shakespear Sister. So the music I was thinking would be similar to Gene loves Jezebel, or something very noisy, yet melodic shoe gazing goth-pop. But this is really only based on the artwork, so I could be way off. But I am excited to try it.
Album Review: Track one is “Tossed Away” and it comes full-on with thick dense guitars and sexy, mysterious talk-singing dialoged overtop the synth keys and echoing drums. The chorus comes with a very catchy melodic vocal hook that validates, with singing, the spoken verse. A quiet alarm like synth intro begins “Dreamtime” before the guitars come in. The deep spoken word vocals are supplemented with the title sung in the background. Again the chorus is the sung-hook, leaving the verse as a meditative anticipation. Buzzing and stinging synth sounds enter and fade as the grinding guitar and driving drums come into play on “Big Commotion.” The double layered, harmonized vocals sound a bit like pulp in the “can’t dance without the motion” chorus hook. The rest of the song sounds like Shakespeare’s Sister with fuzz guitars. It takes a lengthy time to finally end, a bit too much pulling taffy. But it ends in a fade, and “In Vain” starts with mysterious swirling keys and effects and a wispy all-knowing female vocal. This is quieter than the rest of the album, and features far less production. The two female singers again play off each other like Shakespeare’s Sister with less range. The guitars make the song kinda sound like the Scorpion’s “Wind Of Change.” The ending builds up taking the hooks and layering them over top of each other, building in energy that just relaxes at the end. “Slip & Slide” is a bit taste of goth-pop. The beat is dancy and upbeat, and the female vocals take turns in the verse, showcasing both vocalists very well. The come together and harmonize in parts as well. There is even a revised chorus hook that adds more depth to the song that takes over as the song rushes to its end. This sounds like a good British pop songs produced through a nest of hornets. “Here I Hide” is a straightforward rock song, with a standard drum beat, guitar work with slight fuzz, and minimal use of the electro-keyboard. Near the end, the lyrics pick up and function as a steady rhythm section. It ends with do-loo-loo’s running up and down the melody.

“Calavera” consists of three parts at the onset, first is the tired, staggering drum beat, second are the monotone sung vocals and the fuzzy & repetitive lead guitar. The song is really a one-trick pony, never advancing further than the dark, stumbling, slow head nodding beat. And when you thing the song should be slowing down to end, it just goes on and on for another 2.5 minutes with another verse to boot. The next song, “I Wonder Why” starts off right away with a catchy guitar hook and a decent vocal melody. This is good planning after the last song’s long drawn out ending. It is just as dark as the rest of the record, but the vocals are much more refine and stand out on their own. It is a little repetitive, but over all a descent song. “She's In A Trance” rocks out with a solid jangley repetitive guitar hook wrapped up in the normal fuzz-production and complimented with echoey goth-vox. The chorus/song title comes across like a quiet whisper from a floating phantom, seeming to be in a trance itself. Again, it is a little long, and drawn out at the end. “Blood From A Stone” has the same jangely guitar but the bass is pushed way up in the front of production. It is an upbeat and poppy song, but the synthesizer draws it down into darkness along with the echo effect on the vocals making the song sound hollow and floating. “Kiss Me When I'm Starving” is a ballad, with a soaring electric metal guitar and an arena rock drum beat. There is a pleasant keyboard underneath the otherwise dreamy, fantasy atmosphere. Finally, after a long fade out, “White Laughter” finishes the album. More echoey effects, this time on chimes and a haunting synthesized “held-note” start the song, along with an acoustic guitar. Simple vocal lines are sung, and the song kinda sounds like something from Mazzy Star. It is quiet and pleasant, as it slowly builds with slightly emotional lyrics harmonized. It is somewhat Celtic in its windy and folksy production. It takes a bit of time to end with more haunting and surreal crystal summonings and chimey vibes to complete the atmosphere.

Stand Out Track: Slip & Slide

Links:
Allmusic
Wikipedia
Yinpop Fansite
Myspace
Unofficial Site
Last FM
Photozen gallery live 1993
NY Times article 1990

The Hard Tomorrows - 5 Songs

Name: The Hard Tomorrows
Album: 5 Songs
Year: 2004
Style: Emo Rock
Similar Bands: Muse, Ours, New Radicals, Radiohead
"One Word" Review: fake-caring-radio-falsetto
Based Out Of: Washington, DC
Label: self released

5 Songs - A cover, Liner Notes & Back

5 Songs - Covers & CD

5 Songs (2004)

1. Put Yourself Out 3:39
2. Jaywalker 3:22
3. Dear Mary 3:05
4. I Never Write Anyone 2:45
5. Stay Cool / Take Down 7:40

Album Rating (1-10): 5.0

Members & Other Bands:

