Capital City Rockets - s/t

Name: Capital City Rockets
Album: s/t
Year: 1973
Style: Honky-Tonk, Pub Rock, Southern-Bluesy Rock
Similar Bands: ZZ Top, Cheap Trick, Bay City Rollers, J. Geils Band, Black Crows, Mooney Suzuki
"One-Word" Review: run-of-the-mill-honky-tonk-blues
Based Out Of: Columbus OH
Label: Elektra, Warner

Cover & Record

Record & Back

Capital City Rockets (1973)

1. Ten Hole Dollars 3:24
2. Grab Your Honey 3:01 (single b-side)
3. Little Bit O'Fun 2:59 (cover)
4. Come Back Baby 2:41
5. People Are Losing 4:53 / 
6. Breakfast in Bed 3:13 (single)
7. Newcomer Blues 2:53
8. My Orange Tie 3:18
9. Searchlight 3:31
10. Still Kicking 3:49

Album Rating (1-10): 6.5

Members & Other Bands:

• Jamie Lyons - Lead Vox (the Music Explosion, the Burners, Hard Sauce, Kasenetz-Katz)
• Robert Hill - Guitar, Vox (Godz, Sky King, Debonairs, Bishops, Four Winds, Goldfinger, Strongbow, Climax)
• Michael (Bopper) Warner -  Guitar, Vox (Hard Sauce, Four O'Clock Balloon)
• Eric Moore - Bass (Godz, Sky King, Tree, American Dog)
• Jerry Hertig - Drums (Hard Sauce, Adrian Belew)
• Bobbye Hall - Congas (Marvin Gaye, Stevie Wonder, Bob Dylan, Carole King, Joni Mitchell, James Taylor, Bill Withers, Butterfield Blues Band, Janis Joplin, Mamas and Papas many more)
• Gregory Prestopino - Piano (Celine Dion, Natalie Cole, Puff Daddy, Aaron Neville, Bette Midler, Livingston Taylor, Wendy Waldman, Maria Muldaur, Bonnie Raitt. Ry Cooder, John Prine, Loudon Wainwright III, Juice Newton, Gary Wright, Dan Bern, Arlo Guthrie, Kate & AnnaMcGarrigle)
• Fritz Richmond - Engineer, Remix
• Ed Caraeff - Photography
• Robert L. Heimall - Art Direction & Design

Unknown-ness: Never heard of these guys, but the logo looks right out of a late-90's emo punk band, and the back cover looks like they could be a 70's punk band in rollerderby outfits. I'm excited to hear what these guys make...it will probably just be some basic powerpop/rock, seeing as it's 1973.

Album Review: This was a one and done album from this band, who had roots in the Columbus OH scene for years before and after in other small bands. They are indeed a pub rock band with a bit of southern blues, a bit of revitalized oldies rock n roll, and smatterings of power pop. All of their songs are energetic, but nothing really stands out as the clear single or hook.

Stand Out Track: My Orange Tie

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Wackers (the) - Shredder

Name: Wackers
Album: Shredder
Year: 1972
Style: Psych, Folk
Similar Bands: Cecilio & Kapono, Beatles, Dave Edmunds, Kinks, Bonzo Dog Band
One-Word Review: Breezy-Psych-Folk
Based Out Of: Monreal, Quebec
Label: Elektra

 Cover, Back, & Record

Gatefold & Record

Wackers - Shredder (1972)

1. Day & Night 3:06
2. Hey Lawdy Lawdy 3:54
3. I'll Believe in You 3:14
4. Puttin' Myself to Sleep 2:20
5. Eventually, Even You Even Me 3:34
6. Coming Apart 3:57 /
7. It's My Life 3:32
8. Beach Song 2:42
9. Buck Duckdog Memorial Jam 10:10
10. Last Dance 3:04

Album Rating (1-10): 7.5

Members & Other Bands:

• Robert Segarini - Guitar, Vox, Bass, Drums, Percussion (Roxy, Ratz, Family Tree, Dudes, Cats & Dogs, Rosebuds, The Us )
• Randy Bishop - Guitar, Keys, Bass, Cowbell, Percussion, Vox (Roxy, Rosebuds)
• Michael Stull -  (Gods Country, Butts Band)
• Bill 'Kootch' Trochim - Bass, Congas, Guitars, Percussion, Kootch (Dudes, Family Tree)
• Ernie Earnshaw - Drums, Percussion, Vox (Royale Monachs, The Forte' Four, Six the Hard Way, BigFoot, Rolling Bob, 6680 Lexington)
• Mark Abramson - Producer
• JP Lauzon - Guitars, Percussion, Piano
• Jerry Mercer - Drums (Mashmakhan, April Wine)
• Fred Otnes - Shredder Art
• Robert L. Heimall - Photography, Art Direction & Design
• Frankie Hart - Backing Vox, Percussion
• Janet Abramson - BackingVox
• Jack Schaeffer - Clarinet, Sax
• Dan-Yen Mantor - Claves, Congas, Shaker
• Nelson Vipod - Engineer
• Adam Holzman - Low D Assist
• Richard Knowles - Tech

Unknown-ness: I've never heard of this band. From the artwork, it reminds me of Terry Gilliam's Monty Python opening, so I imagine the music will not be serious, and perhaps even comical in nature...or maybe just really drug influenced (psychedelic).

Album Review: The album is a strong mixture of folk, psych, power pop, and spaced out jamming. Lots of Beatles & Kinks inspiration. The band was from California, but moved to Quebec before recording this record. Funny thing, was the record was not meant to be the Wacker's third album, but was supposed to be a side project for the creative force. Once Elektra heard the songs, they pushed for the production as a full Wackers album (not The Incredible Duck Brothers). The recordings were also influenced by Monty Python cast members hanging out with the band while recording in the studio for two of the six weeks (MP was on their first North American tour).

Stand Out Track: Eventually, Even You Even Me

Links:
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Montreal Gazette
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Canadian Bands

Sisters of Mercy - A Slight Case of Overbombing: Greatest Hits Volume One

Name: Sisters of Mercy

Album: A Slight Case of Overbombing: Greatest Hits Volume One

Year: 1993

Style: Goth, Dark Wave, Industrial

Similar Bands: Fad Gadget, KMFDM, Jesus & Mary Chain, Iggy Pop, Depeche Mode, Nitzer Ebb, Borghesia

"One-Word" Review: Bleak Factory Rhetoric

Based Out Of: Leeds, UK

Label: Elektra, Warner Music UK

 A Slight Case of Overbombing: Greatest Hits Volume 1 - Tape & Cover & Notes

 A Slight Case of Overbombing: Greatest Hits Volume 1 - Tape, Lyrics

A Slight Case of Overbombing: Greatest Hits Volume 1 (1993)

1. Under The Gun
2. Temple of Love (1992)
3. Vision Thing
4. Detonation Boulevard
5. Doctor Jeep
6. More
7. Lucretia My Reflection
8. Dominion / Mother Russia
9. This Corrosion
10. No Time to Cry
11. Walk Away
12. Body & Soul

Album Rating (1-10): 6.0

Members & Other Bands:
Andrew Eldritch (Andy Taylor) - Vox (Sisterhood, Sarah Brightman)
Gary Marx (Mark Pearman) - Guitar (Ghost Dance)
Doktor Avalanche - drum machine
Craig Adams - Bass (Sisterhood, The Mission, Colorsound, Expelaries, Spear of Destiny, The Alarm, The Cult, The Vaynes, Theater of Hate)
Ben Gunn (Ben Matthews) - Guitar
Wayne Hussey - Guitar (Dead or Alive, The Sisterhood, The Mission, Hambi & The Dance, Quadra, Walkie Talkies)
Patricia Morrison - Bass (Gun Club)
Jim Steinman - Producer
Larry Alexander - Producer
Tony James - Bass (Sique Sique Sputnik)
Tim Bricheno - Guitar (All About Eve, XC-NN)
Andreas Bruhn - Guitar (Doc Cheng, Earthbound, Favola, Fourth INC, MCV, MLB Project, Max Melvin, Miller & Floyd, Newman & Reece, Shadow Queens, Low Riders, Upserver)
Adam Pearson - Guitar
Boyd Steemson - Manager
John Perry - Guitars
Maggie Reilly - Vox
Ofra Haza - Vox
Terri Nunn - Vox (Berlin)
Andrea White - Illustration
Billie Hughes - Producer
Ian Stanley - Producer
Roxanne Seeman - Writer
Dave Allen - Mixing & Producer

Unknown-ness: I might have heard of them in passing before, but I've definitely heard of them since picking up this tape. Don't really even have to guess to know this is dark wave with gothic tones.

