Voice of the Beehive - Let It Bee

Name: Voice of the Beehive

Album: Let it Bee

Year: 1988

Style: Pop

Similar Bands: Go-Go's, Bangles, Darling Buds, Primitives

One-Word Review: Bubbly Quirk-Pop

Based Out Of: London, UK

Label: London, ffrr Records Ltd

 Let It Bee - Cover, Lyrics, Record

Let It Bee - Back, Notes, Record

Let It Bee(1988)

1. Beat of Love 4:04
2. Sorrow Floats 4:18
3. Don't Call Me Baby 3:08
4. Man in the Moon 3:17
5. What You Have is Enough 2:41
6. Oh Love 2:58 /
7. I Walk The Earth 3:42
8. Trust Me 3:19
9. I Say Nothing 3:27
10. Barbarian In the Back of My Car 2:43
11. Just A City 4:13

Album Rating (1-10): 8.0

Members & Other Bands:
Tracey Byrn - Vox, Guitar (Bill Drummond, Brad Is Sex, The Bomb Party)
Melissa Brooke Belland - Vox, (Bill Drummond, The Bomb Party)
Mike Jones - Guitar, Vox, Keys, Programming (Moths, Xenon, Wallflowers, Cliffs, Brad Is Sex, Clientele, Dark Globe, NIk Turner, The Hit Men, Blood Necklace)
Martin Brett- Bass, Piano (I, Ludicrous, Rosemary)
Daniel M Woodgate - Drums, Percussion, Programming (Madness, Bloodsport, Strawberry Switchblade, )
Hugh Jones - Producer, Mixing, Engineering
Peter Collins - Producer
Vivid ID - Art Direction
Jerry Lee - Artwork
Dave Swarbrick - Fiddle (Fairpoint Convention, Whippersnapper, Ian Campbell Folk Group)
Kick Horns - Horns (James, Erasure, a-ha, Jimmy Somerville, Mighty Lemon Drops)
Heinrick - Keys
Marvin Etzioni - Mandolin, Piano, Producer (Lone Justice, The Satellites Four, Randall Kennedy, Counting Crows, Dixie Chicks)
Jimbo Barton - Mixing, Engineering
Nick Launay - Mixing
Nigel Green - Mixing
Mike Owen - Photography
Andy Ross - Management
Carrie Spaceu - Management
David Balfe - Management
Digby Smith - Engineering
Phil Dane - Asst. Engineer

Unknown-ness: Picked this up (along with the Popguns album) in an Oxfam charity shop in London. From the initial reaction of the artwork, it looks like it could be anything from psychedelic dance like Dee-Lite to alt-glam like the Soup Dragons.Honest evaluation is that it will be far less interesting than either of those likenesses.

Album Review: The Voice of the Beehive is made of two sisters from California, daughters of one of the singers from The Four Preps. But it was not until they moved to London that they crashed the music scene. Being joined in their first incarnation with two members from Madness, they found surprise demo success and quickly joined a major label. It only really lasted for two albums, as the third found the band paired down to just the sisters. Also turns out that Andy Partridge helped write a song from their final album in 1996, so there’s that.

“Beat of Love” is a bit of a wirey stopmer at the beginning, with guitars that ring out, and a fast, sing-song paced lyrics that are basically spoken at a rhythmic pace. The lyrics roll right off the tongue. The chorus slows the lyric delivery down, and finds the ladies harmonizing. Little effects and sonic elements are added into the mix, but the beauty of the song finds two catchy styles blended together to form a rewarding pop song.

 “Sorrow Floats” is a slow, swaying ballad. It reminds me of Belly a little from the beginning sleepy guitar sound. The vocals still carry a rhythmic pace, but it is not as fast paced as the opener. It does, however, follow a similar format, where the bridge could be a chorus, but the chorus itself is slowed down in the delivery, not exactly fitting in with the tempo of the rest of the song – in a good way. A rocking out electric guitar picks up right at the end, as the song fades out.

“Don't Call Me Baby” was a single. It begins with a simple kick drum, and adds jangly guitar, making it fit right in with the Bangles catalogue. Not an energetic go-go’s song, but not a slow sleepy song. The bridge into the chorus is where the energy is found. The chorus, which also acts as the verse feels like an oldies melody, or something the short lived US band The Like (or the Pipettes) might have performed.  

“Man in the Moon” was a UK single. It is a quirky, bordering on lyrically-embarrassing song that also starts off similar to a Belly song. It is a love ballad to the moon, and the qualities it possesses. The song feels like a peaceful and acoustic midnight canoe outing on a sleepy lake. Strings help out with the gentle relaxing, gliding melody.

“What You Have is Enough” is a fast pace, na-na-na-na song that, like the first track, seems to roll right off of the singer’s tongues. The sisters share singing duties, often moving to overtake, harmonize and solo at all the right times. The song keeps changing in that aspect in the first verse, but they join up by the chorus and rest of the song. The song continues at a driving pace, only relaxing on the dense sound with a dreamy section that moves at the same pace. The song relies on the “na-na-na” mocking tone for the ending of the song, but it feels like it ends much too quick.

