Frankie Eldorado - s/t

Name: Frankie Eldorado
Album: s/t
Year: 1980
Style: Power Pop
Similar Bands: Badfinger, Big Star
"One-Word" Review: Light & Smooth Harmonic Power Pop
Based Out Of: NYC, NY
Label: Epic CBS

Cover, Record

 Back, Record

Sleeve Graffiti

Frankie Eldorado (1980)

1. Good Thing 2:55 (Single)
2. Can't Tell Love 2:53
3. Fine Time 2:19
4. Do I Like You 3:01
5. Ain't That Peculiar 5:39 (cover Smokey Robinson & Miracles)/
6. I Know 3:33
7. Hey Little Girl 4:02
8. Don't You Take 3:12 (Single B-Side)
9. Dancin' To Me 3:20
10. Crazy 5:11

Album Rating (1-10): 7.0

Members & Other Bands:

• Frankie Eldorado (D'Augusta)- Producer, Vox, Percussion, Engineer, Remixing, Arrangements (Ellen Shipley, Max Demian Band)
• Mark Rocket - Drums, Keys, Arrangements
• Thomas Morrangello - Guitar
• Kasim Sultan - Bass (Blue Oyster Cult, Joan Jett & Blackhearts, Scandal, New Cars, Utopia, Yellow Matter Custard, Meat Loaf, Rick Derringer, Tom Robinson Band, Zoot Money, Jim Steinman, Price, Patty Smyth, David Drew, Johnny Hates Jazz, Celine Dion, Alice Cooper, Bif Naked, Todd Rundgren, Ken Sharp, Steve Hillage, Shaun Cassidy, Indigo Girls)
• Deborah Bucks - Backing Vox (also signature on sleeve)
• Joe Mauri - Guitar (Hilly Michaels, Helen Schneider)
• Jack Leslie - Synth (Tony Orlando, G-Men)
• Benno Friedman - Photography
• Ron Contarsy - Photography
• Paula Scher - Design
• Joey Barbaria - Remix Engineer

Unknown-ness: From the cover and candy lollipop guitar on the back, and the strong color scheme plus New Wave glasses, I assume this will be really fun nervous/anxious/neurotic new wave. Candy themes = bubblegum pop, so strong harmonies and painfully catchy are expected.

Album Review: Well, definitely light on the new wave production, and heavy on the Badfinger style harmonies and pretty straight forward power pop. "Aint That Peculiar" is a Smokey Robinson & the Miracles cover, and reminds me of "The Neutron Dance" slightly for some reason...or at least like the build up could launch the Pointer Sisters song with an easy transition. The opening track has a Fast Times at Ridgemont High feel to it. Not much of a history or future for Frankie, but it looks like he's carved out a little obscure corner to work on production from what i've been able to gather on line.

Stand Out Track: Good Thing

Links:
discogs
fan FB page
allmusic
reverb nation
twitter
Soundcloud
rate your music
N1M

Ex-Optimists - Bee Corpse Collector

Name: Ex-Optimists
Album: Bee Corpse Collector
Year: 2013
Style: Shoegaze Math Rock
Similar Bands: Ride, Slowdive, Superchunk, Track Star, Ride, Lush, My Bloody Valentine
"One-Word" Review: Fuzzy Throttling Dreampop
Based Out Of: College Station, Texas
Label: Sinkhole Texas

 Cover, Record, Credits

Back, Record, Lyrics

Bee Corpse Collector (2013)

1. Postcards 4:39
2. Summer at Sea 3:10
3. Never Lose that Feeling 3:43
4. Dead Eyes 8:00 / 
5. No-High Fives 4:36
6. Let's Go to Sleep & Dream 1:30
7. Portrait of an Artist in Flames 2:41
8. Do No Harm 12:23

Album Rating (1-10): 8.5

Members & Other Bands:

• Steven Kennedy - Bass, Guitar, FX, Producer
• Kelly Minnis - Vox, Guitar, Keys, Drums, Percussion, Producer (Daughters of Joy, Great Unwashed Luminaries, Invasion Boys, Magic Girl & her Ex-Husbands, Redchapterjubilee, The Hangout, The Inators, The Tron Sack, Vast Massive Satellite, Vegas in Flames, Victory Lap, Before the Mast, Jay Satellite, A. Michael Collins)
• Michael Scarborough - Guitar, FX, Producer (Magic Girl, Machine Meets Land, The Hangouts)
• Jessica Kempen - Tambourine (Guns of Detroit)
• Chico Jones - Engineer
• Blake Bickle - Mastering
• Justin Scarborough - Artwork
• Wonko the Sane - Artwork
• Whitney Lee - Photos
• Jason Smith - Photos
• Jake W. Hayward -Photos

Unknown-ness: Never heard of this band. But the black screen printed packaging and pretty splattered record made this an easy buy. Based on the cover, I expect this to have some big psychedelic overtones. How heavy or what direction they go: prog, indie, jam band, pop will be seen.

Album Review: There are some slight trippy elements that basically revolve around echoing reverb, and a little distortion, but it is mostly shoe-gazing math rock. I feel like I've heard a hundred opening bands like this over the years. Sinkhole records is singer Kelly Minnis's baby. There are a lot of solid catchy pop hooks imbedded in the meandering guitars and fuzzy soundscapes. It feel like it could fit into some of the 80's-90's Church-like dark-dreary brit pop pop, or a lot of the mid 90's alternative bands, but it also fits into 2013.The sound like the band you drag your girlfriend to, but end up having a fight and breaking up.

Stand Out Track: No High Fives, Postcards

Links:
spotify
bandcamp
discogs
raised by gypsies
reverbnation
razorcake
tidal

Eurogliders - Absolutely

Name: Eurogliders
Album: Absolutely
Year: 1986
Style: Light Rock, Adult Contemporary
Similar Bands: Bangles, Animotion, Shakespears Sister, Boom Crash Opera,
"One-Word" Review:
Based Out Of: Perth, Australia
Label: Columbia, CBS

Cover, Record

Record, Back

Absolutely (1986)

1. Can't Wait to See You 4:13 (single)
2. The City of Soul 4:49 (single)
3. What Kind of Fool 3:49
4. So Tough 3:41
5. We Will Together 4:32 (single) /
6. Absolutely 4:37 (single)
7. Jesse 4:30
8. Moving Away 4:08
9. Enough Love 3:57

Album Rating (1-10): 5.0

Members & Other Bands:

• Bernie Lynch - Vox, Guitar, Keys, Producer (the Stockings, Living Single, Kam Sha)
• Grace Knight - Vox (Living Single, Australian Olympians, Kam Sha, Oz Art for Ozone, Olivia Newton-John)
• John Bennetts - Drums, Percussion, Programming (Eartha Kitt, Dangerzone)
• Ron Francois - Bass (Strutters, Lene Lovich, Teardrop Explodes, James Reyne, Wendy Matthews, Sinceros, Absent Friends, Kaylan, Ganggajand, Fingerprintz, Nick Plytas, Valerie Lagrange, Julian Cope, Cabo Frio, Aleesha Rome)
• Amanda Vincent - Keys (Living Single, Thompson Twins, Boy George, Tim Finn, QED, Renee Geyer, Mondo Rock, Jenny Morris, Billy Bragg, Moodswings, Camelle Hinds)
• Crispin Akerman - Guitar (Living Single)
• Bill Scheniman - Producer. Recording & Mixing
• David Quinn - Additional Engineering
• Peter Cobbin - Additional Engineering
• Tim Kramer - Additional Engineering
• Chris Porter - Producer, Engineer
• Brian Peacock - Mgmt
• Chris Gunn - Mgmt
• Adrienne Overall - Photo Painting

Unknown-ness: Never heard of this band, and i'll be honest: the year 1986 made me quite hesitant to buy this, as much of this has the production styling of dead drums and one-dimensional synth smoothness. But i do like a good female fronted band, so i wanted to give this band a try. I'm still expecting adult contemporary pop with the bad late 80's production sound.