Album Review: From 1977 – 1990, the band, basically a project of co-creator & hard-to-deal-with Andrew Eldritch, his drum machine named Doktor Avalanche, and a revolving door of musicians, produced three albums before rebelling against  their management and record label and never produced another album. He still tours under the name, and they have written new material, but they have not release any official follow up albums. There have been a bunch of breakaway bands form ex-members, most famously perhaps, the Mission UK (UK added here in the states). And as much as their music is attributed as goth, the band is adamantly against that classification, preferring “rock band.”

“Under The Gun” was recorded for this 1993 release, the final label released track for Sisters of Mercy. It has dark, deep vocals and ominous, droning atmospheric effects. Powerful guitars and female vocals supplied by Ofra Haza add to the stark, barren soundscape. Eldritch’s chanting vocals are layered underneath.

“Temple of Love (1992)” chugging guitar and soaring female siren vocals. Male vocals pick up with a dark, steady mechanical tone, reminding me of German industrial or KMFDM. Once it kicks in, it becomes dark and danceable. Could see this used in a stereotypical film set trying to show a vampire dance club or a gothic audience.

“Vision Thing” starts with a heavy metal guitar, where screeching vocals are expected, we have the continued authoritarian vocals chanted like demands and laws brought down from a restricted society. Supposedly this, the title of the album it came from, was a quote from VP George HW Bush, so the mood and theme probably are derived from US politics.

“Detonation Boulevard” carries on the theme of buzzy metal guitar chords played over a dark, angular, mechanical backdrop. Vocals parody Iggy Pop and other deep, steady, rhetoric-fueled sounds. 

“Doctor Jeep” is motivational song with a training montage musical pace. Crystal synth creates a bleak landscape under the driving tempos. And as the male vocals are steady and monotone, the female vocals have a nice melody and complement well.

“More” builds up in pieces for the first minute and breaks back down after the drum brake hits. Quiet vocals and Running Man atmospheric keyboards add until it really kicks in at 1:50 with some power chords and a chorus of energetic female vocals to clash with the drab, bleak lead vocals.

“Lucretia My Reflection” kicks off with a solid bass line and simple bass/kick drum mechanical rhythm. The vocals explode with the guitars (as much as monotone vocals can) about 1:30 in and the propaganda-chanting echos imagery of dark and cold communist USSR. This is another solid darkwave dance track. The instrumental section seems to go on a lot longer than necessary, not covering any new ground as it proceeds.

“Dominion / Mother Russia” starts with an industrial bass & metal sheet-drum beat, and features a watery guitar loop overlaid. The shuttering monotone lead vocals brood and follow a melody bolstered by angelic female vocals in the chorus. Once the song transitions to the Mother Russia part, with the same basic elements as Dominion, it begins to sound like a dark wave Talking Heads song.

“This Corrosion” has more of an Iggy Pop / Richard Butler vocal style with more melody than previous songs. The female chorus still echoes darkly, but at its heart, the song is actually upbeat and quite catchy – at least comparatively – with its Hank Kingsly-ish Hey Now Now chorus. Of course, this version is over 10 minutes long, so I could have dealt with the radio edit.

“No Time to Cry” cryptically begins with a few simple instruments then picks up like a dark New Order song. The vocals are deep and dark. There is a Devo-ish pogoing vocal in the background of the chorus. The lead vocals feel a little forced at being creepy.

“Walk Away” leans a little more toward arena rock, but on top of the cold, jangly guitars is that steady drum machine loop that makes it feel like industrial music underlying Dracula vocals.

“Body & Soul” almost has an oriental feel to it at the outset. The power guitar comes in, followed by the dark vocals. The song is pulled in the three ways, and it carries an overall mystical tone. 