“Oh Love” is another swaying ballad, this one sounding more acoustic and upbeat than “Sorrow Floats.” The song, drunk on love, stumbles along at a waltzing pace. The mandolin sets the tone for the mood that the song offers. This could probably be covered quite well by Jenny Lewis in today’s musical world.

“I Walk The Earth” begins with a bunch of overlaid harmonizing vocals. The song then takes off, with a bit of a rock and roll edge not seen previously on the record. By the time the chorus kicks in, the song presents its true hook, which reminds me a lot of what the band Bleached is currently doing.

“Trust Me” has a bit of an “I Want Candy” start. That comparison continues through the sing-song spoken vocals in the verse. The song kicks in at the bridge into the chorus, with a stomping drum beat, and a cut off right before it reaches the chorus…making this a very good potential build-delivery song. The second bridge kind of fizzles out into a plateau, and does not deliver on the build-up. But really, the bridge is catchy enough to sell the song.

“I Say Nothing” was a single. It is a jangly song that starts off with a kicking drum intro. The vocals again feel like they are trying to emulate Belinda Carlisle. I guess they made the singles to be void of the quirky nature the rest of the album has…this and “Don’t Call Me Baby” are covered in radio shine. Still, it is a solid song, with good build up to the chorus. The break down creates the perfect amount of anticipation for the song to break into the familiar instrumental melody.

“Barbarian In the Back of My Car” was played in LA radio station KROQ. This song also has some moderately embarrassing lyrics. It starts with a chugging guitar, which emulates a car engine. The vocals are sung/spoken in rapid fashion as they do, perhaps a little like Joan Jett. The chorus hits with a very simple three chord melody, but is very catchy. They actually edited their own lyrics, as there is an audible bleep in the “barbarian’s” quote saying I’ll f*ck you later, just get me to the bar.” Very unexpected from the naïve veneer they have created up to this point.

“Just A City” was also a single. It is a slow dance. The swaying 1-2-3 cadence would be great for a last middle school dance. 

Stand Out Track: What You Have is Enough

Links:
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Menswe@r - Nuisance

Name: Menswe@r

Album: Nuisance

Year: 1995

Style: Brit-Pop

Similar Bands: Oasis, Blur, Wire, Elastica, Kula Shaker, 

"One-Word" Review: Mediocre Bandwagon Britpop

Based Out Of: London, UK

Label: London Recordings, Laurel

 Nuisance - Cover, Liner Picts, CD, Inner Tray

Nuisance - Lyrics, Back

Nuisance (1995)

1. 125 West 3rd Street 3:05
2. I'll Manage Somehow 2:35
3. Sleeping In 4:42
4. Little Miss Pinpoint Eyes 2:06
5. Daydreamer 2:16
6. Hollywood Girl 2:18
7. Being Brave 4:02
8. Around You Again 3:23
9. The One 3:43
10. Stardust 2:55
11. Piece of Me 3:02
12. Stardust (Reprise)/Bones and Red Meat 14:39

Album Rating (1-10): 7.0

Members & Other Bands:
Johnny Dean - Vox, Percussion
Simon White - Guitar, Vox (Finlay Quaye)
Chris Gentry - Guitars (Vatican DC, Urban DK, Ali Love, Crest Mob, Facts About Funerals, )
Stuart Black - Bass, Guitars (Messiah, Bella Echos, Cockney Rejects)
Matt Everitt - Drums, Percussion (Pleasure Thieves, The Montrose Avenue)
Neill King - Producer, Arrangements
Russel Kearney - Recording Engineer
Simon Sheridan - Mix Engineer
Marc Waterman - Producer
Porl Fletcher - Organ/Keys/Piano, Arrangements, Flute
Gavyn Wright - String Arrangement
Nick Ingman - Arrangements
The Kick Horns - Horns
Sian Bell - Cello
Simon Fowler - Front Photo
FTP Creative Imaging - Image Manipulation
David Sims - Other Photography
Stylorouge - Design

Unknown-Ness: Sure, I remember Menswear. I was at the right age at the right time to enjoy all of Brit Pop’s glory. But I’ll be damned if I can remember when I bought this, or what it sounds like, beyond the general brit pop sound. Will I be surprised at the contents, and regret not fully embracing them when they were popular, or is it a throwaway band cashing in on the sound? Was there ever a second album? I cannot remember. All that aside, I like the name and their style is smooth and very “it” in the mid 90’s way.

Album Review: With the slightest of research, I was able to piece together that Menswear was a made to order suit. They were popular for their look and gained magazine cover status before they were declared a band or had a song written. And it sounds like they drove that one album, once it came out, into the ground with multiple singles and heavy promotion. But their second album, leaned away from Britpop into Country territory, was never released outside of Japan. The members never went on to be in anything as noteworthy as Menswear, but a few have and had their hands in popular band management (Bloc Party, Noah & The Whale).