Album Review: And the sound is spot on...i still can't imagine what people were thinking when these studio albums came back and sounded like they were created entirely digitally without a soul. The band started in 1981, and enjoyed success with many singles, their biggest was Heaven (top 5 hit). Grace Knight and Bernie Lynch (he asked her, his then girlfriend, eventually short-lived wife, to be in his band Living Single as it was before a words-out-of-a-hat name change, (there was another Living Single)) still perform together as the Eurogliders as of 2018.

Stand Out Track: Can't Wait to See You

Links:
Spotify full album
Wiki
Discogs
wikiwand
facebook
rate your music
Nostalgia Central
2015 Tampa bay article
Westside talent page
2018 gig page memo music hall
Grace Knight page
allmusic

Elektrics - Current Events

Name: Elektics
Album: Current Events
Year: 1980
Style: New Wave, Powerpop
Similar Bands: Police, Squeeze, Nick Lowe, Hawks, Shoes, Buggles, Cretones, Producers, Knack
"One-Word" Review: Jittery-Oldies-Inspired New Wave
Based Out Of: New Jersey
Label: Capitol, EMI

 Cover, Record

Back, Record

Current Events (1980)

1. Some Lovin' Tonight 3:15 (single)
2. We Are Americans 1:55
3. Anyway 2:56
4. Time After Time 3:07
5. Boardwalk Beauty 3:29 (single)
6. Indifferent 3:36 (single b-side) /
7. Tonight 3:10
8. Joker 3:26
9. Going to the Movies 3:20
10. I Remember You 2:35
11. Plastic Sound 3:11

Album Rating (1-10): 8.5

Members & Other Bands:

• Chris James - Bass Vox
• Marco Delmar - Guitar, Vox (Basehead, These Days, BYOB, Jennifer Cutting's Ocean Orch. Enid)
• Carl Worner - Vox 
• Bob Drew - Keys Vox (Pierre Aubanel, Jean Morlier)
• Andrew Papa - Drums
• Peter Ker - Producer
• Rob Freeman - Recording & Mixing
• Scott Keller - Asst. Engineer
• Ken Perry - Mastering
• Frank Breuer - Direction & Personal Mgmt
• Andy Gould - Direction & Personal Mgmt
• Robert Metcalf - Art Direction & Design
• Len Price - Photography

Unknown-ness: Never heard of this band, I like the name, cool play on a term i'd assume with synth and cold wave music, however their look is really pastel, yacht-ready, and reminds me of Squeeze a little. Here's another album with the busy checker / graph pattern across the front and back. I can only assume this will be synth heavy, upbeat new wave.

Album Review: So the album is not actually all that synth heavy, but it is a really fun, upbeat power-pop, new wave album not far from Squeeze, but bringing smooth ELO harmonies and some jittery accents to the songs. A couple of the lighter songs sound like oldies songs updated for the 80's, particularly the piano heavy "Pandy Fackler"-like (Ween) song "Broadway Beauty." I also really like the slinky bass & guitar that comes off a little Police-like on Time After Time.

Stand Out Track: Time After Time, Boardwalk Beauty

Links:
Spotify album
Album 2: State of Shock
rate your music
egg city Radio
Discogs
Allmusic

Zebras / E=MC Hammer - Parasitic Clones Under the Strong Arm of the Robotic Machine / Hurns (the First)

Name: ~Zebras / *E=MC Hammer
Album: ~Parasitic Clones Under the Strong Arm of the Robotic Machine / *Hurns (the First)
Year: 2009
Style: ~Post Punk, Math Rock, *Sludge-Metal, Prog
Similar Bands: ~Celebration, Braniac, Vexers, Sleater-Kinney*Melvins, Ceremony, Secret Chiefs 3, Evil Sword
"One-Word" Review: ~Future Neurotic Space Synth,
Based Out Of: ~Madison, WI / *Milwaukee WI
Label: Secret Records, FTAM, Sector 5 Records

Cover, Record, Insert

Back, Record, Insert

Parasitic Clones Under the Strong Arm of the Robotic Machine (2009)

1. The Machine 0:56
2. Me You God 3:10
3. Parasites 2:05
4. Eat Your Eyes 1:58
5. Tubes 2:12
6. The Spell 1:56
7. Robot Machine 2:54

Hurns (the First)

1. You In Checkers 6:14
2. United States of a Miracle 4:22
3. Operah for Poperah 5:00

Album Rating (1-10): ~8.5 / *6.0

Members & Other Bands:
~ Vincent Presley - Guitar, Vox, Synth (Window Smashers, Housecat-Sized Fennec, Logan 5, Those Poor Bastards)
~Lacey Smith - Vox, Moog (Window Smashers)
~Shawn Pierce - Drums
~Jacob Rust - Bass (Window Smashers)
~Shane Hochstetler - Recording
~Steve Somers - Cover Art
~KK Umhoefer - Graphic Design
~Daniella Maria - Photos
*P-Jaxxx (Peter Woods) - Bass, Vox (Bridges of Konigsberg, Galactic Cannibal, LOT, Phoned Nil Trio, xALLxFORxTHISx, SWWS, Raperies (Like Draperies), Mountain Language, Direct Hit! Coelacanth)
*D-Haxxx (Danny Friedman) - Drums, Zil-Bells, recording (Coelacanth)
*Trevor Sadler - Mastering

Unknown-ness: Never heard of either artist on this split record. I imagine it to be punky indie music, maybe a little noise and arty lo-fi production.

Album Review: The Zebras side is fun, energetic synth punk that drives fast and frantically with jittery nervous vocals, there is some math-rock bass and guitar. The E=MC Hammer side is sludgy, thick heavy plodding prog, occasionally with a lot of space. It is almost jazz-like, as the instruments create the mood and tones to paint the soundscape. Vocals take on personalities of different monsters: from that of a heavy, deep giant to yelling to screaming, whenever the mood dictates. Definitely some elements of Mr. Bungle, as the bandcamp page suggest.

Stand Out Track: ~ Me You God, *You In Checkers (2nd half) 

Links:
Discogs
Bandcamp Zebras music
Secret Records
Zebras Bandcamp
Shepherd Express article
Tone Madison
Adornments of the King interview
GetSongBPM
Record Release party post - Fanbelt
e=mchammer myspace

Ellis D - Free Your Mind

Name: Ellis "D"

Album: Free Your Mind

Year: 1989

Style: Techno, Dance, Electronic, House

Similar Artists: Shep Pettibone, C + C Music Factory, Manuel Gottsching, Nu Shooz, Bjork Remixes

One Word Review:

Based Out Of: New York City (from Lancaster PA)

Label: Minimal Records, Criminal records

 Free Your Mind - Cover & Record

Free Your Mind - Back & Record

Free Your Mind (1989)

1. Gotstobeadrag - 5:08
2. You Got Me Burnin' 5:29
3. Jungle Jam 5:04
4. Took My Love Away 4:12
5. Acid Rain 5:00 /
6. I Will Survive 6:10
7. Cum On U Can Git It 4:34
8. It's Paradise 8:19
9. Just Like a Queen 6:06

Album Rating (1-10): 6.5

Members & Other Bands:

Junior Vasquez (Donald Gregory Mattern) - Producer, Writer, Realizer, Vocals, Drum Programming, Mixing, Editing, Cover Concept (The Factory Kids, V-Men, too many credits to mention)

Mark Plati - Engineer, Drum Programming, Keys (Janet Jackson, BEF, BADII, David Bowie)

Steve Wellner - Asst. Engineer

Steve Doria - EAsst. Engineer

Wendy Paff - Cover Concept

Tracy Mostrovoy - Photography

David Bronstein - Photo Asst.

