Van Hunt - s/t

Name:Van Hunt
Album: s/t
Year: 2003
Style: R&B, Funk, Soul
Similar Bands: Maxwell, Codu ChesnuTT, D'Angelo, Erykah Badu, Chocolate Genius
"One-Word" Review: Funky, Slick Bedroom Eyes
Based Out Of: Dayton OH
Label: Capitol, EMI

Cover, Liner Notes

Lyrics, CD, CD Tray

Poster CD Back

Van Hunt (2003)

1. Dust 4:14 (Single)
2. Seconds of Pleasure 5:40 (Single)
3. Hello, Goodbye 4:25
4. Down Here in Hell (With You) 4:49 (Single)
5. What Can I Say (For Millicent) 4:46
6. Anything (To Get Your Attention) 3:28
7. Highlights 5:35
8. Precious 4:29
9. Her December 4:16
10. Hold My Hand 3:50
11. Who Will Love Me in Winter 4:15
12. Out of the Sky 5:10

Album Rating (1-10): 6.0

Members & Other Bands:

• Andrew Slater - Exec Producer, Additional Production
• Randy Jackson - Exec Producer, Mgmt
• Van Hunt - Exec Producer & Producer, Writer, Arranger, Performer (Royalty, Dionne Farris, Cree Summer, Sam Moore, Nikka Costa, Rahsaan Patterson, Joi, Count BassD, Sam Moore, The Decoders, Nate Smith, Billy Lawrence, Afghan Wigs)
• Howard Willing - Additional Producing, A&R, Recording
• Curtis Whitehead - Writing, Rhythm & Acoustic Guitar, Bass (Count BassD, Curtis Harding)
• Mary Fagot - Creative Director
• Tait Hawes - Art Direction, Design
• Chris James - Recording
• Bill Malina - Recording
• Dave Way - Mixing
• Creed - Backing Vox (Kenny Dope, Karizma)
• Ro - Backing Vox (Kenny Dope, Karizma)
• Amy White - Backing Vox (Douglas, Linus and Amy, Controversy, Purple Mixed Adult Choir, West Indian Girl, Kenny Dope, Karizma, M83, Mononoid, David Wilcox)
• Matt Chamberlain - Drums (Many, Pearl Jam, Edie Brikell & New Bohemians, Tori Amos, Bruce Springsteen, Mike Gordon, Brad Mehldau, Wild Colonials, Aaron Neville, WallFlowers, Fiona Apple, Critters Buggin, Corrs, Chris isaak, Bruce Hornsby, Melissa Ethridge, Macy Gray, Willy Porter, DC Talk, Lisa Loeb...)
• Patrick Warren - Melotron (Many, Michael Penn, Vic Chestnutt, Madeline Peyroux, Charlie Sexton, X, Aimee Mann, Fiona Apple, Wallflowers, Chris Isaak, Phantom Planet, Remy Zero, Hootie & the Blowfish, Bijou Phillips, Macy Gray, Melissa Ethridge...)
• Isaac Curtis - Trombone
• Nolan Smith - Trumpet (Baya, Count Baise Orch, Buddy Collette Big Band, Al Williams Quintet, Blackbyrds, DJ Rogers, Jimmy Smith, les McCann, Karen Pree, Carrie Lucas, Carole King, Willie Bobo, Norman Connors, Bill Quateman, John Mayall, Freddie Hubbard, Marvin Gaye, Brotherhood, Natalie Cole, Diana Ross, Phil Collins, Anita Baker, Stevie Wonder, more)
• Daryl Richards - Alto Sax (Kirk Whalum, Norman Connors)
• Daniel Solomon - Tenor Sax, Horns Arrangement (Rick Margitza)
• Annie Stela - Backing Vox (Third Eye Blind)
• Truth - Backing Vox, Moog, Wurlitzer 
• Tim Leblanc - Mixing
• Dwight Farrell - Celeste (Count BassD)
• Larry James - Percussion, Drums (Avery Sunshine)
• Kevin Guarnieri - Recording
• Kevin Ricard - Percussion (Kenny Loggins, East West Band, Flamenco Dura, Tonight Show Band, East West Band, Johnson & Branson, Matt Bianco, Herb Alpert, MVP, Starr Parodi, Juan Carlos Quintero, Susie Hansen, Ciro Hurtado, Rie Akagi, Marc Russo, Robi Kahakalau, Wayne Shorter, Masayoshi Takanaka, Larry Steen, BB Shawn, Bobby Lyle, Zero Ted, Nils, Everette Harp, Venice, Kleber Jorge, Speak, Rob Mullins, Eric Gulliom, Gloria Loring, Rickie Byars, Daniel Indart Project, Wayne Jones, Kevin Toney, Chris Bennett, Take 6, George Kahn, Rhian Benson, Elan, Impromp2, Shelby Lynne, Ann Nesby, Pat Longo, Kids of Widney High, Queen Latifah, Oskar Cartaya, Gerald Albright, Will Downing, Christina Aguilera, Everette Harp, LaToya London, Kurt Carr, George Benson, Corey Clark, Dave Rodgers, Natalie Cole, Lynne Fiddmont, Faramarz Assef, LA Guitar Quartet, Everlife, Jill Scott, Marek Niedzwiecki, SMV, Stephen Bishop, Paul Jackson Jr, James Ingram, Bill Fulton, Amanda McBroom, Carol Welsman, Dorian Holley, Norman Brown, Christian Dupree, Christophe Beck, Dan Fornero, Toni Reed, Dave Koz, Tina Campbell, Orgone, Clair Fischer Latin Jazz Band, Jazz Funk Soul, Paul Brown, David Garfield)
• David Campbell - String Arrangement (Campbell-Kurban String Section, Clockwork Angles String Ensemble, James Taylor, Cher, Linda Ronstandt, Neil Diamond, Billy Joel, Carole King, James Brown, Many Many More)
• Melissa Mattey - Recording, Mixing
• Ray Brown - Trumpet (Count Baise Orch, Earth Wind & Fire, Madagascar, Horns of Fire, Donald Byrd, Hubert Laws, Con Funk Shun, SOS Band, More)
• Ta Ta - Backing Vox
• Wendy Melvoin - Rhythm Guitar (Girl Bros, Peace Choir, Prince & the Revolution, The Flesh, Wendy & Lisa, Andre Cymone, Joni Mitchell, Seal, BB KIng, Eric Clapton, Latin Playboys, Neil Finn, Melba Moore many more)
• Paul Franklin - Pedal Steel (Dicie Pearls, The Time Jumpers, Dire Straits, Lyle Lovett, Gary Parker, Parliament, Slim Whitman, Charlie McCoy, Mel Tillis, Jerry Reed, Chicken String Band, BJ Thomas, George Strait, Tammy Wynette, Lyle Lovett, Randy Travis, Barbara Mandrell  Many Many More)
• Peter Mokran - Mixing
• Lenny Castro - Percussion (Jazz Express, Karizma, Larsen-Feiten Band, Los Lobotomys, Steve Vai's Monsters, Toto, Melissa Manchester, Rita Coolidge, Leo Sayer, Diana Ross, Pointer Sisters, Paul Anka, Dusty Springfield, Robert Palmer, Kiss, Olivia Newton-John, Gary Wright, Shotgun, Wet Willie much more)
• Jermaine Rand - Acoustic Guitar (The Rand Experiment, Jahallah, Playa G, Blackperl, MC Divinity, Steve Joz)
• Terry McMillen - Harmonica (The Players, Michael McDonald, Bobby Charles, Ronnie Milsap, Jerry Reed, Chet Atkins, Frank Sinatra Jr, Ray Stevens, Dolly Parton, Barbara Mandrell, Bobby Bare, Burl Ives, Crystal Gayle, many more)
• Dionne Farris - Backing Vox (Arrested Development, Charlie Hunter, Immature, TLC, Xscape, El Debarge, Count Bass D, Guru's Jazzmatazz)
• Jeff Wright - Asst Recording
• Kevin Paige - Asst Recording
• Adam Deane - Asst Recording
• Tony High - Asst Recording
• Kevin Pickle - Asst Recording
• David Streit - Asst Recording
• Charlie Paakkarl - Asst Recording
• Steve Genewick - Asst Recording
• Jimmy Hoyson - Asst Recording
• Chris Reynolds- Asst Recording
• Kevin Deane - Asst Recording
• Aaron Kessel - Asst Recording
• Jesse Gorman - Asst Recording
• Cesar Ramirez- Asst Recording
• Jennifer Young - Asst Recording
• Ari Famila - Asst Recording
• Aaron Familia - Asst Recording