Stand Out Track: This Corrosion (radio edit)

Links:
offical site
Wiki
AV Club: This Corrosion
Sisters-Wiki
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Moonpools & Caterpillars - Lucky Dumpling

Name: Moonpools & Caterpillars

Album: Lucky Dumpling

Year: 1995

Style: Alternative

Similar Bands: Cranberries, Belly, Bjork, Velocity Girl, Veruca Salt, Letters To Cleo, Juliana Hatfield, Frente, Sixpence None the Richer

One Word Review: Hiccupy Alt-Pop

Based Out Of: Glendale/LA California

Label: Instant Record, Elektra, Warner Communications, Time Warner, WEA International, Eastwest

Lucky Dumpling - Cover, CD, Inner Photo and Back

Lucky Dumpling - Liner Song List, CD Tray

Lucky Dumpling - Lyrics

Lucky Dumpling - Lyrics

Lucky Dumpling - Liner Notes

Lucky Dumpling - (1995)

1. Hear 3:19
2. Ren 4:10
3. Soon 4:24
4. Trampleing Rose 4:20
5. Colossal Youth 3:51
6. Summertime 2:48
7. Heaven 3:52
8. Sundays 4:05
9. Traveling Song 3:57
10. The Buick 2:18
11. Koo Koo Koo 3:37
12. Jubilee 4:49
13. Crazy Old World 3:33

Album Rating (1-10): 7.0

Members & Other Bands:
Tim DePala - Bass

Jay Jay Encarnacion - Guitars (Fight, Tony Monaco, Brassknucks, Lost Sounds)

Kimi Ward - Vox, Harmonica

Gugut Salgodo - Drums & Percussion

Richard Gottehrer - Producer

Jeffery Lesser - Co-Producer, Recording, Mixing

John Yates - Engineer

Chris Laidlaw - Engineer

Greg Calbi - Mastering

John Heiden - Package Design

David Sheldon - Illustrations

Annalisa - Photography

Lara Hill - A&R

Scott Ross - Management

Unknown-ness: I must have read an article with them prominently displayed in CMJ Music Monthly back in 1995, because this has been sitting on my cd shelf for years, and I don’t remember why I bought it or what it sounds like. I do enjoy the Ren & Stimpy like Log advert artwork, and I appreciate the one band member wearing a Spam shirt…both of these things spoke to me back in 95. I expect it to be some sort of happy pop music, with fun, sweet hooks and polite accents. Maybe J-pop.

Album Review: M&C had minor success when they were first out in 95 when this album came out, but noting to hold the attention of the public or the record company. Some songs of theirs were used in commercials and movies, and they were one of the biggest bands of Philippine descent, featuring two heavy hitting producers (Gottehrer = Blondie, Go-Go’s & Lesser = Lou Reed, Barbara Streisand). The album is a product of its era, and was created to jump on the bill of bands with eccentric female vocals to acompany polite alternative-produced songs.

“Hear” was licensed by Volkswagen. It starts with a Ned’s Atomic Dustbin like bass line, and then crashes into a Letters to Cleo melody. There is a little Cranberries inflection in her voice, but the music is entergetic alt-pop.The vocals are also a little like Alanis Morsette. After 2 sections of verse chorus, the song lightens up and resets itself to rebuild into the chorus again. I remember this song after hearing it again now.

“Ren” begins like a Julianna Hatfield 3 song with a dreamy, loopy melody. The female vocals ride up and down in range at the chorus. This song is more dream pop, and lacks the energy of the first song. There are a lot of chosen hiccups in her voice, which give it almost a yodeling quality.  

“Soon” is brought in with a slow drum beat, and has more Irish style female vocal inflections, and the song floats along as a fuzzy ballad. The end of the song transforms her vocals with an echo enhancement and a harmonica is added to folk things up.

“Trampling Rose” keeps the moonlight ballad feeling going with this watery, row-boat at midnight acoustic guitar loop. The vocals to this song remind me of Juliana Hatfield and Frente. The chorus is a bit stompy and uses the hooting vocal explorations.