KFC - food

Empire Szechuan - food

Jane & Duffy - Management

Unknown-ness: I've never heard of this project. I see on the back the name Junior Vasquez is mentioned as being the man being Ellis D, and I have heard of him as a DJ and techno artist. It is a weird juxtaposition, with the name being an obvious play on the drug LSD, yet there being lots of anti-drug, and goddy verbiage on the back. I assume it will just be some decent electronic, sampling and club music.

Album Review: Junior Vasquez, originally from Lancaster, PA, has been a DJ in NYC for many years, and still will spin a s a DJ around the world. This era of his career as Ellis D has been attributed to creating the sound of House music, and more specifically gay house music, so says Wikipedia.

“Gotstobeadrag” begins with a creepy castle organ note, and the sampled phrase “got to be a drag” is skipped and scratched over the top. A variety of jungle deep bass and percussive elements are bonded together, along with early 90’s synth. The momentum of the title hiccupping carries the song along. About half way through there is a skipping female vocals sample plugged in, that eventually smooths out to a soulful “Stand up tell everybody I’ve got it”
“You Got Me Burnin’” begins with a steady bass drum, with layers added in one at a time, including hi-hat, cowbell, electronic drum effects, and other club sounds. The vocals are a deep, echoing monotone voice. Mixed in are female disco vocals, singing the song’s title.
“Jungle Jam” features as you can imagine wood block and bass jungle beats, along with stuttering vocal samples, and skipping synth dance beats, including a Nu Shooz sounding scratch. The vocals samples are quite varied from female disco, to whispering, to a choir call and response. Some chanting is added as well as a flute melody. But the base percussion and maraca beat carries on. The call and response choir finishes the song.
“Took My Love Away” was a single. It starts as a mix of the now-familiar soulful female vocals singing the title, reminding me of C+C Music Factory, and a deep monotone vocals singing “baby don’t be that way.” Another male vocal is sampled, and added in is the famous traffic/streaking late 80’s EDM techno effect. Later a female vocal is sampled that is reminiscent of Marky Mark’s “Good Vibrations.”  Like dancing in a round, a couple bars of a variety of effects are spotlit, and then disappear back into the fray.
“Acid Rain” begins with a rubber band strummed effect, and the deep monotone house vocal repeats “acid rain will drive you insane.”  The female vocals are added in to balance the monotony with soulful singing. A shuffling percussion is layered in underneath. The repetitive nature and echoing vocals create the trance like attribute.

“I Will Survive” was released as a single, and is a monotone spoken vocal rendition of the Gloria Gaynor hit. A three-note, downscale synth bass line starts with a drum machine track overlayed. More elements are added, carrying the dance floor groove along. Some of the sounds remind me of EMF.
“Cum On U Can Git It” begins with a simple drum machine track, and the vocal reminds me again of “Good Vibrations,” particularly the “come on swing it” lyric. Robotic synth effects are added, and there is some scratching and hiccup stuttering. Rather than build, sections are introduced and get a chance to play out, and then are removed. There are a few basic effects that remain throughout. But the showcasing of individual sections is key song motivation.
“It's Paradise” used elements of Manuel Gottsching’s epic album, like the glass jar ping, and relaxing waterfall effects and jittery synth melody. I believe it is an artistic homage to the album. As the longest track on the record, it sprawls out, and allows the individual melodies and elements mix in and out of focus. Flutes, female samples and spoken word male vocals are just some of the repeating effects.
“Just Like a Queen” was a single. Tidal waves of synth flow in and out, as dancey drums, wood block percussion, and vocal samples (female of the title track) are added. The streaking siren EDM effect is employed, as well as other female vocals, and the straight-man deep spoken word. Later on a toy piano tinkers out a melody, interplaying with the steady percussion backing track. 

Stand Out Track: Took My Love Away

Links:

Discogs

JV Wiki

JV Facebook

JV Twitter

JV IMDB

The Eddie Boy Band - S/T

Name: The Eddie Boy Band

Album: s/t

Year: 1975

Style: Southern, Pub Rock, Prog Rock

Similar Bands: Wishbone Ash, Doobie Bros., Chicago, J Geils Band, Edgar Winter Group, ELO, Van Morrison

One Word Review: Proggy Mountain Men inna Pub

Based Out Of: Chicago, IL

Label: MCA Records, 

 The Eddie Boy Band - Cover & Record

The Eddie Boy Band - Back, Record, Letter from promotions

The Eddie Boy Band (1975)

1. Oh So Hard 4:49
2. The Maze 3:12
3. Say Goodbye Babe 3:26
4. Come on Virginia (I Wanna Win Ya) 3:01
5. Losin' Again 6:07
6. Good to Have You Back Again 3:14
7. The Gambler 4:53
8. Sixteen Ladies 3:35
9. Makin' Love to You, Babe 3:28
10. Mother Music 5:23

Album Rating (1-10): 7.0

Members & Other Bands
Rick Canoff - Producer
Bob Monaco - Exec Producer
Don Sciarrotta - Exec Producer, Engineer, Mixing
Tony Sciarrota - Engineer, Mixing
John Notar - Asst Engineer
Lou Marks - Asst. Engineer
Scott Spain - Asst. Engineer
Josh Leo - Guitar, Vox (The Hate Boys, CY Walkin' Band, Kim Carnes, Jimmy Buffett, Vinyl Kings, Glen Frey, Alabama, Crystal Gayle, Nitty Gritty Dirt Band, Reba McEntire, LeAnn Rimes )
Mark Goldenberg - Guitar, Slide, Piano, Vox (The Cretones, Linda Ronstadt, Al Stweart, CY Walkin' Band, Grimaldi/Zeiher, Max Groenthal, Peter Frampton)
Tim Walkoe - Bass, Vox
John Paruolo - Organ, Piano, Accordion, Mellotron, Vox (Jack Mack & the Heart Attack, Mark Saffan & the Keepers)
Dennis Ebert - Drums, Percussion
Mike Lerner - Drums Percussion
Dick Caine - Guitar
Jon Carsoon - Guitar
David Wolinski - Arp Sting Ensemble, Locrian Mode, Pie Ala Mode, Dialogue, Synths (Bangor Flying Circus, Madura, Rufus, Rufus & Chaka Khan, The Shadows of Knight, The Wild Horses, Chicago, Michael Jackson, Bee Gees)
Jon Scott - National Album Promotions

Unknown-ness: I bought this record still wrapped in plastic with the letter in the above picture (claiming this was a free- remastered, resend from MCA to replace older copies with flaws)  obscuring the cover. I felt a little bad opening it after 30 years, but a still wrapped record is not as much fun. I imagine this will be simple southern AOR with a mix of pub rock and perhaps some blues. Seems pretty cut & dry, like previous bands I've reviewed like Beaverteeth or Cactus.