“125 West 3rd Street” starts with reigned in fuzzy guitars and a general pop rock sound. The vocals are nothing memorable, and the chord progressions seem unnecessarily complex. This feels like album filler, not a good album starter. Although the end of the song features the whiny brit pop persona of La-La-La’s sung in a snotty voice over the basic melody.

“I'll Manage Somehow” features a staple on the brit-pop catalogue: the wah-wah guitar. This song is much catchier and the mediocre voice is forgiven with the dictionary melody. I can see the Kula Shaker comparison in this song.

“Sleeping In” starts out with a Monkees/Beatles/Ted Leo-like guitar hook, and the harmonies on the verse also harken back to classic, oldie-pop. The fuzz is not as thick on this tambourine tapping song. It is a nice, steadily driving song, with small rushed sections that fall back into the steady pace. But rather than stop the song at a nice condensed 2.30 song, they extend the chorus one last time, and stretch it out more than it needs to be…finishing the song up with a psychedelic guitar instrumental and accompanying soothing ahhhhhhs and even bringing horns into the production.

“Little Miss Pinpoint Eyes” has a much thicker British accent and is snottier in sound, like a nice marriage of Supergrass and Adam Ant. There is a bit of psych element with the harmonies, and wacky inflection in the lead vocals. But they keep their feet firmly in the present (90’s) with the fuzzed out guitars.

“Daydreamer” was the first single they released, and was their first song they had as a band. It continues the wacky spoken word vocals that are reminiscent of Adam Ant. The school yard mocking melody is reminiscent of Elastica, too.

“Hollywood Girl” is a bouncy, Jam-like song, if The Jam embraced the mid 80’s college radio, jangley pop phenomenon. It has a nice steady energy and more wah-wah guitars.  

“Being Brave” is slow and ballady, in a shoe-gazing way. As it grows, it becomes slightly more anthemic, and incorporates strings for an added sentiment. And they validate their British punch card with some Ba-Ba-Bas. It is a well-crafted song, but falls just short of being interesting.

“Around You Again” builds with energy at the beginning, reminding me of The Rifles with its blue collar appeal. But the drawn out, rolling melody of the second part of the chorus does not capitalize on the energy the verse generates.

“The One” is a bass driven song that chugs along once the instrumental intro relaxes. The soaring keyboard synth reminds me of boybands and Robbie Williams. The instrumental bridge, with revolving string section and motivational chord structure is well constructed, ending right into the verse with a perfect and anticipated fit. Produced slightly different, this would have been a solid hit for a pop-punk/emo-ey band of the mid 2000’s.

“Stardust” is a much more rocking song from the first introductory guitar chords. It builds on solid power pop notes, and touches ever so slightly into the wonderful melodies of Suede. The melodies are enhanced with the horn section as well. But the background ba-ba-ba’s actually detract from the song, as they are sharp, and up too far in the mix.

“Piece of Me” is another sentimental ballad, like Being Brave. This would be a good album ender, as it is the last noted song on the track listing and really takes things down a reflective notch with its peacefulness and tone. It features sad strings and an individually plucked guitar interlude amongst the acoustic strums.
“Stardust (Reprise)/Bones and Red Meat” faded up with the jovial horns, crashing piano, and fuzzy guitars we were familiar with one track back. It lasts for one instrumental minute (and 11 seconds) and we are met with that horrible secret device of hiding an additional song at the end of a track after 10 minutes of silence. At the 10:57 mark, a warbly carnival instrument section begins, with a side to side swaying melody, it feels like they are trying to suck the sound Blur captured on a few Modern Life tracks, even adding in breathy ah-ah-ah’s. It is a pleasant track, and I see how it doesn’t quite fit the template created by the rest of the album, but it’s a shame they had to hide it with that waste of space between it and the reprise.

Stand Out Track: Hollywood Girl

Links:
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Official Site
Guardian 2014 review
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(the) Meices - Dirty Bird

Name: (the) Meices

Album: Dirty Bird

Year: 1995

Style: Alternative

Similar Bands: Soul Asylum, Green Apple Quickstep, Goo Goo Dolls, Ape Hangers, John Easdale, Nirvana, Dinosaur Jr

"One-Word" Review: Slacker-Nasal-Grunge

Based Out Of: San Francisco, CA

Label: London Records

 Dirty Bird - Real Cover

Dirty Bird - Promo Cover, Back, CD

Dirty Bird (1995)

1. Wow 3:13
2. Disenchanted Eyes 3:22
3. Hold It Together 3:05
4. Uncool 3:23
5. Wings 2:42
6. Harry 4:07
7. Yeah 4:08
8. Monday Mood 4:09
9. Helping Me Along 3:35
10. Hey Fella 2:17
11. Rosies 3:45
12. Leave Me Alone 2:46
13. Well I 3:56