Rob Pierangeli - Guitar, Vox (the Glaciers)

Rishi Chakrabarty - Guitars, Harmonium

Mike Tasevoli - Drums

Paul Michel - Bass, Keys, Vox

Steve Cooper - Mix, Producer

Kyle Downes - Engineered, Producer

Alan Douches - Mastered

Sarah Claxton - Photographs

Becky Schmidt - Illustrations/Design

Unknown-ness: I’ve never heard of these guys. But I found this in a CD bin at a pawn shop out in Las Vegas, and got this for the simple, cool, bright, colorful yet dark artwork. This is just a 5 (6) song ep, but I love the bare bones layout and 3 alternate covers. The presentation sets the musical expectation to be high on the creative, witty and deep scale, so I hope the music holds up.

Album Review: So far I like this short CD, all of the songs are near or under three and a half minutes, assuming the last “hidden” track song has dead space. The EP begins with “Put Yourself Out.” Jangley guitars, echoey organ and a light drum beat start off the song. The vocals sound like they have a slight distortion added, and they are sung with controlled emotion. I can’t place who the vocals sound like, but they sound like a mish-mosh of many radio-alternative songs: part Eels and part New Radicals. It is a catchy song, but does not stand out an incredible amount. “Jaywalker” is next, and has a quietly-fuzzed shredding guitar over two notes. The fuzz is dropped and the vocals sore ala Muse or Ours. These songs really bring out the emo aspect of their music, the lead guitar is dark and brooding, and their slightly start/stop guitar work try to squeeze them into the Franz Ferdinand type rock, but it just doesn’t hold up that well. “Dear Mary” begins with a religious choir of cooing vocals. Then the guitars and drums pick up, in a complex and interesting melody, similar to the Sugarplastics. The band relies heavily on the twangy guitar and deep bass combination. The vocals are subdued, but they have the ability to soar at any second. The song unfortunately picks up with a different musical arrangement, and the vocals do become emotional, the music does not follow the transition. “I Never Write Anyone” is a loud rocking song, with plenty of drive and note-held vocals. But this is also a very noisy track, and the music suffers, except when it breaks free in support of the vocals. “Stay Cool” is the final track, but I read that it is 7+ minutes because there is a hidden mostly instrumental track following. This song is a quiet, Radiohead-ish ballad. It flows like a sea shanty waltz. The vocals are haunting, and are enhanced by echoing vocals layered deep down in the track. A buzzing period around 2:30is followed by a pick up in energy and emotion. After its climax, it settles back down before it ends at 4:05. But then, at 6 minutes, the bonus track entitled “Take Down” (thanks to Better Propaghanda’s website) begins with fuzz guitars and buzzing chords. Some emo yells are the only vocals on this wailing guitarist centerpiece. And like the quick burst that it is, it ends just as suddenly.

Stand-Out Track: Put Yourself Out

Links:

Becschmidt - artwork

Allmusic

Myspace

DC Live Review 2/23/06

Exitfare

Better Propaghanda

Underrated Blog

CD Baby

Smudge of Ashen Fluff
BYT.com

On Tap

Happy Family - Lucky

Name: Happy Family
Album: Lucky
Year: 1990
Style: Proto-Alternative
Similar Bands: Sonic Youth, Half Japanese, L7 (lite), King Missile, Pylon
"One-Word" Review: Juvinilly-friendly-lo-fi-noise-pop-punk
Based Out Of: Austin, TX
Label: Dutch East India Trading, 50,000,000,000,000,000,000,000 WATTS Records, Inc.

Lucky - Front & back insert & back
Lucky - Liner Notes & CD

Lucky (1990)

1. Cavemen in Neckties 3:03
2. We Love You We Don't Love You 2:00
3. Listen 2:32
4. Lucky 3:55
5. Nothing to Do With Anything At All 4:09
6. Big Ass on Fire 4:04
7. 8 Good Reasons 2:28
8. She's Your Trashcan 3:06
9. Everyday 2:07
10. World Of Distraction 3:59
11. Wear Your Clothes1:51
12. Bodies Lie 3:30
13. Where's My Tribe 3:48

Album Rating (1-10): 7.5

Members & Other Bands:
Cindy Widner - Vox, Cover Design (Flinchtones)
Laura Creedle - Guitars, Vox (Flinchtones)
Rich Malley - Drums Vox (Scratch Aid)
Julia Austin - Bass, Vox, Clarinet, Tinwhistle, Cover Design, Art (Chlorine, Wild Seeds, Kamikaze Refrigerators)
Spot - Guitar, Producer, Engineer, Denmother
Lynell Malley - Cover Design, Art
Ellen Gibbs - Drawing
R.U. Steinberg - Photography