Album Review: Although this band, the Eddie Boy Band, never made more than one album, and split up after sound / quality differences, the members have gone on to play alongside or write many hits for greats. David Wolinski has played synthesizers on highly acclaimed albums for Michael Jackson and the Bee Gees. Mark Goldenberg became a session musician for the likes of Jackson Browne, Bonnie Raitt, Linda Ronstadt, Natalie Imbruglia, Chris Issak, Willie Nelson, Peter Frampton, and many more (and was also in the Cretones). And Josh Leo has written over 20 #1 country music songs, as charted on the Billboard Country listings.

“Oh So Hard” begins with a light hearted guitar, reminding me of Edgar Winter Group’s “Free Ride.” It then explores some prog-timed guitars and keyboards. The vocals are very southern soulful mountain man style. The song repeats back to the catchy guitar hook that lead off the song, and this is a solid 70’s jammy song. The instrumental almost goes off the rails, but it is reined back in with the start of the third verse, which gets a little gruffer.

“The Maze” starts with some Billy Joel piano, which is covered over with wailing guitar. The song becomes a bouncy ELO sorta song that dips a toe into Bee Gees disco, particularly with the harmonized backing vocals in the chorus. The breakdown before the instrumental is a bunch of “Doo-Dee-Doo-Doos.”

“Say Goodbye Babe” enters with a rolling drum beat, and a held guitar chord. The song evolves into a bouncy, light pub piano tune. The lyrics “work it out” lead the song into an electric guitar instrumental section. Two guitars then commence playing together.

“Come on Virginia (I Wanna Win Ya)” sounds like an old ragtime band playing on an island cruise ship. The vaudevillian, male vocal / barbershop groups of the 50’s must have played a heavy inspiration to the track. The la-la-la breakdown even has a barker in the background that sounds like it’s coming through an old radio set. The end of the track has muddled spoken crowd vocals, and other radio-show sound effects like a whirling slide whistle.

“Losin' Again” heads right back into a powerpop hook, layered with guitar and organ. Different vocals play in and out of timing with another, and they harmonize at the middle. The guitar and keys divert from each other for the instrumental breakdown. Near the middle of the song, the familiar chorus is changed up to follow a different melody. This is where the song resets with a mellow guitar led prog harmony. This transitions into a multi-part instrumental section that follows the two guitars on their vocal-like journey, which ultimately ends the song with the “First Call” bugle melody on guitar.

“Good to Have You Back Again” starts with a prog hook that turns into a slow swampy rock jam. Both facets of the song interact and standalone from each other at varying points of time.

“The Gambler” has a classic rock intro, almost immediately added to by a jovial, drunken piano, and the song takes a happy back water turn, perhaps a little like Van Morrison. The electric guitar powers through the instrumental at a high pitch, followed by a display of some slide guitar work by guitar 2. It includes a familiar melody that sounds like it is from the muppet show.

“Sixteen Ladies” starts off full force with a driving power pop number. The vocals are different here, more southern in tone, more like my memory of Van Morrison’s “Wild Night” again. The interchange of swampy pub rock and electric power pop finds a nice balance. Toward the end, the organ comes up out of the background to play a more important role in the song’s mood.

“Makin' Love to You, Babe” takes a step back to be more country-ish, with a slower pace, harmonica melody base, and a country guitar hooks in the background. The chorus is a harmonized group of male vocals, which is a little odd, considering they are all singing together “Would you like to be makin love to me, babe?”   

“Mother Music” illustrates more of the band’s free-form prog rock ideals, with sweeping effects, and wha-wah keyboard sounds. The vocals are a little bluesy, especially mixed with the organ and bass line. The harmonized chorus brings comparison to the Bee Gees again. The instrumental section is that fine line between psychedelic and prog rock and it would make for a great laser light show.

Stand Out Track: Come On Virgina

Links:
Discogs
Mark Goldenberg.com
Nashville Music News
Josh Leo Wiki
Allmusic
Rate Your Music
13 Afternoon

EIEIO - That Love Thang

Name: EIEIO

Album: That Love Thang

Year: 1988

Style: Pub Rock, Pop, Alt-Country

Similar Bands: Squeeze, Fabulous Thunderbirds, Meat Puppets, BoDeans, REM, Bluebells, Talk Talk, Aztec Camera, Monkees

"One Word" Review: Honky Tonk Bar Pop

Based Out Of: Wisconsin

Label: Frontier

 That Love Thang - Cover & Record

That Love Thang - Back & Record

That Love Thang (1988)

1. Hey Cecilie 3:36
2. Words Falling Down 3:25
3. Crack Crack Crack 3:27
4. Ya Ya Love 4:01
5. Andy Warhol's Dead But I'm Not 3:37 /
6. That Love Thang 3:10
7. Saw of Light 3:38
8. Where You Go 3:35
9. Gonna Get Gone 1:50
10. Across The Tracks 3:38
11. Brother Michael 3:52

Album Rating (1-10): 8.5

Members & Other Bands:
Scott Gorsuch - Drums, Vox, Percussion (David Stocker, Insanity, The You, War on the Saints)

Rob Harding - Guitar & Vox (Off Broadway)

Steve Summers - Vox, Rhythm & Acoustic Guitar (Pretty Boy Floyd, Tomas Ramirez, Sprung Monkey, Shameless) 

Richard Szeluga - Bass, Vox, Guitar, Poetry

Phil Bonnano - Producer, Engineer, Mixing

Mark Volfe - 2nd Engineer

Todd Culross - 2nd Engineer

Dave Kent - 2nd Engineer

Bob Ludwig - Mastering

John Libowski - Cover Art

Mark Palmer - Back Cover Photos

Bill Olson - Guitar, Guitars, Cigar Selection

Brad Wood - Tenor Sax (Liz Phair, Shrimp Boat, Tortoise, Sea & Cake, King Kong, Hub Moore, Stereolab, Ben Lee, Royal Trux, Whale, Smashing Pumpkins, Diane Izzo, Verbow, Pete Yorn, Ben Lee, Edison Glass, Dar Williams, Margaret Cho, Lisa Loeb)

Julie Wood - Baritone Sax (Victor De Lorenzo, Paul Cebar, Steve Gold, Mrs. Fun, Jennifer Day, The Webb Brotheres, Lesser Birds of Paradise, Michelle Wright, Bob Stroger, 

Brian Wis - Trumpet

J.P.R. - Trombone & Horn Arrangement (Commander Tom, WA St Original Artists, Robinson Boyz, Do or Die, Al Kapone, Da Braddah, Play N Skillz, UGQ, Don Wuan Esq) 

Bruce Breckenfeld - Hammond Organ (Gambler, KMFDN, EnuffZ'Nuff, Satya Graha, Deluxury, Agent Zero, 

Unknown-ness: I've never heard of this band, but right off the bat, they will most likely be a silly band, taking the nursery rhyme inspired name, and their song Andy Warhol's Dead, But I'm Not cannot be all that serious. The artwork makes me think of British-pop-Dance music, like Soup Dragons or Jesus Jones, even if this is just a little bit older, so we'll see if it is moody college radio (from the photos on the back) or fun dancey beats.

Album Review: This band was right behind the BoDeans as Alt-Country bands coming out of Wisconsin, but received less praise. Their style on the second album was more spanning of different genres, but still maintains Jayhawks, Meat Puppets and other American Alt-Rock band comparisons. They put out a third album in 2007, and from the looks of their FB page, they’re still active.