---Bonus College Radio Play Tracks---
     14. Wow (no fuck or shit) 3:15
     15. Yeah (no fuck) 4:08

Album Rating (1-10): 6.0

Members & Other Bands:
Howie Weinberg - Mastering Engineer
Joe Reineke - Guitar, Vox (Alien Crime Syndicate, Yusif!, Sweetkiss Momma, Colorsoul, Schoolyard Heroes, Lonely H)
Steve Borgerding - Bass (Grand Mal)
Gil Norton - Producer
Apollo 9 - Drums (Rocket From The Crypt)
Marina Chavez - Photography
Melanie Clarin - Strings, Vox (Barbara Manning, SF Seals, Cat Heads, Donner Party)
Bradley Cook - Engineer Producer
Katrina Del Mar - Photography
Tom Galbraith - Drums (Field Trip, Mensclub, The Time Outs)
Scott Hull - Editing
JC 2000 Drums (Rocket From the Crypt)
Edward O'Dowd - Design
Mark Pythain - Electronics
Audrey Riley - Arranger
Chris Shaw - Engineering, Mixing
Roy Spong - Mixing
Shawn Trupeau - Drums
Eric White - Illustration

Unknown-ness: So this is one of those albums I have, that I don’t remember why I purchased it. It sat on my shelf since high school, and I don’t remember one song from it, nor what it sounds like. Assuming it’s alternative, but to what degree? I’m pretty sure I read about them in CMJ music monthly, and later with the name in my mind, I must have seen it for sale used, and picked it up then. NO artwork, and instructions on how to keep CDs clean on the back, there is nothing to identify this album by it’s packaging (with the minor exception of revealing that there are cuss words in 2 of the songs, and the 2 bonus n on-album tracks are for [college] radio airplay).

Album Review: Well, this is just a slice of alternative history. Teetering on the balance of metal, garage rock and pop, this, their 4^th album also dips a toe in the ska/swing revitalization with the use of horns. At least for the first song. It’s no Might Mighty Bosstones or Cherry Poppin’ Daddies, but it invites a touch of diversity, as the band entered the twilight of their career. But overall, this is a general dictionary definition for the Alt-Grunge scene. Reineke went on to start Alien Crime Syndicate, another TSM entry I did a while back, which was more popular and slightly divergent, adding electronics into their genre mix.

“Wow” begins the album with a “Huh!” and horns. This is sorta Nu-Metal, with heavy guitars and a brash personality. The chant of “wowwow” in chorus, punches home the melody. The vocals are angsty and strained, and a little nasally. The big hook in the song is the instrumental horns section. The rest of the song just builds to that chorus. The vocals are sung in distorted fashion through a megaphone at some times, and the end of the song has a call and response bit between the main vocals and backing chorus.
“Disenchanted Eyes” starts with three Nirvana style chords, and adds in a sing song melody of David Pirner style lyrics. The gritty feel to the song typifies the Alternative style that was starting to wane in popularity at the time of this albums release. There is a little John Easdale (Dramarama) in the vocal delivery as well. But the music is far from as catchy as Dramarama ever was.
“Hold It Together” begins without a break from the previous song. This song starts at a higher tone, and is sunnier pop-punk tempo and structure. But the singing style is just as jaded as the previous songs. The song drives on and heads straight through the verse to the delivery in the chorus. After 2 sets of verse-chorus, there is a slight come down, that builds back up, only to quit and fall flat. Like a multiple personality, the song picks back up, and it can’t decide to relax or sprint forward. It comes crashing down at the end in some chaotic clashing styles.
“Uncool” lightens the mood with a strummy acoustic guitar and super nasally vocals. But they cannot let that Alternative title fall, because soon after it begins, the grungy fuzzy guitars pick up the rhythm and bolster the sound. The song builds right up to the chorus, which is an uncreative repetition of the title; similar to the repetitious usage of Wow (and in the future song “Yeah”).
“Wings” also wastes no time with driving electric guitars and chugging bass line, with minor chord changes like a car shifting lanes without slowing down. There are a couple of pauses of tempo in the chorus, giving the live music mosher a chance to breath, but it ends in a fury.
“Harry” twinkles in the beginning with softly plucked guitar notes, before soaring ahead with fuzzed out chord changes and vocals that almost teeter off the cliff of following the melody. The guitars remind me of Dinosaur Jr. At its heart is a power pop song, buried under the sludge that was alternative production. We are briefly transported back to the sentimental sting plucked emotion of the intro, but the guitar wipes that clean (or makes it dirty) and blasts the listener away from that imagery, with only a quiet retaliation at the end with the echoing individual note melody.

“Yeah” starts with a dark bass line that rolls between two notes with a third transitory note between. This is the set up for the entire song’s melody. The chorus is shouting “Yea-hey-hey-e-yeah” It is Nirvana quality in fuzziness and slacker simplicity. The one line of the song that sticks out is “Don’t take our guns when killing’s all we got.” Still a quality commentary on today’s society. 