Unknown-ness: I remember hearing about Van Hunt when he first came out, but never paid much attention past that. Assuming he's similar to Maxwell or Jamiroquai, with more of a 60's psych influence, perhaps closer to the Black Eye Peas, who I honestly don't know much about in the first place. But i imagine smooth, slightly psychedelic, sexy bedroom vibe R&B tracks

Album Review: The album kicks off with a great slice of catchy pop. And then it settles into a nice smooth R&B groove for the rest of the record, with a little funk added, but mostly mod-setting jams.

Van Hunt has grown up around musical roots, and can play nearly any instrument. He's floated around between labels and self-releasing for years, and even won a grammy for a collaboration for a Sly & Family Stone tribute with John Legend & Joss Stone. He's been in a relationship with Halle Berry since 2020.

Stand Out Track: Dust

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July'22 show

Huang Chung - s/t

Name: Huang Chung
Album: s/t
Year: 1982
Style: New Wave, new romantic
Similar Bands: Thomas Dolby, Psychedelic Furs, Ultravox, Police
"One-Word" Review: Synthy Smooth Soundscapes
Based Out Of: London
Label: Artista,

Cover, Record

 Record, Back

Huang Chung (1982)

1. Hold Back The Tears 4:05
2. I Never Want to Love You In a Half-Hearted Way 3:12
3. Ti Na Na 4:24 (single)
4. Straight From My Heart 2:45
5. Dancing 4:35 /
6. China 3:24
7. Rising in the East 5:25
8. Chinese Girls 2:48
9. Why Do You Laugh 4:00
10. I Can't Sleep 3:15

Album Rating (1-10): 7.0

Members & Other Bands:

• Jack Hues (Jeremy Ryder) - Guitar, Lead Vox, Piano (Scabb Harry, Intellektuals, 57 Men, Blanket of Security, Martin Page, Strictly Inc, Eg, Tony Banks, Led Bib, Bose, Definition Of Sound, Gene, Arkarna, Fey, Edurne, The-Quartet, )
• Nick De Spig (Feldman) - Bass, Percussion, Vox (Pig Williams, Intellektuals, 57 Men, Blanket of Security, Promised Land, Suggs, Tom Robinson, )
• Hogg (David Burnand) - Sax, Percussion, Vox (Blanket of Security)
• Darwin (Darren Costin) - Drums, Percussion, Vox (57 Men, Blanket of Security, Heroes)
• Rhett Davies - Producer (Roxy Music)
• Roger Bechirian - Remixing & Producer (Undertones)
• Fin Costello - Photos
• Steve Joule -Design
• Alex Feldman - Logo Design
• Ged Doherty - Mgmt
• Andy Hilton - Mgmt
• Nigel Mills - Engineer
• Stuart Henderson - Engineer
• Dave Bellotti - Engineer

Unknown-ness: Never heard of this band, but with an Asian name, but non-Asian band members (looking at the back pics), I'm not sure how to react to the album, although four of the ten tracks also have a Chinese theme, so will this be Chinese appropriated new wave? Not sure!

Album Review: So this band went on to a name change into Wang Chung once they became the second band from the UK to be signed to Geffen (their next album. Asia was the first UK band signed), because the label saw their name get mis-pronounced as Hung Chung. "Wang" was more phonetically accurate. The name means Yellow Bell, and is the first note in the Chinese classical scale. The songs are cold, smooth soundscapes full of synth and bouncy beats, with only a touch of Asian assimilation. The vocals remind me a lot of Thomas Dolby: cold and calculated, and emotive when they need to be.

Stand Out Track: Chinese Girls

Links:
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Hondells (the) - Go Little Honda

Name: The Hondells
Album: Go Little Honda
Year: 1964
Style: Oldies, Pop
Similar Bands: Beach Boys, Ventures, Jan & Dean, Man or Astro-Man?
"One-Word" Review: Racing Advertisement Surf Pop
Based Out Of: SoCal
Label: Mercury Record Corp.

Go Little Honda (1964)

1. Little Honda 2:03 (Beach Boys cover)
2. Mean Streak 2:00
3. A Guy Without Wheels 2:05
4. The Wild One 2:05
5. Haulin' Honda 2:30 (instrumental)
6. Hot Rod High  2:10 /
7. Death Valley Run 1:55
8. Two Wheel Show Stopper 2:15 
9. Black Boots and Bikes 3:00 (instrumental)
10. Ridin' Trails 2:16
11. Hon-Da Beach Party 2:17 (instrumental)
12. Rip's Bike 2:00 (instrumental)

Album Rating (1-10): 8.0

Members & Other Bands:

• Nick Venet - Director
• Ben-Ven Productions - Producer
• Gary Usher - Arrangement, Song Writer, Guitar (Brian Wilson, Beach Boys, Dick Dale many)
• James R. Silke - Cover Design & Photo
• Rex Updegraph - Recording Engineer
• Roger Christian - Song Writer, Write-up (KFWB Radio)
• Ritchie Burns - Vox, Bass (Competitors, Customs, Four Speeds, Ghouls, Knights, Sunsets, Super Stocks)
• Richie Podolor - Guitar (Bruce & Jerry, La Batterie, Richie Allen & Pacific Surfers, Renegades, Super Stocks, Phil Seymour Iron Butterfly, lots )
• Glenn Campbell - Guitar (you know...)
• Al DeLory - Piano (Donovan, Avalanches, Bob B Soxx & the Blue Jeans, Phil Spector, Wayne Newton, many)
• Tommy Tedesco - (Dave Pell octet, Eddie Cano & Sextet, Emil Richards & Microtonal Blues Band, Avalanches, The In Group, Piltdown Men, 
• Wayne Edwards - Drums (Emeralds, The Mixtures, martin Mul, Maya Angelou, more creds )
• Chuck Girard - Vox (Castells, Chuck & Joe, Love Song, Six the Hard Way, Knights, Voices for the Unborn, Sagittarius, Randall Waller, Tommy Coomes, Debby Boone, Terry Scott Taylor, Super Stocks, Alisa Childers, Tim Moon, Revells, Maranatha Singers, Ambrosia )
• Joe Kelly - Vox (Castells, Chuck & Joe, Six the Hard Way)
• Bill Cooper (Ghouls, Super Stocks, Steppenwolf, Iron Butterfly, John Kay, Stan Kenton Tribute Band, Fountan of Youth more)
• Mike Curb (Rebelaries, Waterfall, Congregation, Productions, Teenage Rebellion, 18th Cenrtury Concepts, Jerry Styner, Michael Lloyd, Billy Strange, Davie Allan & the Arrows others)

Unknown-ness: Never heard of this band, but they are definitely using Hondas in place of the Beach Boys surf boards, so i assume the sound will be the same. Not sure if this was a promotional band put together by Honda to promote it's own product, or if these lads really like Hondas.