Unknown-ness: I seem to remember buying this cd out of a cheap CD bin at a chain store like Tower Records somewhere, sometime before college like 10+ years ago. But I don’t remember where or for how much. I remember trying to listen to it when I was in college, but did not like it too much. But maybe I never gave it a chance. I bought it because I liked the imagery, the Spanish flash cards with block coloring were a neat touch, and they kinda look like tarot cards. I also might have picked up the cd because it is on the same label Half Japanese used for a few records. The cd printing looks very homemade/generic, but that could also be the limited quality indie labels were able to make back in 1990.

Album Review: “Cavemen in Neckties” starts out with lo-fi drums and heavy guitars and monotone girl-punk chanting. The chorus consists of shouting female vocals. It falls somewhere between post-punk Delta 5 & a lighter L7 or Bikini Kill. The vocals are not really singing, as in sing-talking. But the lyrics are silly, like something I’d expect from a Half Japanese or Dead Milkman song. “We Love You We Don’t Love You” picks up the pace, with Devo like chord changes, but without synthesizers. The vocals are not sung in any kind of key, similar to Kim Gordon’s style, without as much guttural snarling. The final note of you is held onto for an unnecessarily long time. “Listen” gives off a snarky, cocky girl personality with the vocal style and tempo of the music. It actually reminds me a lot of the song that the fake band at the end of “Knowing Me, Knowing You with Alan Partridge” plays. I can see why I did not like the record in college; I never gave the style the time of day. But I like and appreciate it more now, and although the record is not great, it is more tolerable than I thought previously. “Lucky” is a quiet shoegazing, meandering song featuring somewhat of a drum march beat. It is like the bed time lullaby that Belly could pull off. A random drum beat and chaotically unbalanced heavy buzzing guitars introduce “Nothing to Do with Anything At All” but then some cohesiveness takes place and the song begins to rock. The off-key female Blondie vocals we’ve become used to start, but they are supplemented with energetically loud Braniac-Style guy vocals. You can just feel the beginning of Alternative music style ooze out all over the place here. “Big Ass on Fire” begins with a funky, catchy, jittery guitar beat, and the monotone female vocals compliment the music by not taking any distraction away from it. The chorus is a little juvenile, but it is nothing unexpected from the album’s content thus far. The vocals sound tired and half-heartedly performed. Although that I might just be what the song demands, and what they wanted. If the song was not so long, and had just one more interesting section, it would be the best track thus far.

“8 Good Reasons” starts with a rockin, drivin drum beat, and a great female vocal, which reminds me of an audible Mika Miko. It is a solid punk song without the inhibiting angry punk energy. “She's Your Trashcan” has a mellowed deeper female vocal that actually is singing, in a PJ Harvey way. The song is somewhat boring, even if the chorus is nicely repetitive and has a basic-yet-catchy hook. “Everyday” has shredding guitars in the start, and the vocals are similar to “Listen,” with smarter-than-you personality inspiring vocals. It is not a fast paced song, but it is begrudgingly plodding. “World Of Distraction” is like King Missile in its minimal music and story time vocals. The vocals maybe a bit like the Pretenders, too. The tempo is similar to Aimee Mann’s “Your With Stupid Now.” And the song ends with a latter day XTC like guitar and bass instrumental section. “Wear Your Clothes” is nonchalantly sung over a catchy pop-punk hook. This one is a shame that it is so short, and only uses the big hook once in its under two minute length. “Bodies Lie” comes to a slow whirling start with echoey metallic noises. And the song stumbles along thanks to an extraordinarily slow drum beat. And my CD has decided to stop playing after freezing up a few times during the song. But I did not sense it going anywhere too different than what I got from the first minute and a half. I was able to jump ahead, and realized that it really did not go anywhere too different from the first half. It is a constantly building song, that feels like it might get somewhere, but never does. “Where's My Tribe” ends the record with a dancy tambourine beat and light picked guitar work. A building bouncy bass is added too, and the song sounds a bit like Pylon. Supporting female and male vocals are added in the chorus, and the song continues to build in energy in its instrumentation. Other effects, like a recorder, are added, and its complexity is on par with some of the more intricate Violent Femmes songs. Over all, not that intricate, but each element blends its own unique sound, yet you can listen to each thing individually.

Stand Out Track: 8 Good Reasons

Links:
Cindy as Author for Austin Chronicle
Hole In The Wall Review 2/22/1991
Amazon + reviews