“Monday Mood” is a sullen, brooding number that features a string section paralleled with sludge chugging guitars. The song pauses for a sentimental realization that a Monday mood is not something to be enjoyed, but it is a chemically sedated state where it seems pleasant, but is really just tedious. By the time the song comes full circle, the strings begin to soar, and the song reaches a sunny perception, embracing the Monday mood [like he changing outlook in Pearl Jam’s Better Man]
“Helping Me Along” has an elongated drum intro that finds its rhythm along with a repeating siren like guitar. The vocals begin with an energetic yeah, and the song becomes another album stuffer of alternative sound. The energy and mood feels a little frantic at the end of the song.
“Hey Fella” is a heavier song, and driving, like “Wings.” There are harmonizing background vocals during the bridge, as there is really no chorus. There is a lot of energy in the song, with some shout and response sections and grimy bass. The song ends quite abruptly.
“Rosies” starts quietly enough with some muted conversation dialogue, then what sounds like the approaching mechanical energy of an airplane. The dark bass line quickly lets us know the song will have a stomping, rolling rhythm, and by the time the song reaches the chorus, the soaring metal guitars take their turn at guiding the spotlight. The chorus at the end of the song features more call and response set up from the lead singer and backing chorus. Then a heavy, chugging guitar reboots the path into repeating with even more energy for one final round.
“Leave Me Alone” has high hat playing, coupled with a passive aggressive bass line. This song possesses the typical grunge music song in lyrical meaning. But the song is actually kind of bold, with power pop changes and what sounds like a keyboard buried down in the mix. After a barrage of leave me alones yelled on repeat, the song wears itself out and goes to sleep.
“Well I…” enters with a wary guitar and brushed percussion section. Even after the energetic instruments are added for an emotional section, the song returns to the unsure, paranoid vibe. This song is reminiscent of the mid 80’s dark and depressing college radio album filler songs. If this was made 10 years earlier, it would sound vaguely the same. But it could not have been in today’s musical landscape.

Stand Out Track: Hold It Together

Links:
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Gay Dad - Leisure Noise

Name: Gay Dad
Album: Leisure Noise
Year: 1999
Style: BritPop
Similar Bands: Radiohead, Suede, Big Star, Grandaddy, Travis
"One-Word" Review: 70's-reincarnate-brit-splosion
Based Out Of: London, England
Label: London Records, Sire

Leisure Noise - Cover, CD, Back (Advanced CD)

Leisure Noise (1999)

1. Dimstar - 5:14
2. Joy! - 5:00
3. Oh Jim - 2:46
4. My son Mystic 3:26
5. Black ghost 7:35
6. To Earth with Love 5:05
7. Dateline 4:43
8. Pathfinder 3:57
9. Different kind of blue 4:51
10. Jesus Christ 4:16

Album Rating (1-10): 6.0

Members & Other Bands:Cliff Jones - Guitar, Vox (Brutus)
Nicholas "Baz" Crowe - Drums (Brutus)
Charley Stone - Guitar (Salad)
Nigel Hoyle - Bass (Brutus, Gramercy)
James Riseboro - Keys
Tony Visconti - Producer (David Bowie, T-Rex)
Mark Firth - Engineer, Producer
Gary Langan - Producer, Sound Engineer (Art Of Noise)
Chris Hughes - Producer / Sound Engineer (Adam & The Ants)
Peter Saville - Artwork

Unknown-ness: I don’t remember when I got this CD, but I know I got it on the cheap as an advanced CD. I probably heard the hype that the band generated, while following bands like Blur, James, and the Lightning Seeds, and then found it in a used bin somewhere. Also adding to the appeal is the sleek, clean “road sign” artwork. I do not remember what it sounded like, or if I ever listened to it really, so it will be all new experiences this run through.

Album review: “Dimstar” quietly begins with a fade into an echoey dripping effect that places us in a cave, and a mystical synthesizer adds to the atmosphere. The Brit Pop guitars begin soaring and the driving drum beat takes us to the song proper. The vocals are smoothly gliding and moodless in pitch. Sort of like Radiohead or Suede without Yorke or Anderson’s unique voice. In the breakdown, the vocals become more shreikly spoken than sung, and the result offers a hard rock metal tone for the brief section. Fuzzed guitar ends the track and transitions right into “Joy!” which sounds muted after the guitars end. Again the vocals swoop across the instrumentation, and don’t precisely match up, but offer a good combination. This is as close to the Lightning seeds dance pop as they get, with the drum beat and electronic samples. Out of nowhere comes the chorus, completely different in style, production, and emotion from the rest of the song. His vocals are supplemented by harmonizing female vocals. The chorus is quite catchy, but the verse is what commands the song, and gives it an overall spacey feel. The vocals in the breakdown at the end of the song remind me of something that Blur might choose. “Oh Jim” starts as an acoustic lullaby, and then launches into a grand Big Star sounding chorus. “My son Mystic” is a straightforward, almost a throwaway brit-pop number, with forgettable melodies that you might expect to find on typical Gin-Blossoms radio. “Black ghost” is an epic 7.5 minute song that slowly creeps up from the beginning with its simple drum beat and guitar work. Synthesizers add to the mix, but they are straightforward single notes meant for melody rather than extravagance. The light vocals begin and the result is a light and airy psychedelic atmospheric piece. The song is more reliant on the musical sections and droning vibe that is created, rather than the 70’s rock feel that the vocals offer. The way that the vocals and music are combined reminds me of Grandaddy minus the electronics. A long quiet fade out ends the song.