Album Review: The album / band was put together by Gary Usher, who was responsible for many other bands at the time, where he'd bring in a rotation of studio folks to record an album under a new band name. This band featured Glenn Campbell, and they have been featured in three films: Beach Blanket Bingo, Ski Party and Beach Ball. Hondells were inspired by the popularity of the Honda motor bike, which were made for everyone, rather than roughnecks and a negative crowd. The Single Little Honda was written by Brian Wilson & Mike Love, but gifted to the Hondells after the Beach Boys released it on All Summer Long

Stand Out Track: Little Honda, Hot Rod High

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Hitmen, The - Aim For the Feet

Name: The Hitmen
Album: Aim for the Feet
Year: 1980
Style: New Wave, Power Pop
Similar Bands: Graham Parker, Elvis Costello, Buddy Holly,
"One-Word" Review: Nasally, Upbeat-Happy-wave
Based Out Of: London UK
Label: Urgent Records, CBS, Columbia

Cover, Record

Record, Back

Aim for the Feet (1980)

1. O.K. 3:34
2. Private Eye 2:50
3. She's All Mine 4:13 (Single)
4. Kid's Stuff 3:46
5. Guess Who 3:50 /
6. I Still Remember It 2:31
7. Slay Me With Your 45 2:39 (single B-Side)
8. Eyes Open 2:25
9. Bad Timing 2:28
10. Hold on to Her 4:09

Album Rating (1-10): 8.5

Members & Other Bands:

• Pete Glenister - Guitar, Backing Vox (Kirsty MacColl, Alison Moyet, Terence Trent D'Arby, Bruce Foxton, Anni-Frid Lyngstad, Fischer-Z, Bryan Ferry, Bojangles, Johnny Marr, Slow Fade, New Asia, Frida, Tom Robinson, Anne Linnet, Matt Moffitt, Bronski Beat, Marquis De Sade, State of Play, Double, Fou Gorki, Bros, EG Daily, Waterfront, Toni Halliday, Dreams Come True, Mary Coughlan, Inga Humpe, Helen Watson, Geoffry Williams )
• Ben Watkins - Lead Vox, Guitar (Brilliant, Flowerpot Men, Juno Reactor, The Empty Quarter, Apollo XI, Electrotete, IOU, Jungle High, New Asia, Psychoslaphead, Sunsonic, Alison Moyet, The Youth, Oubliettes)
• Stan Shaw - Keys (Elvis Costello, Bruce Foxton, Nick Lowe, Pepper Adams Quartet)
• Mike Gaffey - Drums, Backing Vox (EG Daily, Bernard O'Neill)
• Neil Brockbank - Bass (Wooden Horse, The Cheaters, Nick Kamen, The Orgone Box, Sterling Roswell, Geraint Watkins, Tanita Tikaram, Jack Penate, Nick Lowe, Martin Belmont, Sterling Roswell, Jim Lauderdale, Los Straightjackets)
• Bill House - Producer
• Ross Honeysett - Photography
• Jules - Design
• Chris Bellman - Mastering

Unknown-ness: Never heard of this band, but i'll be really surprised if this is not some sort of angular new wave band that might verge on punk, based on their outfits.

Album Review: While it is new wave, stealing or borrowing bits from Costello & Parker, there are also a lot of vocal cues taken from Buddy Holly. The songs feel like the artistic individuality of those other artists have been stripped away, leaving a compact and commercially fun, one-dimensional party band- not to say that is a bad thing. The upbeat happiness in these tracks far outweighs anything darker that may be implied from their name, or songs like "slay me," "bad timing" or "private eye." The vocals in "Kids Stuff" sounds very very similar to Elvis, even if the music a synthetic new wave that he'd never dream of. Supposedly, their second/final album is much better.

Stand Out Track: Private Eye, Kids Stuff

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Fantod Under Glass

Harpers Bizarre - The Secret Life Of Harpers Bizarre

Name: Harpers Bizarre
Album: The Secret Life Of Harpers Bizarre
Year: 1968
Style: Oldies, Psych, Vocal Group, Sunshine / Baroque Pop
Similar Bands: Association, Kingston Trio, Happenings, Sand Pipers, We Five
"One-Word" Review: Super Light Cheery Pop
Based Out Of: Santa Cruz, CA
Label: Pye Record Sales, Warner Bros.

 Cover, Sleeve, Record

Back, Sleeve, Record

The Secret Life Of Harpers Bizarre (1968)

1. Look to the Window 0:14
2. Battle of New Orleans 2:34 (cover, Single)
3. When I Was A Cowboy 2:35
4. Interlude 0:20
5. Sentimental Journey 2:25 (cover)
6. Las Mananitas 1:30 (cover)
7. Medley: Bye, Bye, Bye / Vine Street 4:00 (Vine = Randy Newman cover)
8. Me, Japanese Boy (I Love You) 3:04 (Bacharach cover)
9. Interlude 0:20 /
10. I'll Build a Stairway to Paradise 3:12 G/I Gershwin cover)
11. Green Apple Tree 2:28 (single b-side)
12. Sit Down. You're Rocking the Boat 1:43 (Guys & Dolls cover)
13. Interlude 0:21
14. I Love You, Mama 2:10
15. Funny How Love Can Be 2:35
16. Mad 2:42
17. Look At the Rainbow 0:31(from the film Finian's Rainbow
18. The Drifter 3:03
19. Reprise 0:55

Album Rating (1-10): 5.0

Members & Other Bands:

• Nick De Caro - Arrangement
• Perry Botkin Jr - Arrangement
• Kirby Johnson - Arrangement
• Bob Thompson  - Arrangement
• Eddie Karam - Arrangement
• Ron Elliot - Arrangement, Assisting Producer (Giants, Pan, Beau Brummels, Vejtables)
• Randy Newman - Assisting Producer (Peace Choir)
• Ted Templeman - Assisting Producer, Vocal Arrangements, Lead Vox, Guitar (Tikis, Nicolette Larson, Doobie Brothers, Van Morrison, Michael McDonals, Sammy Hagar, Eric Clapton, many)
• Dick Scoppettone - Assisting Producer, Vocal Arrangements, Guitar, Vox (Tikis, Beau Brummels)
• Mike Shields - Assisting Producer
• Joe Sidore - Assisting Producer
• Lenny Waronker - Producer
• Lee Herschberg - Engineer
• Gloria Jones - Gospel Choir (Aquarian Dream, T. Rex [married to Marc Bolan], Brothers & Sisters, Cogics)
• Carolyn Willis - Gospel Choir (Honey Cone, Brothers & Sisters, Girlfriends, Space Angels, Sweethearts, more)
• Sherlie Matthews - Gospel Choir ("His", Blackberries, Nightingales, Paul Johnson Voices, The Belles, Brothers & Sisters)
• Dick Yount - Bass, Vocals (Tikis)
• John Peterson - Drums, Vox (Beau Brummels, Tikis)
• Ed Thrasher - Art Direction
• Bob Zoell - Cover Illustration

Unknown-ness: Never heard of this band. I remember picking this up off the wall of an Oxfam over in the UK on honeymoon, not knowing what it was, but hoping it was some Psychedelic British 60's band I was about to discover.

Album Review: Well, this is a UK pressing of the record, but the band is american, from Santa Cruz. Similar to The Happenings, they repackaged older songs and gave them their own personal touch to their covers. But unlike Happenings, this album is lighter and feels about 10 years older than Psycle, like an archaic Baroque pop vocal style. Their biggest it was covering Simon & Garfunkel's 59th Street Bridge Song a year before this album in 1967. There is a certain Pet Shop Boys quality to the "ahhh" chant in the chorus of "Mad" as well as a Belle & Sebastian vibe to the trumpet melody.