“Colossal Youth” begins very pop-punky with a fast, driving Blink 182-ish guitar hook. Once the vocals start, the instruments are pulled back, and gently added back in and it builds up to the chorus, which makes the song feel like something that would have been featured as a Buffy the Vampire Slayer-Nightclub band. The instrumental is highlighted with the electric guitar echoing and playing with the established melody.

“Summertime” was used in Disney’s Babysitters club. It begins with the familiar “Low Rider” harmonic hook. Bass is the heavy carrier for this song, sounding a little like a New Order bassline. It gently glides along, threatening to rock out with energy, but never quite reaching the peak potential.

“Heaven” is a straight up ballad, with an acoustic guitars playing an “I can’t help falling in love with you” melody. The vocals are cutesy and full of life, and walking a fine line of country. This would be the slow dance at the rock show or middle school dance.

“Sundays” kicks in with conga drums, and a tribal chorus singing “Hey-Ya” in the background. The organic spirit is removed once the lead vocals come in. They are mixed up a little too shiny and bright, as the music takes a big back seat to their spotlight. I feel like I may have heard this song too, elsewhere in the past. After a couple of tramples through the verse chorus mix, the backing vocals are brought back to compete with the lead in a cohesive blend.

“Traveling Song” slows it back down with reserved vocals, and a slow, methodic melody. About 1:45, it kicks in (ever so slightly) with heavier guitars and drums, and she experiments with the rollicking and expressive mountain side vocals. The fuzzy guitars stick with the rest of the song, keeping the bar raised.

“The Buick” is a start stopping momentum song at its heart. For short periods, the fuzzy guitars and extra drum licks add in a constant tempo. The vocals, while still sung, are delivered with more of a spoken word, poetic delivery.

“Koo Koo Koo” is so much a jangly, college radio style song that I expect to hear Michael Stipe come in at any second. But after the intro, the guitars give way to vocals and bass/drum’s slow tempo movement. The jangles come back in to support the chorus, and cut out again when it gets to the next verse.

“Jubilee” is a light song with precious Juliana Hatfield style vocals, with a “Walk on the Wildside” bassline. The song jumps into the fast stream at about 2 minutes in with a quickly sung part with vocal skatting and instruments that match the pace and intensity. The song exhausts itself and retreats back to the calm intro style. It finds a middle ground of anthemic intensity and singing in the round to end the song.

“Crazy Old World” ends the album with a very quiet guitar intro and vocals that maintain a quiet volume with small bursts of emotional loudness. The second round of verse finds a jangly guitar and steady drum beat added. It builds to a Sixpence None the Richer climax and just ends the album there.

Stand Out Track: Hear

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(the) Incredible String Band - Changing Horses

Name: The Incredible String Band
Album: Changing Horses
Year: 1969
Style: Folk, Renaissance, Psychedelic
Similar Bands: Donovan, Nick Drake, Strawberry Alarm Clock
"One-Word" Review: Spaced Out ,Tired Minsterals
Based Out Of: Scotland
Label: Elektra

Changing Horses: Cover, Back & Record

Changing Horses: Liner Notes & Record

Changing Horses (1969):

1. Big Ted 4:21
2. White Bird 14:46
3. Dust Be Diamonds 6:14/
4. Sleepers, Awake 3:44
5. Mr. and Mrs. 4:54
6. Creation 16:04

Album Rating (1-10): 4.5

Members & Other Bands:

Joe Boyd - Producer
Walter Gundy - Harmonica
William S. Harvey - Sleeve Design
Mike Heron - Bass, Guitar, Guitar (Electric), Horn, Keyboards, Mandolin, Percussion, Piano, Sitar, Vibraphone, Vocals, Artwork (Heron)
Licorice McKechnie - Guitar, Kazoo, Keyboards, Organ, Percussion, Violin, Vocals
Ivan Pawle - Keyboards, Organ, Piano (Dr. Strangely Strange)
Janet Shankman - Photography
Rose Simpson - Bass, Percussion, Vocals
Robin Williamson - Flute, Gimbri, Guitar, Guitar (Electric), Keyboards, Organ, Percussion, Piano, Violin, Vocals, Washboard, Artwork
John Wood - Engineer

Unknown-ness: I’ve never heard of this band. From the cover art to the interior art work, I’m guessing it will be light and folky. Music from the hippie culture can be a vast array of music, though, but I’m thinking it is going to be more renaissance themes and medieval instrumentation.