“To Earth with Love” is the single that brought fame to the band, over a year before the album came out. The vocals are whiney to aggressive, and the song is a driving pop-rock tempo. It sounds a lot like U2. It has some catchy parts, but over all, it sounds very commercial. There is one saving aspect of the song, which are the backing vocals to in the chorus. The song feels a bit structureless, which may be a good, appealing thing, but it feels like a clips song of a Broadway show. “Dateline” is a strong, driving brit pop song with rushing guitars and great echoing keyboards. Unfortunately the vocals are a bit too shrill and 70’s in style for my liking. They are even a bit like Billy Corgan’s voice at times. The singer recaps his life in a timeline in the lyrics to the song. The musical breakdown features a piano and a very slowed down tempo from the rest of the song, and lasts for the remaining 1.5 minutes of the song. “Pathfinder” reverts back to the smooth vocals, with instances of the nasally sound. It is a quiet and feels like a very sentimental song. The smoothness in his vocals is abandoned for an Ours or Muse like propelling vocal. But it ends in the quieted smooth vocal sound. “Different kind of blue” starts off with a marching drum only portion and then adds light instruments, including a hushed vocal performance again. The production picks up in spurts, but over-all, it is a quiet, introspective song. He picks up the emotion and energy to his singing at to end the song, as the music soars up to a climactic and chaotic ending. “Jesus Christ” is a drum and piano inspirational tune sung like something from Travis. There is no tongue in cheek humor; it is a straightforward religious hero song. This is very much a downer to end the album on, even if the song is meant to be good. Okay, it sounds too much like a Christian rock song, I gots to turn it off.

Stand-Out Track: Joy!

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Bronski Beat - The Age of Consent

Name: Bronski Beat
Album: The Age Of Consent
Year: 1984
Style: Electro New Wave
Similar Bands: Eurythmics, Erasure, Frankie Goes To Hollywood, Yaz, New Order
"One-Word" Review: Out-And-Proud Sad-Pop
Based Out Of: London, England
Label: London Records Ltd., MCA, 

The Age Of Consent Cover & Insert

The Age of Consent Back & Insert

The Age of Consent Record

The Age of Consent (1984)

1. Why? 5:55 (sample)
2. It Ain't Necessarily So 4:40 (sample)
3. Screaming 4:13 (sample)
4. No More War 3:52 (sample)
5. Love & Money 5:08 (sample) /
6. Smalltown Boy 5:00 (sample)
7. Heatwave 2:41 (sample)
8. Junk 4:17 (sample)
9. Need A Man Blues 4:19 (sample)
10. I Feel Love/Johnny Remember Me 5:59 (sample)

Album Rating (1-10):5.5

Members & Other Bands:
Jimmy Somerville - Vox & Words (Communards)
Larry Steinbachek - Keyboards
Steve Bronski - Percussion
Mike Thorne - Produced
John Folarin - Congas
The Pink Singers - Choir
Cris Cioe - Alto sax (Uptown Horns)
Arno Hecht Tenor Sax, Clarinet (Uptown Horns)
Hollywood Paul - Trumpet (Uptown Horns)
Bob Funk - Trombone (Uptown Horns)
Caroline O'Connor - Tap
Beverly Lauridsen, Jesse Levy, Mark Shuman - Cellos
Peter Griffiths, Carl Beatty, Dominick Maita - Recording Engineer
Harvey Goldenberg, Julian Mendelson - Mixing Engineers
The Garden, Skyline, RPM - Studios
Jack Skinner, Aaron Chakraverty - Mastering
Green Ink - Sleeve

Unknown-ness: I have heard the name Bronski Beat before, and casually categorized it as another new wave 80's band. I was not familiar with their background or any music. Right from the iconic imagery on the back cover, (not to mention the listing of the homosexual age of consent laws per country on the record sleeve) they are easily identifiable as a positive, homosexual-rights driven band.