Stand Out Track: Mad

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Happening (the) - Psycle

Name: The Happening
Album: Psycle
Year: 1967
Style:Oldies, Psych, Bubblegum Pop
Similar Bands: Beach Boys, Jerry & The Pacemakers, Tokens, Turtles, Four Tops, Frankie Valli
"One-Word" Review: Harmonic vocal cover band
Based Out Of: Patterson, NJ
Label: BT Puppy Records

Cover, Record

Record, Back

Psycle (1967)

1. I Got Rhythm 2:49 (Single, G/I Gershwin Cover)
2. Why Do Fools Fall in Love 2:43 (Single)
3. That Cold Feeling 2:25
4. Down Down Down 2:15
5. Growing Old (Lord, I Must Be Growin' Old) 3:15
6. I Believe In Nothing 2:30 /
7. My Mammy 2:45 (Single, Al Jolson Cover)
8. When I Lock My Door 2:31
9. I'm Always Chasing Rainbows 2:32
10. When the Summer is Through 2:31
11. Every Year About This Time 2:27
12. Bye, Bye Blackbird 3:00 (cover)

Album Rating (1-10): 7.5

Members & Other Bands:

• Hal Halverstadt - write up
• Max Bodden Associates - Cover Design
• Herb Bernstein - Arrangement, Conductor
• The Tokens - Producers
• Bobby Miranda - Vox (The Four Graduates, Joel Diamond Experience, Alex, FrodoCPU)
• Dave Libert - Organ (The Four Graduates, Alice Cooper, Exuma)
• Tommy Giuliano- Vox (The Four Graduates)
• Bernie La Porta - Vox, Guitar (Emerald Experience, Joe Zisa & Friends)
• Bill Lavorgna - Drums (Pat Williams, Ted Mazio Percussion Group, The Free Design, Enoch Light, Phil Woods, Ian & Sylvia, Twinn Connextion, Richie Havens, Jerry Jeff Walker, The Corporation, Spanky & Our Gang, Carl Oglesby, Marvin Stamm, Tony Mottola, Marge Dodson, Pat Williams, John Berberian, gary McFarland, Gary Burton, Bob Brown, Astrud Gilberto, Frank Sinatra, Dizzy Gillespie more)
• "Toots" Thielmans - Guitar (John Zorn, Quincy Jones 1000+ credits)

Unknown-ness: I never heard of this band, but I imagine it can't be far off from the Monkees or Hermans Hermits, but perhaps a bit more psychedelic, per the album name suggests.

Album Review: Well it is a bunch of oldies piled together, mostly covers that the harmonic vocal group put their own trademark sound on. The musicianship goes a little deeper. Single "My Mammy" could be covered efficiently by Belle & Sebastian after the first 30 seconds go by. Growin Old shows a bluesy R&B side to the band. "When I Lock My Door" has a Sinatra sixties swagger musically. And Beachboys and Bubblegum emits throughout. Their more familiar songs were also covers of "See you In September" and "Go Away Little Girl"

Stand Out Track: My Mammy

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Hammer - s/t

Name: Hammer
Album: s/t
Year: 1979
Style: Light Rock, Powerpop, Electronic/Synth Pop
Similar Bands: Brian Eno, Yes, Peter Gabriel,
"One-Word" Review: Unpredictable Power-Synth Pop
Based Out Of: NY
Label: Elektra Asylum, Warner

Cover, Sleeve, Record

Back, Lyrics, Record

Hammer (1979)

1. Goodbye 3:37
2. I Got You 5:50
3. Oh, Pretty Woman 3:41 (Roy Orbison Cover)
4. One Day 4:38
5. Vaporize Me 3:42 / 
6. Nowhere to Go 5:46
7. Forever Tonight 4:46
8. Highway Made of Glass 3:14
9. Rainbow Day 5:38
10. Sister Louisiana 3:14

Album Rating (1-10): 7.5

Members & Other Bands:

• Jan Hammer - Writer, Producer, Keys, Synth, Vox, Engineer (Mahavishnu Orch, Jeff Beck, Al Di Meola, Neal Schon, Sarah Vaughan, Mick Jagger, Carlos Santana, Stanley Clarke, Elvin Jones, Junior Trio more) 
• Colin Hodgkinson - Bass, 12 String Guitar, Vox (Back Door, Barlin Blues Band, Electric Blues Duo, Jon Lord Blues Project, K2, Ten Years After, Hofner Bluenotes, Spencer Davis Group, Tramline, Whitesnake, Alex Korner, Konstantin Wecker, Pete York, British Blues Quintet, Alexis Korner, Eric Delaney, Alan Randall, Joan Bptista Humet, Joji Hirota, Neal Schon, Schon & Hammer, Cozy Powell, Mick Jagger, Stefan Grossman, James Young, Phil Carmen, Pete Maffay)
• Gregg Carter - Drums (Edgar Winter)
• Glen Burtnick - Lead/Backing Vox, Guitars, Tambourine (Cats on a Smoth Surface, Helmet Boy, Jersey Artists For Mankind, Styx, The Orchestra, The Sides, The Weeklings, Schon & Hammer, Eric Troyer, Bystander, Celine Dion, Meat Loaf, Johnny Popstar Luv Explosion, Lita Ford, Marshall Crenshaw, Jonathan, Tonio K, What If, Patty Smyth, John Waite, Don Henley)
• Bos Schachner - Additional Engineer
• Ron Coco - Art Direction & Design
• Johnny Lee - Art Direction & Design
• Chris Callis - Photography
• Elliot Sears - Mgmt

Unknown-ness: Never heard of Hammer, and with such a general name, that does not give any hints. However, the chosen imagery does...lets see...smashing through into a women's (pink) locked apartment with said "hammer" as she seems to be hiding/running from the obstructed assailant. This does not paint a very understanding band, and far from today's PC standards. So i guess the music will be testosteronly aggressive. The back image of the band, being chased by the attacked female down the stairwell (per her retaliating shadow), shows energy, but also perhaps a lighter (weaker) side. When it comes down to the year and label, i can only surmise it will be power-pub rock.

Album Review: Apparently, this is basically a Jan Hammer, most famous for the 2-Grammy winning Miami Vice theme, album. Although he is not the lead singer, he has written, produced, and engineered the full album, aside from the bass heavy version of the Roy Orbison cover "Pretty Woman." The vocals are weak and kind of flat compared to the aggressive drum and bass - which carries through the album: locked in a tug of war between light and heavy super smooth production. In "Vaporize Me" the synth bass line that leads into a Monkees-like tambourine chorus sounds great (also like Brian Eno) and is really catchy. "Forever Tonight" also has a catchy computer-synth bass line and chorus. It is apparently is the first version (sounding like a demo version with lyrics) of the hit instrumental song featured in Miami Vice. The last track sounds a bit like a Beatles-Kinks hybrid song.

Stand Out Track:  Vaporize Me, Forever Tonight

Links:
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wiki
website
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miami vice wiki
unofficial site
1979 NY Times poor live review (and description of his"unwieldy keyboard-contraption" "slung over his shoulder")

Holme - Just a Matter of Time

Name: Holme
Album: Just A Matter of Time
Year: 1982
Style: Oldies New Wave
Similar Bands: Fumble, Darts, B. Willie Smith
"One-Word" Review: Oldies Cover Band with some New Wave instruments
Based Out Of: New Jersey
Label: Drive Records

 Cover & Record

Record & Back

Just A Matter of Time (1982)

1. Just A Matter of Time 3:45
2. Bye Bye 3:02
3. Lightning Strikes 3:54 (Lou Christie cover) / 
4. Weekend 2:42
5. Runaway 3:44 (Del Shannon Cover)
6. Parkway Boogie 3:41

Album Rating (1-10): 6.5

Members & Other Bands:

• Kip Conner - Bass, Lead Vox, Exec Producer
• Billy Coleman - Guitar, Vox
• Dan Gralick - Keys Vox (Jim Croche, Southside Johnny)
• Joel Krauss - Guitar, Vox (Cats on a Smooth Surface, Jersey Artitsts for Mankind)
• Frank Sementa - Drums, Exec Producer
• Mark Mazur - Guitar, Vox, Producer (Mark Mazur & the Targets, Eric Gale, Winston Grennan, Kid Creole & Coconuts, B-52s, Coati Mundi, Elbow Bones & the Racketeers)
• Bobby Bandiera - Guitar (Cats on a Smooth Surface, Southside Johnny, Bon Jovi, Jersey Artists for Mankind, Rocking Chairs, Lisa Bouchelle, Cyndi Lauper, Gene Ryder)
• Jack Waldman - Synth (Gloria Gaynor, Joe Beck, Tornader, Robert Palmer, Niteflyte, Richie Havens, Klaus Nomi, Rachel Sweet, Billy Idol, Paul Haig, Jellybean, Ebn-Ozn, Foreigner, A-Ha, Madonna, Whitney Houston)
• Julian McBrowne - Percussion, Chief Engineer (Kid Creole & Coconuts)
• Louie Carfizzi - Vox
• Monica Whelan - Design
• John Rynski - Design
• Nancy Ritchings - Design
• Tom Coyne - Mastering

Unknown-ness: Never heard of Holme, but I love the atomic age artwork on the front, and the added feature of the 50's style couple dancing makes me think that this might be an oldies throwback band. The back says Garden State Rock and Roll, so that could still be oldies style, and we know they're from Jersey.