“Hey Cecilie” begins with a flurry of guitar, before settling into a jazzy, horns fueled pub rock song. The lead vocals are a little nasally, and the rest of the band backs up with more hey-hey’s. It is a little twangy, alt-countryish, but it is a rocking fun song. The secondary chorus acts like a tolerable line dance, in its reprise and new melody.

“Words Falling Down” begins jangely, with a secondary upbeat melody. The vocals are not as adventurous, and are actually a bit monotone, reminding me of REM, especially in how the vocals are layered to give an echoing, slightly-psych tone.

“Crack Crack Crack” has a down and dirty guitar intro, and the vocals start out bold and a bit like Glenn Tilbrook of Squeeze and are companied by accenting horns. This again takes the label of Countryish Pub Rock.

“Ya Ya Love” is a slower, side to side country beat shuffle. But the Talk Talk / Aztec Camera Vocals still persist.

“Andy Warhol's Dead But I'm Not” gets right into the groove with power-pop guitar chorus to create a solid late-period Squeeze feel. Even the smooth chorus, with a group effort in support crafts a simple and punchy track. This fully fleshed out song continues the bass and rhythm guitar melody throughout the whole song, save the chorus, but even supports the formulaic guitar solo. I just wish the chorus, the catchiest part of the song would continue a little longer in its melody. Still, a solid song.

“That Love Thang” embraces the rockabilly swagger with some wah-wah guitar hooks and washing brass sections. This again has a sort of line dance feel, but in a natural, fun way, and enough guitar edge to not need a cowboy hat and flannel to enjoy.

“Sea of Light” enters with a drum beat, and a nice mellow vocal melody. It is a bit soulful, and a bit oldies-pop. Once it hits the chorus, you can clearly hear the old garage bands of the 60’s influence. The verse chorus progression is simple, catchy and cleanly done. It is a good example of what jangle pop owes to garage rock. It adds the prerequisite guitar solo after 2 run throughs of verse-chorus.

“Where You Go” starts with an off note sounding guitar loop. It is a slow stomp, and a bit psychedelic (with echoing melody and minor chords) when it hits the chorus. This song also pays homage to the pop sound of the 60’s, with a little updated production of the late 80’s.

“Gonna Get Gone” brings back the country guitar, and is a fast driving (thanks to the drum beat) song, reminding me a little of the Monkee’s “Goin’ Down,” which makes sense alliteration-wise.

“Across The Tracks” changes the pace completely, starting itself off with a dreamy, windswept intro. The jangely guitar and drum beat push the song forward, but it has a plains, rolling hillside feel. The song is a little out of place, with its grand presentation, lacking the pub, oldie, and country feels.

“Brother Michael” feels gloomy at the front, with some deep strings. It lightens up, as a memory to the brother, and the strings grow uplifting and the vocals are sentimental, and solemn. This orchestral song also does not fit on the album, but rather than Across the Tracks, this adds to their character as a band, showcasing their highpoints such as melody building and vocal clarity in a new setting that does not sound dated or obsolete. It is pretty and shows just what they are capable of. It is a shame the band did not gain the popularity they could have had coming their way. I would have been interested to see their career had they gained some better breaks. This album had all the makings of a treasure hunt, where their gifts were buried just below the surface, and would have become enhanced with subsequent albums or projects.

Stand Out Track: Sea of Light

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Ebn Ozn - Feeling Cavalier

Name: Ebn Ozn
Album: Feeling Cavalier

Year: 1984

Style: New Wave, Dance, Island
Similar Bands: Kid Creole, Devo, ABC, Pet Shop Boys
"One Word" Review: Synth Conglomerate
Based Out Of: NYC
Label: Elektra/Asylum, Warner

 Feeling Cavalier: Cover, sleeve, record

Feeling Cavalier: Back, Sleeve, Record

Feeling Cavalier (1984)

1. Bag Lady (I wonder) 6:35
2. Stop Stop Give It Up 3:50
3. I Want Cash 3:22
4. Kuchenga Pamoja 6:18
5. TV Guide 1:40/
6. Video DJ 4:16
7. Pop Art Bop 4:57
8. Rockin' Robin 3:27
9. AEIOU Sometimes Y 6:27
10. The Dawn 2:09

Album Rating (1-10): 7.0

Members & Other Bands:

Ebn - Fairlight CMI & Other Instruments Arranged, Programmed & Performed, Recording, Producer, Video Co-Producer, Engineer (Scritti Politti)

Ozn - Vox, Co-Producer. Video Producer(Dada Nada)

Kenn Fink - Recording, Backing Vox, Engineer

Gregory J. Moss - Asst Engineer
Tito Puente - Timbales, Cowbell & Cymbals
Bobby Blain - Piano
Jack Waldman - Fairlight CMI techmex trumpets
April Lang - Backing vox (Techettes)
Lisa Herman - Backing Vox (Techettes)
Jay Aaron - Backing Vox (Techettes)
Velvert Turner - Backing Vox (Techettes)
Jimmy Lowell - Backing Vox (Techettes)
Joe Berger - Backing Vox (Techettes)
Dave Wittman - Mix Engineer & Engineer
Tom Swift - Asst. Engineer
John Luongo - Asst. Engineer, Mixing
Bruce Buchalter - Asst. Engineer
Buddy Pollock - Asst. Engineer 
Jay Mark - Engineer
Linda Randazzo - Asst. Engineer
Greg Calbi - Mastering
Virginia Liberatore - Photography
Lynn Dreese Breslin - Art Direction
Ed Steinberg - Video Production

Unknown-ness: I’ve never heard of these guys. They look eclectic, wacky, and very arty. The names sound Swedish or something, like something they’d have at Ikea. I’m guessing this is going to be very on electronics and synth, but very juvenile and catchy. In any case, it looks very interesting.

Album Review: “Bag Lady (I Wonder)” has a techno middle-eastern start to it. The heavy electro bass makes this feel very dark. Then a heavy guitar adds to the landscape and a twinkling keyboard. This feels like a combination of Pet Shop Boys and New Age New Wave. The instrumental flourishes give depth to the song, but over all it is a genra crossing, yet stereotypical 80’s pop song. There are metal-like electric guitar solos, some off key yelling, and other random synth effects. And just as it feels seems like it is about to end, it launches into an extra verse-chorus.
“Stop Stop Give It Up” is a much more mellow, but equally synth pop song. It is smooth, like ABC or Howard Jones, and has that relaxed crooning vibe. There are vocals synthesized in the background that remind me of the Clockwork Orange soundtrack, or Chromeo. If this was produced in the 60’s it would be quite the Motown/doo-wop song. The chorus is very repetitive, but it is a fun hook, so the repetition is welcomed.
“I Want Cash” straight away, feels like Devo, with it’s jittery synthesizer and talk-singing structure (that almost qualifies as rap). The background yeah-yeahs also reminds me of Oingo Boingo. But the stand out star of this song is the amazingly catchy chorus of Wanting, Needing, Loving cash. There is a mini-breakdown about 2 min in that is short, but chaotic and noisy. Also, all synthesized. But the end of the song breaks form and becomes a wild party of the chorus repeating and fading out under laughing and other crowd noised overlaid.
“Kuchenga Pamoja” features a synth xylophone as a driving, jungle anchor for the song. The keyboard has a mix of island and steel drum intertwined as one instrument. The band attains a cool and tropical atmosphere in this song with all the synth elements they can, including many wooden percussion effects. And the chanting adds to the tribal feel. There are some very dated effects, however, there are a couple different bird/squawks (I think) that are a bit cringe-worthy, as well as the deep vocal electric transformation that reminds me of Ween’s song Big Fat Fuck (this effect is used again to completely ruin Rockin’ Robin” And it sounds like the backing vocals keep repeating “Broadway,” buit I’m pretty sure that is not the intended vocal.
“TV Guide” is a very weird wind down to side one. It is a church organ, almost Phantom of the Opera style. The vocal in the background chants TV Guide, and harmonizing vocals perform different in-the-round style lyrics, and eventually, an adult playing to be a kid whines about wanting to watch TV to end the song…for 5 more minutes. Just odd.