Album Review: “Big Ted” sounds like a swampy southern jug & washboard band song. It is also a bit like Dr Dog. It’s about selling an old pig named Ted to market. It is kind of a silly song. In fact, it has nonsense words skatting over a fun bouncy bridge including a sound that I think is “Squirrelly.” It is this fun bouncy section that really brings the song together, and finishes out the song to the end. Very enjoyable.
“White Bird” is a slower, quiet, recorder played song. It is a long light, flittering ballad. The harmonized chorus sounds downright religious, especially with the organ playing long, drawn out single notes. It feels like it is going to tire out and stop at any time, as it slowly crawls along, but there is still 12 minutes to go. So rather than stop, a psychedelic bass and backing instrumental section lifts the song up as the vocals slowly change and wake up. But that stops and the recorder takes over, bringing back the renaissance style folk ballad and choir-like chorus. After this offering, the music stops completely and picks up with a painful moaning style of singing with only the faintest hint of musical accompaniment...strings perhaps? Then for a little there is a strings-only instrumental: a little plucked and flamenco style guitar play. This is eventually followed by more painful chanting and echoing, wind blown effects. The chorus chant of “white bird” is revisited in the end with bongo percussion, but it still sounds churchey.
“Dust Be Diamonds” feels connected to the previous song as it is slow and soft, but the melody of the verse sounds a little progressive, as it is broken and disjointed. The chorus is quite annoying, as it sounds like a folksy cover of something that would come from Ren & Stimpy. It has a sort of royal welcoming announcement as played on the piano feel to it too. But the song consists of these two uninteresting parts, making this song a long, drawn out chore.

“Sleepers, Awake” is an all acapella song that has a folksy church choir feel. It is harmonized with a strong separation of the male and high pitch female vocals.
“Mr. and Mrs.” Takes the mood back to folksy psychedelic genre. The song just has a feeling that it was played in a cloud of smoke and black light. It rambles along a path not quite cemented down, so bits of the melody do wander off track. It borrows a little in the melody from the Beatles odd creations, as this song reaches a point halfway through where the time signature and tempo constantly changes.
“Creation” starts with a quiet moaning chant and slow acoustic guitar playing with liquid percussion in the background. It has a spacey higher plane feel to it, with the spoken lyric dialogue over laying the sitar and chants. If it weren’t so serious sounding and plodding, droning on, I’d think it was a joke from something like The Monkee’s “Head.” The dialogue turns into a very calculated singing with minimal elevated emotion. Around 4:50, the style changes, bridged by an Eastern European sounding section. The spoken psychedelic poetry continues over a much more upbeat musical section, with la-la-la’s replacing the painful moaning. The eastern bridge comes back and continues longer, in a very klezmer dance section. That quickly turned back into the initial moaning and dark section from the beginning. Then a whirling piano sends the vocalists spinning around in a tripped out dream, as they exclaim “aaahhh” closer and further away from the mic. The style makes a complete turn about, as slow ragtime piano begins, and the vocals are sung through an olde tyme microphone, accompanied by a trumpet playing the vocal melody. This jazzy radio era section is followed by an instrumental section that finishes off completely. But there is still a minute left for the old tyme mic sound and vocals that sound drunken and swaying, accompanied by kazoos.

Stand Out Track: Big Ted

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(the) Heart Throbs - Cleopatra Grip

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

Cleopatra Grip - Cover, Notes, Tape

Cleopatra Grip (1990)

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

Album Rating (1-10): 7.0

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

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

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

Stand Out Track: Slip & Slide

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

(the) Paul Butterfield Blues Band - s/t

Name: The Paul Butterfield Blues Band
Album: s/t
Year: 1965
Style: Bar Blues (Chicago)
Similar Bands: J Geiles Band, Blues Project, Blasters
"One-Word" Review: Harmonicazzy-Bar-Blues
Based Out Of: Chicago
Label: Elektra

The Paul Butterfield Blues Band - Front & Record
The Paul Butterfield Blues Band - Back & Record