Album Review: Guitarist Joel Krauss's daughter is the front women of the band Sleigh Bells. Their Garden State Parkway logo was approved by the NJ Highway Authority. The intro to the album is all synth and sets a New Wave tone not really duplicated on the rest of the record. "Lightning Strikes" is a favorite song in general (one of my Mom's favorites), and this version is interesting enough to be the stand out track. "Parkway Boogie" steals a little from "Green Onions," and then becomes a Blasters sorta track.

Stand Out Track: Lightning Strikes

Links:
Discogs
Wiki
Rate Your Music

Mic Holwin - Starting to Remember

Name: Mic Holwin
Album: Starting to Remember
Year: 1986
Style: Electronic, Instrumental, New Age
Similar Bands: Tangerine Dream, Ghostwriters
"One-Word" Review: 80's Drama-Horror Soundtrack for Film
Based Out Of: NYC, NY
Label: Lifestyle, Moss Music Group

Cover & Record

Back & Record

Starting to Remember (1986)

1. Brujo 3:22
2. The Hunt 3:58
3. Aligning the Warlock 3:32
4. This Close 4:06
5. Gray 3:14
6. Amon Ra 3:11
7. Being Swum 3:16 /
8. Abandon 3:08
9. The Bridge 3:56
10. Burning Beyond 3:38
11. Unbound 5:58
12. Shaon 3:01
13. Aviatar 4:43

Album Rating (1-10): 6.5

Members & Other Bands:

• Mic Holwin - Writer, Performer, Programmer, Producer, Asst Engineer (Brujo)
• Paul Zinman - Associate Producer, Engineer, Digital Editing, Additional DX Timbres
• Niko Joel Anducich - Lifestyle Exec. Producer
• Glascock - Cover
• David Meieran - Additional DX Timbres
• Vinnie Fusco - Manager

Unknown-ness: Never heard of this artist, and I keep wanting to call him Mic Howlin' but the L & W are transposed. I like the VHS-quality scanline cover art, and simple artwork & angular font. Not sure what to expect with this one, as it could be really anything from a singer songwriter to future rock. I do anticipate some sort of synth element.

Album Review: Well, this is all synth element. 100% synth done on at least 5 different synthesizers, creating strange and elegant new-agey B-movie background themes. Apparently, the Mic in her name refers to the method she writes music that is visible: "synesthesia'

Stand Out Track: Amon Ra

Links:
Youtube full album
Discogs
Paul Zinman's Soundbyte productions
Fade 2 grey
Rate Your Music
Allmusic

Hi Fi - Moods for Mallards

Name: Hi Fi
Album: Moods for Mallards
Year: 1982
Style: New Wave, Power-Pop
Similar Bands: San Cisco, Ian Matthews solo, Pavlov's Dog,
One-Word Review: Light, Blue Collar New Wave
Based Out Of: Seattle, WA
Label: First American / Emerald Isle

 Cover, Lyrics, Record

Back, Lyrics Record

Moods for Mallards

1. Walk Away 4:05
2. Blue Shirt 4:03
3. Holding Out For Rain 5:20
4. Throw A Line 3:50
5. S.O.S. 2:38 /
6. Knocking on Your Door 4:20
7. Desire 4:17
8. Time After Time 3:56
9. When You Were Mine 4:28
10. Alcohol 2:45

Album Rating (1-10): 7.0

Members & Other Bands:

• Bob Briley - Drums (Carole Stirn)
• Garey Shelton - Bass, Backing Vox (Allies, Halyards, Jr Cadillac, Uncle Bonsai, Eric Tingstad, Life 9)
• Bruce Hazen -Guitar, Prophet V, Backing Vox (Life 9)
• Ian Matthews - Vox, Guitar, Producer (Fairpoint Convention, Hamilton Pool, Matthew's Southern Comfort, More Than A Song, Ian Ad Venture, Pyramid, Andy Roberts, Plainsong, Richard Thompson, Matinee Idols)
• David Surkamp - Vox, Guitar (Pavlov's Dog, Touch, St. Louis Hounds, Matinee Idols)
• Jackie Renn - Photos
• Art Chantry - Jacket Design
• Tim Killeen - Producer
• Joe Hadlock - Producer

Unknown-ness: Never heard of them, but it looks like a typical campy, silly new wave record; between the play on words of the Elvis Costello song Moods for Moderns, and the duck dance-step patterns on the cover. Hoping for a jittery, fun new wave record.

Album Review: The songs come off as a wolf in sheep's clothing so to speak, as the attempt was made to make catchy new wave, but most of the songs fall short of real new wave appeal. The band is promoted as a duo of Ian Matthews and David Surkamp, who both are famous for their history in other folk rock and prog bands. They cover Prince's When You Were Mine, and it sounds pretty true to the source, as it is designed to be a chugging power-pop song. Throw a line has the most to offer the new wave genre, with a driving melody, synth elements, falsetto vocals and a real catchy chorus, which could fit into modern band catalogues like San Cisco.

Stand Out Track: Throw A Line

Links:
Discogs
rate your music
youtube
Wiki
downunderground
get ready to rock

(the Sensational) Alex Harvey Band - The Impossible Dream

Name: The Sensational Alex Harvey Band

Album: The Impossible Dream

Year: 1974

Style: Theatrical Glam

Similar Bands: Kiss, Kinks, Bonzo Dog Band, Sparks

One-Word Review: Over-the-top Glammy Rock
Based Out Of: Glasgow, Scotland

Label: Vertigo, Phonogram, Inc

 Cover & Record

Back & Record

The Impossible Dream (1974)

1. The Hot City Symphony Part 1 Vambo 5:02
2. Part 2 Man in the Jar 8:11
3. River of Love 3:10
4. Long Hair Music 4:36 /
5. Sergeant Fury 3:26
6. Weights Made of Lead 2:36
7. (a) Money Honey, (b) Impossible Dream 2:06
8. Tomahawk Kid 4:30
9. Anthem 7:42

Album Rating (1-10): 7.5

Members & Other Bands:

• David Batchelor - Producer
• Derek Wadsworth - Producer
• Gilbert Kong - Mastering
• Peter Waldman - Photography
• Alex Harvey - Vox, Rhythm Guitar (Hair, Alex Harvey's Big Soul Band, Big Beat Band, Rock Workshop, )
• Zal Cleminson - Guitars (Tear Gas, Nazareth, Tandoori Cassette, Zal Band)
• Chris Glen - Bass (Tear Gas, Cafe Jacques, Michael Schneker Fest, Vengence )
• Hugh McKenna - Keys & Synth (Tear Gas, Stoics)
• Ted McKenna - Drums (Tear Gas, Phenomena, Michael Schneker Fest)
• Martin Rushent - Engineer
• Cyrano - Engineer
• Vicki Silva - Vox (Mick Ronson, Nazareth, Everything But The Girl, Cornelius Cardew)
• London Scottish TAVR - Pipes & Drums

Unknown-ness: I've never heard of them, but I picked this up as it looks fun, somewhere between Bonzo Dog Band and Frank Zappa...probably a very Cabaret version of Glam-meets-Prog...guessing some Alice Cooper influence too, perhaps. And the way the tracks are laid out, it looks like it may be a rock opera.