“Video DJ” heads back into the tropical styling with ska horns and another island beat, and Kid Creole style vocals. The chorus is catchy, head bobbing-so. There is a call and response with the backing vocals that enhances the interactive facet of music played at an outdoor cultural event. The song mentions NY Salsa, so perhaps that is the style of music they are heading for. I guess the piano could be a bit salsa, but still, it feels more smooth and reggae stylized.
“Pop Art Bop” would fit right into the category of Electric Boogaloo. It is a bit Jan Hammer electronic effects mixed with organic classic hip-hop vocal style and simple electronic bass/drum beat. The song title is repeated a couple of times at accent places in a robot voice. It is a stereotypical 80’s synth dance track. There is some hip-hop jargon laden conversation mixed over the beat at some places which, again, sounds a bit dated.
“Rockin’ Robin” just ruins the song, and almost the entire album. The creepy vocals add nothing to the song, and should only be reserved in songs trying to be unappealing. Down to the root, it is an electronic cover of the song, pretty dedicated to the synth production and the robot synth chorus, but the deep vocals in the verse does nothing for the song. The guitar is even produced in a rock-a-billy manner. But the verse vocals are just embarrassing.
“AEIOU Sometimes Y” is their hit song, which is a combination of a slight dance beat, mixed down under dark synth music that takes us back to the opening track production. The vocals are spoken over the verse melody. This is followed by a big vocal chorus of the song name, sung like a countdown. This repetition repeats a good deal of times, mixing dark instrumentals with steady rhythmic verse, and the catchy and upbeat echoing chorus hook. The spoken-part of the story tells of a guy and girl hunt/chase relationship, and, perhaps in tribute to the Kinks, or as a message in the song, the targeted female’s name is Lola. Because the song is so simple in its nature…only made chaotic by many ADD changes in the synth-keyboard sound, there are many clashing musical breakdowns. They also paraphrase a bunch of theatrical lines, including a line that seems like it is from Ice Pirates. The chorus backing music ends the song in a fade out. “The Dawn” creates an atmosphere of a sun rising, the instruments slowly rise to the surface, like combining the woodwinds of the Beatles with the bass of David Lynch’s Twin Peaks (or the song Take My Breath Away) It is a forever rising instrumental, still bleak and cold as it grows. Then it fades out as slowly as it began.

Stand Out Track: "I Want Cash"

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(the) Elevators - Frontline

Name: (the) Elevators
Album: Frontline
Year: 1980
Style: Powerpop, New Wave
Similar Bands: Cars, Hawks, ELO, Dire Straits, Tom Petty, Richard Marx
"One-Word" Review: 80's Personality Disorder
Based Out Of: Pioneer Valley / Boston
Label: Artista

Frontline - Cover & Record

Frontline - Back & Record

Frontline(1980)

1. Frontline 3:21
2. Girlfriend's Girlfriend 2:52
3. Stop The World 3:03
4. Stickball Kids 3:37
5. Lie Detector 2:32
6. Don't Let Me Die 3:29 /
7. Tropical Fish 3:09
8. Lies 3:22
9. Johnny Train Your Mind 2:56
10. Friends 3:16
11. On the Wire 3:57

Album Rating (1-10): 8.0

Members/Other Bands:

Tom Myers - Vox, Keys (Bailey Brothers Band)

Earle Mankey - Producer, Engineer (Sparks, The Pop)

William Benjamin - Drums, Vox (Fat)

Jerry Ellis - Bass

Zonder Kennedy - Vox, Guitars (Bailey Brothers Band)

John Clark - Guitars, Vox (Bailey Brothers Band)

Tori Swenson - Engineer
Irwin-Dresner Mgmt - Direction
Ria Lewerke-Shapiro/Grafis - Art Direction
Lanning Stern - Design & Illustration
Gary Regester - Photography

Unknown-ness: I’ve never heard of these guys. From the generic football clip-art cover design and the group photo on the back, it would appear they are trying to position themselves somewhere between jock-rock and Madness. But some of the clothing styles on the back point to new wave, and with this being from 1980, I definitely wanted to take a chance on it. I’m guessing it will be more pedestrian than Madness, but probably more interesting than Reo Speedwagon or Loverboy.

Album Review: “Frontline” starts off with a pulsing guitar alarm beat, and a bass beat that makes me think this will be a disco song, or perhaps The Four Seasons “December ’63 (Oh What a Night).” But then the nasally vocals that are an immediate match for Ric Ocasek singing a bit like David Byrne with a disjointed verse, partially with a spoken cadence. The chorus brings in the synth and a harmonized chorus chanting “Frontline” with ELO falsettos mixed in the background as well.
“Girlfriend's Girlfriend” revs up, and feels like a mix between the Cars and Dire Straits. It is a catchy hook for the chorus, and a nah-nah, sing song keyboard hook. Then there is a bridge after the chorus that features a more anxious, higher pitch vocal that reminds me of Tommy Tutone’s “867-5309.” For the instrumental, there is a nice loud pub rock guitar. And the song finishes out with about a minute of repeating the chorus and a fade. This is a great 80’s pop song, featuring lots of examples of typical, dated production.
“Stop the World” begins boldly with a drum and an in your face bass line. The verse moves along like Dire Straits “Money for Nothing.” The chorus, singing “Stop the world, I want to get off” feels like it is just a half baked version of the previous song’s chorus. But the singer mixes in an urgent, nervous and anxious, high energy output along side a confident smooth performance. They mix together as if he’s trying to figure out his emotions.
“Stickball Kids” is more of a folky, middle-American Tom Petty type story-song. It has a darker, sinister bass line that gives it a gritty feel. All in all it has a Graham Parker singer/songwriter quality to it.
“Lie Detector” brings more powerpop and Americana rock to the album than new wave. The verse rushes to the chorus, only to slow down
“Don't Let Me Die” continues the vibe set by “Stop the World” a gritty, dark alley pub rock song. This song has higher pitched, almost like a light-metal sound, like Richard Marx or something. They try to make it more new wavish with their choice of synth keys, but the melody creates such a gloomy, that it cannot break free from the Americana vibe.

“Tropical Fish” has a bit of a Devo feel to it initially, but the rock guitar wipes the nervous, mechanical jitteriness that makes the best Devo songs, and the mood is replaced by a Dire Straits & Cars blend of pop-wave sound again.
“Lies” has a dark Cars “Let the Good Times Roll” sound, mixed with a juvenile Fast Times at Ridgemont High soundtrack feel. The vocals are a little wavering, and there is are a barrage of new wave synth tones in the song, but they follow the slow rhythm of the song, rather than creating fast pace fun hooks.
“Johnny Train Your Mind” is more angular and a cleverly arranged song. There is a lot of pauses and empty space in the verse, which creates the feeling that everything will come crashing down at some point in a positive way. And in the chorus, the instruments align and it becomes solid and catchy. The vocals are very Cars like again here, with a deep throated, nasally tone.
“Friends” has a prog beginning with weird time signatures. This is quickly abandoned for a typical driving new wave beat. There is another odd section where the Cars type vocals are swapped out by a voice that is basically spoken through a megaphone, cutting out the highs and lows, giving a lo-fi but loud section. This is a fun song to follow along with as it never really gives up the driving momentum, and continues to roller coaster along the trip.
“On the Wire” starts with a slowish prodding, methodic drum beat and alarm-sounding keyboard. The bridge into the chorus builds nicely from the verse. The chorus completely breaks out of the minimalism and flirts with Arena Rock production.