Album Review: With a somewhat androgynous voice (falling to a more feminine side ala Annie Lennox), "Why?" starts of with Jimmy's operatic singing of "Why.' The jittery electronic beats and synthesizers build a mechanical and dark atmosphere. His voice is a calm speak singing for the verse and chorus, and after twice through, a trumpet fueled instrumental bridges the next set of verses. There are a couple of operatic note-holding moments, and odd growl-"r-rolling" accents which characterizes his unique singing style. The second song is a bluesy, smoky back alley prohibition era mood piece. The organ stands out in the track. The vocals are calmly sung, and a deep choir fills in the background of the chorus. The exit music follows the vocal melody out with a fade. "Screaming" is a slow, dark lament of trying to get others to understand. It follows the same pace & tempo throughout the length. "No More War" follows on the heels, as dark and dreary, like watching rain fall against a window in a dark, cavernous room. The vocals hang on long notes and draw out the syllables in a powerful, yet sad declaration against war. "Love & Money" has a slightly more upbeat drum beat, but it is still a dark, depressing song. He drones 'money is the root of all evil.' A sad sax compliments the atmosphere of the track.

Their breakout track "Smalltown Boy" has a New Order feel to it, with its choice of bass, drums and synthesizers. His voice still sounds like Yaz or Annie Lennox, but it remains dark and depressed, like a middle of the night, club record. Another theatrical bluesy, slinky, back alley show-tune, "Heatwave" feels like it could have popped up in the middle of the Broadway play "Chicago." It even ends with a breathy exhale: very theatrical. Still sinister in tone, but more straightforward in rhythm and dance, "Junk" is a catchy two piece song. Both sections, the sung chorus and the spoke-sang verse, which revolves around repetitive usage of the word junk have strong hooks, which makes you happily anticipate the next section. The short musical break features samples of popular advertisements from the time. The message is not to want excess; not to want junk. "Need A Man Blues" starts of with a vocal-only bluesy singing of the title. Slow-dance electronic beats come in, and the song gently glides along, leaving any blues element behind. The final track begins like "A Flock Of Seagull's" 'I Ran.' Then the vocals come in with a planned disco melody similar to Donna Summer, whom they are actually covering in the "I Feel Love" half of the song. The melody does not alter when the lyrics change to "Johnny Remember Me." The song holds steady without tempo or melody changes throughout the entire song. And the album ends in a fade.

On a re-listen to the album, I can hear that many of the strange synthesized elements are very similar to Oingo Boingo. But the complete presentation here is much sadder and depressed than the bouncy Boingo songs. To my ear, the songs feel long, tedious and basically like work to listen to and enjoy.

Stand-Out Track:
Junk

Links:Bronski Beat Wikipedia
Bronski Beat Myspace
Bronski Beat Myspace 2
Steve Bronski's Page
Steve Bronski Myspace
Age Of Consent Myspace
Smalltown Boy Myspace
Jimmy Somerville Page
Jimmy Somerville Page 2

Atom Seed - Get In Line

Band: Atom Seed
Album: Get In Line
Year: 1990
Style: Funky Metal
Similar Bands: Megadeth, Faith No More (barely)
"One-Word" Review: Screech-metal-funk-irritant
Based Out Of: London
Label: London, AAD, Heavy Metal Records Ltd

Get In Line Cover

Get In Line Inside Picture

Get In Line (1990)

1. What You Say - 3.15
2. Get In Line - 3.48
3. Rebel - 2.57
4. Shake That Thing - 3.24
5. Shot Down - 5.43
6. Forget It Joe - 2.477. Better Day - 3.19
8. What?! - 4.52
9. Castles In The Sky - 6.3110. Bitchin - 1.55

Album Rating (1-10):3.0

Members & Other Bands:Paul Cunningham - Vox
Simon James - Guitar (Zoodoll)
Chris Dale - Bass (Sack Trick, The Machine, Balance of Power)
Amir - Drums
Mark Flannery - Producer, Engineer @ Loco Studios, S. Whales
Sean Worrall / Marian Anthony - Artwork
David Roberts - Promotions

Unknown-ness: Not sure when or why I got this album. I just read a review that said they could never shake the Faith No More comparison, so perhaps that was why I got the album so long ago. It was probably in the same purchase along with Animal Bag. That said, I can only assume that they have the metal-funk sound. The jagged font and collage of screaming-face-artistic design leads me to think that it might be metal. Although the back of the CD reminds me of Neds Atomic Dustbin, which is more punk-rock.

Album Review: It begins with the sound of electricity powering up. Then it converges into a rhythmic drum beat. The lyrics begin: a terrible attempt of overlapping call and response Rap-Metal. I can see the FNM comparison, but just in idea, not even close in execution. The guitars sound like alarms, singular in sound and then the funky bass kicks in behind spoken lyrics. The next song begins with 4 loud fuzz-strums. Then the driving rumble force of guitars and spoken, barely melodic vocals accompany. The chorus has the rest of the band adding "Get In Line," (and later "Destroy") in loud chant. A brief guitar solo comes along in the middle, and the song charges along with more shout-screaming vocals from the lead and backup voices. Rebel is a catchy rush of a song, more rap-metal vocals accompany a funky metal base. Occasional breaks of time signature and yelps by the singer's vocals unfortunately take more away from the song than they add. A very quick, funky bass groove begins "Shake that Thing," demanding the listener to do just that. The lead guitar attempts to mimic the bass line and the energy is lost. I'm going to go out on a very thick, sturdy limb here and just state that the vocal style is terrible, nearly unlistenable. It sounds so forced, and just, awkward. Not to mention it rarely falls in tune with the music.