The Paul Butterfield Blues Band (1965)

1. Born In Chicago 2:55
2. Shake Your Money-Maker 2:27
3. Blues With A Feeling 4:20
4. Thank You Mr. Poobah 4:05
5. I Got My Mojo Working 3:30
6. Mellow Down Easy 3:40/
7. Screamin' 4:30
8. Our Love Is Drifting 3:25
9. Mystery Train 2:45
10. Last Night 4:15
11. Look Over Yonders Wall 2:23

Album Rating (1-10): 7.5

Members & Other Bands:

Paul Butterfield - Vox, Harmonica (Better Days, Muddy Waters)

Mike Bloomfield - Slide Guitar (The Electric Flag)

Elvin Bishop - Rhythm Guitar (The Elvin Bishop Group)

Jerome Arnold - Bass (Howlin' Wolf)

Sam lay - Drums (Howlin' Wolf)

Mark Naftalin - Organ

Paul Rothchild - Producer & Recording Director

Mark Abramson - Asst Producer & Recording

Jac Holzman - Production Supervisor

Leonard Heicklen - Cover Photo

William S Harvey - Cover Photo & Design

Unknown-ness: I’ve never heard of these guys. Of course the Blues band (like the Blues Project) automatically brings to mind a blues album. But the imagery on the cover and the picture on the back make it seem like it is going to be more electric and rocking. Kinda like what I wrote for the Blues Proj….i think these were both dropped off at the thrift store by the same person, they seem to fit in as part of the same collection. The song lengths are more rock oriented than long blues, so that is something to look forward to. And I’ve heard of and seen Elvin Bishop records before.

Album Review: “Born In Chicago” begins the record with groovy guitar rhythm & harmonica. This is upbeat blues, and as I’ve read/heard, Chicago blues. The lyrics have lots of repetition, but are sung differently, and it is like hearing the lyrics given different meaning each time they are sung. “Shake Your Moneymaker” is a start stop rocking tune, this is a very happy song, not too much blues here, with the slight exception of the slide guitar…but even that is having a good time. The song actually swings. The energy in the bass, guitars and vocals could make the dullest, dingiest bar jump. “Blues with a Feeling” is, as the title suggests, a deep dive into blues. The harmonica played prominently, and is echoed by the guitar and bass. The dynamic is only saved for the beginning, as the verse poses the music as support and a guide to the emotional vocals. “Thank You Mr. Poobah” is a more bouncy, jazzy, jump-jiving aspect of instrumental blues. The harmonica is still featured prominently, but the jazz rhythm section picks up the blues and turns them into happy. The instruments take turns talking to each other, and intermixing very well. “I Got My Mojo Working” also falls into the big band camp of swing, thanks to the guitar and teeters on the edge of blues, thanks to the train harmonica. There are back ground response vocals to support the call out I Got My Mojo Workin’. “Mellow Down Easy” features a fantastic harmonica in the beginning and just takes off from there. The song is vaguely psychedelic with calm smooth vocals, and the rhythm guitar in the background.

“Screamin’” is a 60’s groovy rock song featuring heavy on the harmonica. It is mainly a instrumental, with the vocals making their only appearance in the beginning of the song. There are some famous/familiar musical riffs used in the song’s long instrumental ending. “Our Love is Drifting” slows things down and returns to meandering blues, featuring heavy on the lead guitar. It spills blues sentiments out in electric notes, rather than lyrics. “Mystery Train” captures the pace of a cross country train, and the typical sound it makes as it chugs along via harmonica and guitar interplay, the bass, and clicky hi-hat cymbals. “Last Night” parallels “Our Love is Drifting,” with its drunken side to side sweeping feeling of lonely blues. “Look Over Yonder Wall” has a great rolling bass beat and combined with the lead slide guitar, I’m reminded of Chuck Berry, but only for little sections in this song. It ends the record with a nice energy, quick pace and a rockin’ memory.

Stand Out Track: Mellow Down Easy

Links:

Allmusic

Wikipedia

Elvin Bishop Website

Mike Bloomfield Site

Bloomfield Chronology

Blues Access

Blues Harp

1966 Fillmore Live Show recording

Chrome Oxide