Stand Out Track: Girlfriend's Girlfriend

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(the) Enemy UK - We'll Live and Die in These Towns

Name: (the) Enemy UK
Album: We'll Live and Die in These Towns
Year: 2008
Style: Indie, Brit-pop
Similar Bands: Oasis, The Jam, Arctic Monkeys, The Rifles, Razorlight,
"One-Word" Review: angsty-Jam-inspired-pop
Based Out Of: Coventy, England
Label: Warner Bros.

We'll Live and Die in These Towns - Tray & Front Stickers (no cover)

We'll Live and Die in These Towns - Back & CD

We'll Live and Die in These Towns (2008)

1. Aggro 3:26
2. Away FromHere 3:03
3. Pressure 3:19
4. Had Enough 2:39
5. We'll Live and Die in These Towns 3:55
6. You're Not Alone 3:44
7. It's Not OK 3:36
8. Technodanceaphobic 2:34
9. 40 Days and 40 Nights 3:37
10. This Song 4:26
11. Happy Birthday Jane 3:01
12. Five Years (bonus track) 4:31
13. Fear Killed the Youth of Our Nation (bonus track) 3:31

Album Rating (1-10): 9.0

Members & Other Bands:
Liam Watts - Drums
Andy Hopkins - Bass
Tom Clarke - Vox, Guitar, Keys, Strings
Matt Terry - Producer
John Davis - Mastering
James Dowdall - A&R
Owen Morris - Producer
Rose Noone - A&R

Unknown-ness: I’ve never heard of them. And from the minimal packaging, I can't say much. This is a cast off CD. All I know is that they are British & have a bunch of accolades from Brit music mags. I'm guessing they are poised to be an arena rock band, just don't know if its gonna be a fun band like Maximo Park or the Futureheads, or a lame duck like Snow Patrol or Coldplay.

Album Review: “Aggro” is a song that I actually have heard before, at least on Guitar Hero. It is a stomp punk number with a definite whiny brit-pop singing style and sense.
“Away From Here” is a driving brit pop song where the lyrics are more spoken than sung in a slightly aggressive fashion. This reminds me of the Rifles, even if this band came before them. This song just asks to be echoed throughout a football arena.
“Pressure” has a fun, bouncy bass line to begin with; slightly dark, and then brit pop wailing guitars are laid over top. The singing style is not unlike The Jam, it’s just a different voice; not quite as pleasant.
“Had Enough” had the vocal rhythm of My Sharona, but that is masked below continuous guitars. The harmonized chorus of the title is quite nice.
“We'll Live and Die in These Towns” begins with a sullen horn section, as if in tribute to the fallen. The vocals are much closer to the Jam here. They are very melodic and continuous over the uplifting music. It reminds me of a slower “Going Underground.”
“You're Not Alone” builds right from the beginning. It is slowly sung, but when it reaches the bridge, it becomes a fun bouncy anthemic pop song.
“It's Not OK” is nasally brit-pop-punk. There is a façade of anger in the vocals, but it just comes off as being whiny, rather than justified. The chorus is driving and a fun, more energetic reprise of the verse melody.

“Technodanceaphobic” is a bouncy, angsty song that is more for a mosh pit than a dance floor. Do people still call them “mosh pits?” It has the familiar Franz Ferdinand dance-drum track, and a three note bass line.
“40 Days and 40 Nights” features a lot of the start stop strumming guitars, a fun, rapid bass line and a steady drum beat. Nothing too unique, here; it’s just another brit pop song inspired by the post punk, low profile Jam-style bands.
“This Song” feels like a traditional, camp fire acoustic song. There is a message behind this song, trying to relate to the mass public in a very generic fashion. This too has a very anthemic quality to it. The vocals are spoken almost smoothly and kind of remind me of the Lightning Seeds a little bit.
“Happy Birthday Jane” is a light ballady song about making some girl, Jane feel better about her life. The birthday seems consequential. On the normal album, this is, apparenly the ending track, and it does nicely as such.
“Five Years” is the first of two bonus tracks. And it is a straight forward cover of Bowie.
“Fear Killed the Youth of Our Nation” is also a bonus track. It is an angular dance brit-pop song. The energy in the vocals is nasally, but angsty. There is a back and forth Blur quality to this final track.

Stand Out Track: We'll Live and Die in These Towns

Links:
Myspace
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Enemy UK site
Enemy site
Fan Blog

John Entwistle - Whistle Rymes

Name: John Entwhistle
Album: Whistle Rymes
Year: 1972
Style: Classic Rock
Similar Bands: The Who, CCR, Journey, Supertramp, J Geils, Genesis
"One-Word" Review: proggy-stoner-rock
Based Out Of: Chiswick, Britain
Label: Track Records, Decca, MCA

Whistle Rymes - Cover & Back
Whistle Rymes - Inside Notes
Whistle Rymes - Record

Whistle Rymes (1972)

1. Ten Little Fingers 3:56
2. Apron Strings 3:42
3. I Feel Better 4:42
4. Thinkin' It Over 3:06
5. Who Cares? 4:30 /
6. I Wonder 2:54
7. I Was Just being Friendly 3:31
8. The Window Shopper 3:23
9. I Found Out 3:45
10. Nightmare (Please Wake Me Up) 6:08

Album Rating (1-10): 6.5

Members & Other Bands:John Entwhistle - Vox, Bass, Piano, Trumpet, French Horn, Producer, Album Cover Idea (The Who, The Confederates, The Detours, High Numbers)
John Alcock -Producer
Brian Humphreys - Engineer
Mike Weighell - Engineer
Alan Ross - Guitar, Vox, Tambourine
Jimmy McCulloch - Guitar
Neil Sheppard - Piano
Rod Coombes - Drums
Gordon Barton - Drums
Peter Frampton - Guitar
Johnny Weider - Violin
John Lethbridge - Design & Artwork
Graham Lethbridge - Design & Artwork
Bryan Williams - Trombone, Organ

Unknown-ness: I am a fan of the Who, but I was unaware that this was a John Entwhistle album when I bought it or that Entwhistle was the bass player in the Who. Yes, I feel somewhat ashamed of that fact, but now I know. I got the record because of the spectacular art work on the fold out album cover. It looks so mysterious, childlike and somehow evil that I could not pass up finding out what the music inside was like.

Album Review: The album starts off with “Ten Little Friends,” a bouncy classic rock piano number, heavy on the lead electric guitar in the second half of the song. “Apron Strings” follows as a quieter, slower piano number, almost feeling like Elton John. But it builds up with progressive elements, especially Entwhistle’s bass. There is a guitar solo toward the end, which stays around for the remainder of the song. “I Feel Better” is a piano & bass heavy prog song with head nodding, cigarette lighter pacing. “Thinkin’ It Over” continues with the same structure and pace, with a bit more of a sway, drinking song, sea shanty style. “Who Cares?” starts off with some great start stop drums, piano and bass. It is the catchiest song so far with a great verse that sets up the catchy chorus. Horns and guitar come in as you think the song is about to end, but they carry us through another minute and a half of instrumental fun.