Album Review: Before this band, Harvey was responsible for writing music for a London Stage performance of Hair, and that theatrical element can easily be picked up on this record, even more than just how the tracks are broken out. At times, the theatrical rock music sounds like the Kinks, Sparks, Elton John, and many others which he makes his own. Before that, he was in a couple Scottish big, jazz, and skiffle bands, one of which opened for a band that would become the Beatles in Scotland/1960.

Stand Out Track: Sergeant Fury

Links:

Wiki

youtube

Allmusic

Discogs

(the) Hoovers - Skin and Blisters

Name: The Hoovers

Album: Skin and Blisters

Year: 1980

Style: Ska, New Wave

Similar Bands: Madness, English Beat, Capes, Squeeze

One-Word Review: Goofy, Building Hooligan Romp

Based out of: San Francisco, CA

Label: Paradigm, Airstrip Records

 Skin and Blisters - Cover, Sleeve, Record

 Skin and Blisters- Back, Lyrics, Record

Skin & Blisters - Credits

Skin & Blisters (1980)

1. The Good Life 4:57
2. Jimmy Jones 2:49
3. I Got You Babe 2:43
4. The Brighton Run 3:13
5. To Your Mother 2:47
6. The World Gone Mad 3:14 /
7. The Day They Made Him King 3:53
8. Roly Poly 2:32
9. She Want It 3:03
10. Pretty Little Blossom Song 2:05
11. Captain Scarlet (Skin & Blisters) 1:50

Album Rating (1-10): 9.0

Members & Other Bands:
Norman Baja - Drums, Synare (A Cruel Hoax)
Michael Helmer - Bass, Guitar
William Sell - Vox, Guitar, Chimes
Paul Whiting - Vox, Keys
Stuart Jacob Glasser - Producer, Engineer
Stephen Hart - Producer
Jeff Tracy - Engineer
Jim Drayper - Engineer
Four by Two - Bells
Jamison Goodman - Photography
Tom Bonauro - Art Direction, Design
Raul Torres - Hair
Keith Hollings - Make Up
Cee lePage - Jewelry
Maggie & Rovilla - Model
George Horn - Mastering

Unknown-ness.
I've never heard of this band. When i picked up the record, i noticed that it has the sticker from the radio station, with notes calling it an "interesting rock/ska sound." From the image on the cover, I'd assume this was some darkwave, Siouxie Sioux style music.

Album Review:
By way of England, the band began as a duo that moved to California. They eventually settled in San Fran to form the band, where, it is hypothesized, that they were the only American band ever approached to join the ska label Two Tone. They only had the one cheaply produced album and an EP, and faded away by 1981.

“The Good Life” is a side to side, sneaky, slinky bass beat and nervous new wave / Elvis Costello- style organ. Thick British hoodlum accent sings along with a melody that strongly resembles a younger Madness. A piano trills behind the blocky chorus. About three minutes into the track, the song changes up to a driving frantic section, with two sets of vocals repeating the same lyric over and over, building to a chaotic ending for (a little long) two minutes.

“Jimmy Jones” is a quick paced authentic ska melody: hipper, happy, with vocals that rely on the percussive nature of the accent. It is a fun romp, and silly lyrics involving romance with a fish. The song ends as the steel drum synth plays out with a manly chant over top.

“I Got You Babe” is just a terrible cover. Piano kicks the song off, and the melody becomes familiar almost immediately, but is light and synth infused. The vocals crack and waver, lacking confidence at first. But musically, it is a fun light ska version of the song that builds at the end.

“The Brighton Run” is a slower paced ticking ska song with a fun bouncy bass and synth lines. It also continues with a story line involving more of the fish theme from “Jimmy Jones.” Part of the instrumental sections are a bit sinister and carnival in nature.

“To Your Mother” is a school-yard mocking song with a fast paced, rollercoaster of a melody that is somewhere between Squeeze and Madness. The build-up to and sing-along chorus is super catchy, and a little goofy. The vocals follow the melody with a spitting cadence, but are very fun to follow along with, and super British.

“The World Gone Mad” continues with a slight different variety of rollicking, spitting/stuttering vocal cadence, but the words seem to just roll of the tongue, falling into melodic place. It has a solid build up and delivery into the chorus, which is anthemic, and stands out brightly. This is a very solid song.

“The Day They Made Him King” starts with some artificial chirping birds seemingly blown up, followed by soldiers marching and church bells. Then a carnival ska melody picks up, and overly pleasant British vocals follow a very comfortable melody. The purposeful pauses in the chorus really builds anticipation and enhances the song. This reminds me of the Capes a lot. There is a short sentimental breakdown with a musical reset, before it launches back into a final verse, and a repetitive chorus section, which is all you’ve been waiting for: repetition of the chorus. Such a fun, bouncy track.

“Roly Poly” seems to pick up right where the last song ended, with bouncy bass and organ melody. The chorus features a down trilling sci-fi synth section that increases anxiousness and jittery reaction. It builds very well to the very end.

“She Want It” is a little slower and swaying sing-songy. It is closer to authentic ska than most of the album, almost feeling like a classic pop oldie. Most of the vocals have an echoing fx added.

“Pretty Little Blossom Song” seems like a somewhat racist song. It is a live recording, and is introduced as “a treat for everyone oriental in the audience.” And it only features chimes that reflect oriental stereotypes in the very beginning. The song itself is a chaotic bum rush of tempo and jittery British vocals that are chewed up and spit out in a very fast pace.

“Captain Scarlet (Skin & Blisters)” feels like a Squeeze and Devo combined song. It is fast paced, too, and has a new wave bouncy feel, and a Difford-Tillbrook style harmony as the two vocalists sing together. It sounds exhausting to sing on repeat as they do.

Stand Out Track: The Day They Made Him King

Links:
Discogs
Tone and Wave
Marco on the Bass
Allmusic
Facebook
Bandcamp

Human Sexual Response = Fig. 14

Name: Human Sexual Response

Album Fig. 14

Year: 1980

Style: New Wave, Jangle Pop

Similar Bands: Devo, Blotto, Television, Tom Verlaine, Squeeze

One Word Review: Urgent, Menacing Jangles

Based Out Of: Boston 

Label: Passport Records, EAT Records, Jem Records

 Fig. 14 - Cover, Liner Notes, Record

 Fig. 14 - Back, Liner Notes, Record

Fig 14. Credits Close-up

Fig. 14 (1980)

1. Guardian Angel 3:48
2. Dick & Jane 4:13
3. Jackie Onassis 3:48
4. Cool Jerk 2:35
5. Dolls 4:57/
6. What Does Sex Mean to Me? 4:47
7. Marone Moan 3:42
8. Unba Unba 2:53
9. Anne Frank Story 6:24

Album Rating (1-10): 7.5

Members & Other Bands:
Larry Bangor - Vox (The Zulus, Wild Kingdom, Screaming Mimis, Gospel Birds, Sugar, Kazoondheit, Honey Bea & the Mellow Muffins)

Casey Cameron - Vox (Kazoondheit, Honey Bea & the Mellow Muffins) 

Windle Davis - Vox (Kazoondheit, Honey Bea & the Mellow Muffins)

Dini Lamon - Vox, Tambourine (Kazoondheit, Honey Bea & the Mellow Muffins, Musty Chiffon)