"Shot Down" begins as a slow, dirty-acoustic, inebriated crawl. It slowly picks up speed and aggression both musically and vocally. And then it ends in a sad, pathetic jam. Next "Forget it Joe" is a loud, funky metal-punk song, musically. The vocals stumble out of his mouth and the applied accent just messes everything up. As do his mis-placed screeches. "Better Day" is a quiet song, with non-strained light vocals whispering over a bluesy guitar. Gentle drums are added, as is a calm bass line. A false start supplied by the drums, (the song could pick up the pace, but it thankfully does not) and the song glides into a sad, emotional guitar solo. Then back into the bluesy verse to finish. It is nice to follow up the quiet with a nice loud, driving metal track and "What?!" begins like that. but the vocals, man, just...too bad. Suddenly just after 2 minutes, the vocals and music come together for a very catchy breakdown. It is positive in spirit, and very pleasant. This could be really good...But it goes back to the terrible shout & response chorus of "Quit It" and "What." "Castles in the Sky" is the longest track, and 40 seconds into it, it already feels long. The vocals are better: they are not as out of control and all over the place. And for the most part, it is composed of 2 parts: a driving, chugging guitar moving the song into the slower, progressive chorus, that rises and falls like a bumpy rollercoaster. A guitar solo finishes off the track, accenting the progressive rise and fall of the rhythm guitar chord changes, and ends in a fade. A quick in length and speed song, "Bitchin" ends the album with more rap-metal vocals over a driving guitar fueled song.

This was one of those albums that I (surprise!) did not like at all. I'm big on vocals, and for the most part that ruined the music to my ears. I can barely even consider this to be compared to FNM, but I guess it was trying to funk-a-fy metal. It failed terribly.

Stand Out Track:Better Day
Links:
Atom Seed Wikipedia
Atom Seed Allmusic
Atom Seed Myspace
Atom Seed Ex-Homepage (other links here)
Atom Seed Video
Atom Seed Metal-Archives
Atom Seed on Rock Detector
Sack Trick Myspace

Bachelors (the) - Presenting:

Artist: The Bachelors
Album: Presenting: The Bachelors
Year: 1964
Style: Folk, Easy Listening pop
Similar Bands: Folk-barbershop
Based Out of: Dublin Ireland
Label: London ffrr

Presenting: The Bachelors Varient Cover Fronts

Presenting: The Bachelors Cover Back & Side 1

Presenting: The Bachelors
1. Diane (sample) 2.48
2. Whispering (sample) 2.20
3. You'll Never Walk Alone (sample) 2.41
4. Moments to Remember 2.31
5. With These Hands 2.31
6. Only You 2.10/
7. Charmaine (sample) 2.31
8. I Believe (sample) 2.00
9. Dream 2.20
10. If 2.06
11. Whispering Grass 2.10
12. Old Bill 2.39

Album Rating (1-10):
2

Members & Other Bands:
Con Cluskey (Harmonichords)
Dec Cluskey (Harmonichords)
John Stokes (Harmonichords)
Shel Talmy
Mike Stone
Dick Rowe - Producer

Unknown-ness: I had never heard of this band. But from the cover and the images on the back, I figured they would be something along the lines of the Beach Boys, or Jay & The Americans. Both records have the same songs and back, the difference is that Diane does not appear on one cover.

Album Review: At first listen, the harmonized voices clearly remind me of a barbershop Quartet. I tried listening to the whole album, trying to find something to really enjoy, something that captured that simple pop tradition of catchy verse-chorus repeat and fade out. But nothing like that should be expected, and has been not been found. On this record are very slow country-ish tunes, that thump along, setting a relaxed mood without pace. Like a slow Sunday drive, the songs take their time to hang in the air and float by in slow-motion. The vocal Harmonies are pretty, but to me, they are simply pretty dull. I suppose if I knew what to expect, I probably would not have purchased this record. Such is the gamble when trying to find new (to me) bands for a dollar an album. However, I still feel I should add that this is just because the music is not appealing to me. It is not necessarily bad (I mean, they were a better selling band in 1964 than the Beatles), I just cannot jump onto this bandwagon of music and enjoy it.

Stand Out Track:
Whispering

Links:
Bachelors Wikipedia
Bachelors Allmusic
Con & Dec Bachelors Webpage current
Con & Dec Bachelors Myspace
Youtube with 4 Con & Dec Bachelors Videos
John Bachelors website