“I Wonder” is a very theatrical quick paced song. It sounds a bit like CCR’s “Down on the Corner” when it gets to the chorus. The brass in the song sounds like it is perfect for a 70’s cop TV show theme. “I Was Just Being Friendly” feels a bit like Journey meets Supertramp. It builds well as the chord changes tone higher, but there is no great follow thorugh. “The Window Shopper” feels like a Celtic march as it begins. But it has the same Genesis feel as most of the rest of the album: a self-assured, head nodding vibe. “I Found Out” starts with a piano only until; the bass and vocals kick in. There is hesitancy in the vocals, like he is singing in a house where people are still asleep. It follows stories where the singer is the protagonist, and discovers the truth about things in his life. “Nightmares” ends the album and begins as a quiet ballad, assuming the character in the story is falling asleep, about a minute and a half, an evil carnival bass line and electronic effects in the background begin to take the listener along on this changed pace rollercoaster “nightmare” with the main character. The bass rocks hard…one part James Bond, one part Jaws. Off-key “Chopsticks” is played overtop the ever increasing and chaotic sound-scape created by this audio-nightmare to give that childhood innocents lost. The song becomes very carnival-esq at the very end as the record fades out.

Who Cares, I Wonder and Nightmare are the stand out tracks here. They seem the most original and catchy of the lot.

Stand Out Track: I Wonder

Links:
Entwhistle - Wikipedia
Entwhistle - Allmusic
Entwhistle - website
Entwhistle - Memorial Page
Entwhistle - Foundation
Entwhistle - Live in Philly 3/75

Electro Group - A New Pacifica

Name: Electro Group
Album: A New Pacifica
Year: 2000
Style: Electro-Noise
Similar Bands: My Bloody Valentine, Breeders, Stereolab, Spinanes
"One-Word" Review: Thick-fuzzed-out-mind-drilling-rock
Based Out Of: Sacramento, Cali
Label: Omnibus Records

A New Pacifica - Cover & Record
A New Pacifica - Back & Record

A New Pacifica (2000)

1. Trigger/Repeat/Hold 0:28
2. La Ballena Alegria 3:33
3. If You Could See 4:04
4. Line Of Sight 3:50
5. Cyrna Ruka 2:31
6. Reprise 0:55
7. Continental 5:00/
8. 4,5 and 7 0:29
9. Can't Remember 2:16
10. A New Pacifica 1:27
11. Biped 3:15
12. Last Flight of Fantazma Gordo 4:06
13. 19.5 3:17
14. Manimal...
15. Red Lectroid Orchestra 5:45

Album Rating (1-10): 7.0

Members & Other Bands:
*No Liner Notes Included*
Tim Jacobson - Vox, Guitar
Ian Hernandez - Bass
Matt Hull - Drums

Unknown-ness: I don't think I've heard of this band. It is from 2000, so I'd like to think I've heard of them, but I can't recall anything related to the seemingly generic band name. I really liked the artwork on the album cover and back. It is sparse and symmetrical: bare bones as if they mean business. And with the generic-sounding name, I was drawn into the idea that they must have a strong handle on their music style, and I do like electronic music. I think I was hoping for dancey electro-music, but as for what I’ve read, it is going to be shoe-gazing, dreary music.

Album Review: The first short song, all of :28 seconds on the record is “Trigger/Repeat/Hold.” It is a bouncy orchestral strings arrangement, with an electronic effect used by both Bjork and SFA. It fades in and out, and then “La Ballena Alegria” begins with loud, crunching guitars and vocals mixed so far down that they are just a background instrument, similar to Stereolab. The music is a thick wall of sound with its dense, fuzzed out bass and guitar, but it is very melodic and repetitive. Feedback ends the track, and then a part acoustic, part liquid rhythm guitar begins “If You Could See” the thick bass comes in as do the mixed down vocals, and this song reminds me a lot of the Spinanes, with much more noise. The music is constructed like steps. It feels like you physically have to step up or down with the chord changes, and you can almost see the different platforms of sound as the song progresses. “Line Of Sight” begins with the fuzzed out bass, and the drums come crashing along with the guitar and vocals all at once. There is not much energy in the vocals, similar to the effort given by Ladytron, but that counter balances all the energy in the instrumentation, and actually makes the loud music soothing. “Cyrna Ruka” begins with a liquid flying saucer taking off sound effect. The lead guitar is more pronounced when it plays its hook, and the vocals fill the melodic gaps clearer then before, but as a whole, the noise and feedback is just too great of a presence to not take the song over. The song ends with phantom-echoy sing-song harmonized vocals. “Reprise” is next, another short instrumental, and it revisits the opening track with instrumentation that we’ve been grown used to. It is the same basic song structure, but the strings are replaced with the crunching bass and the electro-effect is replaced with a very similar sounding guitar. “Continental” ends the album with the same familiar relentless pounding sound. At times in the song, the music gives way to segments where the bass stands out for its catchy hook. This really does make me want to listen to the Spinanes…it is almost as if the Spinanes songs are demos for these sound adventures.

Side 2 starts with the short “4,5&7” it fades in with the same orchestral sense that side one uses. “Can’t Remember” is downright acoustic compared to the album. Clear vocals, light tambourine percussion, and a very easy-to-swallow melody. There are small electronic effects in the background and a chorus of ‘Ooohs.’ So this is what the songs sound like if you take them out of their artic home, shed the layers of clothes off, and sunbathe with them by the pool. It’s kinda nice. The title track, “A New Pacifica” fades in with strings and what sounds like brakes politely grinding the rotors of a car. Politely grinding because the sound does not grate on the ears, it should probably be more correctly compared to the warbling of a metal disc finishing its spin. “Biped” picks up with the thickness of music. The guitars are more headbanging-metal in this go around, but the vocals are still light and airy, and there is even a contrasting quiet breakdown where a simplified guitar takes center stage if only for a brief hook. “Last Flight of Fantazma Gordo” slowly builds with rhythmic, repetitive fuzz-guitar strumming, which is the basic structure for the entire song. Rhythm guitars are overlaid in a circular repetitive musical loop. “19.5” fades in with buzz and fuzz. Drums predict the loud, heavy guitars that come a second later. The song feels about as heavy as early Life of Agony, but as with all of electro-group’s songs, there is a certain fluidity in their music, the songs sound as if they are being played and distorted through a pool of water. The song fades out early and quickly into the last track(s) on the album. Two more are listed, but I am challenged to find the break that separates them. “Manimal / Red Lectroid Orchestra” ends the album. The vocals function as just another instrument, but are a little louder than usual, they highlight the melody of the music very well. The song trails off into instrumental full-attack mode for the second half of the song. Although it retains the same melody, perhaps where the words end, the song changes titles too.

This is a good album. It is solid, and it knows where to take the listener as long as they are prepared for noise-gazing rock. This is an album to be in the mood for, as I could not just put it on at any time. But the simplified, stripped down song “Can’t Remember” is like a template to show what you can look for in the rest of the music offerings. I just prefer the simple song to the fuzz and noise that they do very well.

Stand Out Track: Can't Remember

Links:
Electro Group - allmusic
Electro Group - Myspace
Electro Group - Omnibus Records
Electro Group - Last FM
Electro Group - Artilce on Performance 5/22/08
Electro Group - Bohemian Article
Electro Group - Ink 19 review
Electro Group - SF Weekly
Electro Group - Pop Matters