Rich Gilbert - Guitars (The Zulus, Wild Kingdom, Screaming Mimis, Gospel Birds, Concussion Ensemble, Tanya Donelly, Frank Black, Uncle Tupelo, Steve Wynn. Throwing Muses, Lemonheads, Steve Westfield, The Family Cat, Crown Electric Company, Condo Pygmies, Country Bumpkins, CLOWN, The United States, The Coronet Premiers, Blackstone Valley Sinners, Eileen Rose & The Holy Wreck, Thad Cockerell)

Chris Maclachlan - Bass (The Zulus, Wild Kingdom, Screaming Mimis, Gospel Birds)

Malcolm Travis - Drums (The Zulus, Wild Kingdom, Screaming Mimis, Gospel Birds, Sugar, Concussion Ensemble)

John Doelp - Producer

Don Roze - Executive Producer

Eddie Ciletti - Recording

J.D. - Recording

Ben Wisch - Mixing Engineer

Hipgnosis - Cover
Paul Maxon - Cover
Richard Manning - Photo Coloring
Colin Chambers - Line Drawing
BC Kagan - Back Cover Photo

Unknown-ness: I had never heard of this band…looks like it may be calculated, yet fun. Retro, random artwork of children juxtaposed against the band name and album title, seems to illustrate a contradictory, yet clever, say hipsterry theme. I imagine new wave since it is from 1980, but to what degree, and how much nervousness, is yet to be found.

Album Review: So the guitarist, Rich Gilbert, has gone on to play with some of the most popular and big artists from the Boston area, namely Tanya Donelly and Frank Black. He has also worked on many a Bob Mould-Sugar album. They are still playing one-off reunion shows, even up to this year, 2017. But they never received much nationwide success, despite being played on KROQ in LA.

 “Guardian Angel” kicks in with a drum beat, and enters jangley pop territory. The vocals are jittery, and nervous, much like Tom Verlaine, with backing harmonized vocals for key phrases in the verse. There is some good energy to the song, but it is pretty non-threatening, and like a sloppier early-mid era Talking Heads
“Dick & Jane” is a little darker, with a fuzzy feedback guitar punctuating the verse, which is delivered in a cold and broken in structure. Verse two takes the guitar up a couple of octaves, but still is screeching with feedback. The chorus is just a chant of the chorus. The song is a little tedious, as it does not expand over the segmented and stumbling tempo, perhaps chanting a little like Devo.
“Jackie Onassis” was their “big hit.” It starts off with a cymbal, and sleepily and jangley begins, as if part of a dream. It charges ahead with a confident stomp with some prog-guitar flourishes, mixing in dreamy oh-yeahs in time. The song ends with call and response oh yeahs between the singer and backing chorus.
“Cool Jerk” begins with a bouncy and Squeeze-like bass line…the song jitters along anxiously, and would be a fun song to dance to during a live set. It is repetitive, but in a fun, catchy and building way. There are breaks in the song, that still pound forward with a pulsing drum beat. The song is just a Isley Brother’s “Shout” or Checker’s “Twist,” requesting to do the popular dance along with the band as a soundtrack.
“Dolls” also feels like an early Chris Difford/Squeeze song, with some wonky sound effects, and methodical, Devo-ish singing. The song refers to dolls coming to life. It builds and grows, but stays along a very narrow path of musical diversity. The song feels like it wears out its welcome, looping alarm-like vocals that build in intensity, but doesn’t really evolve or capitalize.

“What Does Sex Mean to Me?” starts with a basic rhythm setting the tempo…this is filled with some classic lines like “Virgins Die Horny” and “I put my fingers to my tongue / I taste vagina” Really the song juxtaposes how other societies view sex versus how we/the singer view sex, with some quite political/moral topics amongst the reactionary lyrics. The song, with its anxious, jittery vocals, and repetitive chorus fits cleanly on the album, but it feels like, aside from the instrumental, complex music is traded in for a clear, intelligible platform.

“Marone Moan” starts out quietly, with a less neurotic vocal. It feels a little renaissance like, lofty world and roots music at first. Then it gets a little progressive as the vocals harmonize into a wind-swept cadence. The urgency grows with the pulsing guitar and ethereal “AAhhhhhh” and then it just…ends.

“Unba Unba” begins with a dark guitar line, and a steady drum beat, which creates a bit of a menacing back ally atmosphere. Unba is the stuttering start in the chorus for the work unbelievable. Before the final urgent verse, the vocals swirl into a whirlpool of syllables and notes. And the song, also repeating like an alarm, winds itself up to a sudden stop.

“Anne Frank Story” is their sad, slow ballad. It too, has a bit of a mysterious menacing tone, but the sullen mood is felt as the calm vocals sadly croon and shutter about the Anne Frank Museum. The drums are bombastic and striking. After 2 minutes, the song changes direction a bit, picking up a driving progressive pace to reset the scene, back to the sad reflective verse. It has a bit of a similar feel to the Hooter’s “All You Zombies” which came out 5 years later. The lyric that is repeated the most is perhaps “Time Warp At The Anne Frank Museum.” And the song seems to build and exit just as quietly as it began.

Stand Out Track: Cool Jerk

Links:
Discogs
Allmusic
Wiki
Rate Your Music
Down Underground
Clash City
Static & Distance

Holy Rollers - As Is

Name: Holy Rollers

Album: As Is

Year: 1990

Style: Garage, Indie-Core, Rock/Punk

Similar Bands: Bad Religion, Fugazi, Screaming Trees, Helmet, Life Of Agony, Animal Bag

"One Word" Review: Alternative Punk Metal

Based Out Of: Washington DC

Label: Dischord

 As Is - Cover, Record, Sleeve Photo, Dischord Order Sheet

                                        As Is - Back, Record, Sleeve Lyrics, Dischord Order Sheet
As Is (1990)

1. Eleventy 3:09
2. Freedom Asking 2:27
3. Head On 2:36
4. We 2:09
5. Machine 3:08
6. Dahlia 2:45 / 
7. Opus 2:41
8. Poison Lung 2:22
9. Everlast 2:52
10. Ode to Sabine County 2:54
11. Sacred Minds 2:08
12. Johnny Greed 2:25

Album Rating (1-10): 5.5

Members & Other Bands:
Marc Lambiotte - Vox, Guitar

Joe Aronstamn - Bass, Vox (Grand Mal)

Maria Jones - Drums, Vox (Broken Siren)

Juliana Luecking - Spoken Word

Geoff Turner - Producer, Vox, Guitar, Organ
Richard Robinson - Engineer
Jeff Nelson - Graphics
Peter Hayes - Logo
K. Sayengo - Typeset
Underwood & Underwood - Front Photo
Naomi Petersen - Band Photo
James Cohrssen - Hand Photo

Unknown-ness: I’ve never heard of this band. From the cover and back, I imagine some overly fuzzed out droning wall of sound music that couldn’t find a genre in the mid 90’s. This is based on the logo font, and the dual-colored bamboo forest cover and Graveyard monument band picture on the back. I know this is not popular, radio music, but 1990 was the year music changed. Just look at the 1990 MTV awards, and you will see it was the year that went out with the old, and in with the new. In any case, as a discount record bin purchase, I’m interested to hear what it contains.

Album Review: So the Holy Rollers got their start opening for Fugazi in a basement in DC somewhere, and are label mates with them and Minor Threat. They are politically charged bridge between punk and alternative rock.

“Eleventy” starts of the album with clanging metal cymbals, dark bass, and screeching guitars. Then fuzzed out guitars begin a wall of sound. The vocals are relaxed, and harmonized, as all members of the band sing. As this was before the majority of alternative music took off, it sounds like it fits in perfectly with zuxxed out rock tracks like Screaming Trees or Flowerhead. There is a musical change toward the end of the song, if only for a few seconds, where the song’s momentum speeds up, like the song is coming out of the darkness, then the bass drags it back down.

“Freedom Asking” has a fast driving guitar, followed by drums that remind me of helmet. The momentum breaks for the chorus, and it sounds a little British, like a dense version of the Posies. I could see this being a fun song to see live. This song possesses a weird hybrid between jangle pop and speed metal.

“Head On” has a funky intro with fuzzy guitars. Vocals are female, but powerful and driving in a monotone fashion (a little like Devo). It has a good prog-metal chorus of vocals for the chorus.

“We” is a driving song with unappealing vocals (to me at least). The revving guitar chords are good.

“Machine” has a watery bass hook at the start, and pounding, pressing drums that are matched by heavy guitars. There are some interesting vocals echoing in the background, but overall, the song kind of drags along. It’s just missing one element to make it really punch effectively.

“Dahlia” has whiney I don’t care vocals at the outset, that build with a melody all their own, into a head banging, metal number, reminding me of the less melodic Life Of Agony stuff. The end of the song feels unnecessarily rushed toward the end.

“Opus” begins the second side with a very watery, Ned’s Atomic Dustbin style bass that gets buried beneath metal guitars and vocals that are trying too hard, but come off a little flat. The song feels like it goes too long, then it just abruptly stops.

“Poison Lung” has a complex driving melody with a couple layers of guitars, a funky bass line, and a solid and steady drum. There is a bit of powerpop at the root of this song, in the chord changes. But again, the vocals just feel a little flat, and uninspired. The end has a very Janes Addiction wind down (before Janes was doing it), and the song is politically charged about the environment, so that’s good.

“Everlast” has loud droaning guitars played in a pop punk fashion. The vocals sound cold and aggressive, and the song really stomps forward with its head down. The chorus is a chanting hard core, call and response style. Immediately following the chorus, the music changes direction to be much more straight forward and driving. There is a big pause, and a much more metal (yet harmonized) chant starts. The song gets back to the initial head down stomp, and ends on a power chord.

“Ode to Sabine County” begins with single syllable chants, and driving metal guitars, which make up the verse. What seems to be an instrumental song then changes after two run throughs, and is becomes much more methodical and dark. This is the song that features the spoken/shouted word anger/political poem by their friend Juliana Luecking. After the line about a black man being beaten to death, the song cycles back to the initial chanting, and drives on to the end.

“Sacred Minds” again feels like a British psychedelic jangle song overlayed on metal guitars and bass. There are some good harmonies here, that get lost in the heavy instrumentation.

“Johnny Greed” is folksy with an acoustic guitar and cymbal tambourine percussion. This feels like a hippie demo of what is in their minds before they add all the heavy shit. This is like stage one, before a song like Sacred Mind and Freedom Asking is a hybrid, then there is the rest of the album. The song kicks it into a higher gear with the chorus of shouting, with feedback and distortion layered underneath as if to give prove to their metal cred.

Stand Out Track: Freedom Asking

Links:

Dischord Records

Trouser Press

Discogs

allmusic

Scaruffi

Heum - s/t

Name: Heum
Album: s/t
Year: 2009
Style: Contemporary Jazz
Similar Bands: 80's TV Drama Themes, Vince Guaraldi
"One Word" Review: Charlie Brown Sad Sax
Based Out Of: Korea
Label: BIC Music

Heum - Cover, back and fold out

Heum - Inner Notes, Tray and CD

Heum (2009)

01. 그 극장의 마지막 상영 (The Theater's Last Show) 5:23
02. 花  (Flower) 6:14
03. 한 걸음에 두 계단 (two stairs one step) 4:12
04. Someday My Bassman Will Come 4:02
05. 일사병 (stroke) 6:50
06. 102 3:35
07. Psionic Storm 5:38
08. JJ 4:39
09. 우리도 아리랑 고개를 넘는다 (Going Over Arirang’s Head???) 4:35

10. Someday My Bassman Will Come (Soprano Saxophone Version) -  4:04

Album Rating: (1-10): 5.0

Members & Other Bands:

Choi Jung Heum - Sax

Lee Kwang Hyuk - Drums

Kang Yoo Hyun - Piano

Shim Young Joo - Bass

Carlos Manuel Navarrete - Album Art

Unknown-Ness: I’ve never heard of this band, and rightfully so, as it looks like they are from Korea. I liked the artwork, and finding it in a thrift store 50 cent bin pushed me over the edge to pick it up to try it. I’m just hoping it is something interesting, perhaps some experimental fun/noise stuff. But the packaging is a good enough sell for me.

Album Review: Instrumental Jazz is not my thing, and even though there are two songs with vocals, on the whole, this is not my thing, and makes me think of 80's TV show theme songs. So forgive me if I cannot make a well educated comparison for this album.

“The Theater’s Last Show” begins with a simple, klezmer –like sax, which is the primary instrument in this piece. There is a simple jazzy bass line in the background and minimal piano and drums. It is a fun, playful tune with an underlying sadness. Toward the end of the song, the sax takes a break, and the piano moves to the front, following the same ascending and descending melody. Around 410, the sad sax comes back, holding a final note for about 30 seconds

“Flower” has a twinkling piano intro, and is followed by a bluesy sax, painting a naive, yet slightly sinister picture. The tempo and momentum shifts, and the song graduates to a steady swagger as it progresses forward. A steady, toe tapping rhythm sections keeps the tempo moving forward. The true freedom to the song’s structure lies solely in the improve sax performance. In the verse, the sax feels like a slowed down Toejam and Earl Funkatron video game theme song.

“Two Stairs, One Step” starts with low, shady notes from a sax, and minimal piano played like a metronome, keeping the tempo. Light drums come in slowly, adding a bit of texture to the slowly developing song. The sax picks up the intensity and octave, yet the piano slowly plods along in the background.

“Someday, My Bassman Will Come” creates a smoky jazz club vibe with a low sax and tinkling piano that seem out of time with each other. This song has low vocals as well, nearly whispered. The vocals are replaced with the higher pitch sax, and the sad takes on a sad yet romantic shape. It reminds me of Stevie Wonder playing a slow Italian standard. The vocals come back in near the 3 min mark, and carry heavy sorrow with their quiet delivery.

“Stroke” is a bit of a driving jazz song. The bass and pianos create a repetitive ground, where each instrument overtakes the other. The sax has a confident sorrow in how it is played. Shortly after the 2 min mark, the bass has a chance to take center stage with a break out performance that sounds every bit as much as vocals as the vocals did before. Toward the end of the song, the sax answers, and brings the attention of the listener back from a bit of wandering time with a simple yet sharp melody.

“102” features a rolling sax melody played over minimal piano, and even more minimal bass. The start-stopping of the notes again make me think of a good many theme songs to office/city oriented tv shows in the 80’s. The melody is repetitive, but easy to follow along with, and does actually vary slightly as the song progresses.

“Psionic Storm” starts with a spastic multi layered horn, and a dark, brooding bass line, with wood block percussion that grows into the densest and complex drumming on the album (but is still not that complicated). This song feels the closest to a straightforward rock/pop song, thanks to the rhythm section. An organ is added to the mix, guiding the bridge along over two repeating, held notes. The organ gets moe complex, and create a somewhat psychedelic tone in the pit of this driving rock song. Past the 5 min mark, ti feels as if it could go on forever, then it just stops.

“JJ” sets out to reconcile the previous song, taking it back to the smooth jazz standards of piano and metronome percussion. This song features a soulful, R&B vocal between male and female vocals. It is kind of like a slowed down, less energetic version of Jamiroquai’s Virtual Insanity.

“Going Over Arirang’s Head(?)” has echoy bongo drums to start out, and it is a slow piano ballad. The sad sax is added in, and the piano sounds or stereotypical oriental melody.

“Someday, My Bassman Will Come (Soprano Sax)” returns us to the 4^th track, but rather than a smoky lounge, the sax carries the song along with a less somber mood. It is more reminiscent of daybreak than the dark tone the original song created. But the song comes to a very slow and drawn out conclusion with held notes and a final walk off into the sunrise.

Stand Out Track: JJ

Links:

BIC Music

Luminosity

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