Warm in the Wake - Gold Dust Trail

Name: Warm in the Wake
Album: Gold Dust Trail
Year: 2007
Style: Jangle Pop, Alt-Country, Roots Rock
Similar Bands: Wilco, Shins, Gringo Star, Belle & Sebastian, Essex Green, Dr. Dog
"One-Word" Review: Laid-Back-Southern-Indie-Rock
Based Out Of: Atlanta, GA
Label: Live Wire Records, Ryko Distribution

Cover & Back

Liner Notes, CD Tray, CD

Gold Dust Trail (2007)

1. Tame Thoughts 2:45 (single)
2. Hearts vs. Heads 2:59
3. Golden Inhibition Destroyer 3:45
4. Good King 4:30
5. What You Seek 3:59
6. Iron Worker 2:31
7. Skeleton Friend 4:26

Album Rating (1-10): 7.5

Members & Other Bands:

• Chris Rowell - Guitar, Mandolin, Vox, Writer (King Lear Jet, People Years)
• Dan Barker - Piano, Organs, Synth, Vox (King Lear Jet)
• Andy Barker - Bass, Vox (King Lear Jet)
• James Taylor Jr - Drums, Engineer, Mixing (King Lear Jet)
• Colin Cobb - Executive Producer, A&R, Marketing
• Page Waldrop - Pedal Steel (Popular Sex, Dash Rip Rock, Vidalias, Michelle Malone, Young Antiques, Steve Walsh, John Austin, Butch Walker, Bourbon Dynasty, Crowfield, 68-75, Ocha La Rocha)
• Robert Lee - Electric Guitar, Backing Vox
• Adam Lasus - Producer, Mixing (Clap Your Hands Say Yeah, Yo La Tengo, Helium)
• Edward Rawls - Engineer
• Jim Marrer - Engineer
• Colin Leonard - Mastering
• Chris Miller - artwork
• Mark Pollock - Layout
• George Fontaine - Promotion
• Michelle Roche - Publicity
• Rooth Blackman - Sales Director
• Marlise Paxman - Product Manager

Unknown-ness: Never heard of this band...looks like they will be an Americana Indie Band, reminding me of The Golden Republic in design. It doesn't come across like an album i'd pick up, so not sure where i got it, either by friend or by radio station discard bin.

Album Review: The second EP from a band who stuck around for about 6 years playing a jangly, pop country tinged brand of laid back rock. With roots in Alabama, many of this album's themes revolve around lives lived in the south. Some of the songs are jaunty, some are sleepy, but all sound like an effort to match The Shins or Soul Asylum's "New World" from Grave Dancers Union.

They began as King Lear Jet, who apparently sold songs to shows like Felicity and Dawson's Creek, and rebranded themselves in the late 90's.

Stand Out Track: Golden Inhibition Destroyer

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Forty-Fives (the) - Get it Together

Name:(the) Forty Fives
Album: Get It Together
Year: 2000
Style: Garage, Psych, Detroit Rock
Similar Bands: MC5, Who, Jon Spencer's Blues Explosion, Southern Culture on the Skids, The Hives, Makers,  Revern Horton Heat, Flaming Sideburns, Electric Six, Realistics, 
"One-Word" Review: Energetic Western Psych Garage Rock 
Based Out Of: Atlanta, GA
Label: Ng Records, Artemis Records

Cover, Back, Case Back

Liner Notes, Inner Tray, CD

Get It Together (2000)

1. Get Out 3:36
2. Without Love 2:28
3. More Than Ever 2:07
4. Drive All Night 3:25
5. Undercover Man 3:12
6. Drinkin' With No. 3 2:50
7. King of Mexico 1:53
8. Get It Together 3:18
9. All Now 3:13
10. Anytime at All 2:03
11. Ain't That Lovin' You 2:52 (Jimmy Reed cover)
12. Don't Wanna Be the One 3:10
13. When You least Expect It 3:32

Album Rating (1-10): 7.0

Members & Other Bands:

• Bryan G Malone - Guitar, Vox (The Pinx, Bad Spell, The Coathangers)
• Mark McMurtry - Bass, Vox (Every Mother's Nightmare)
• Adam Renshaw - Drums, Vox (Anna Kramer & The Lost Cause, Inverted Nipples, Dirtbombs, Dan Sartain, Black to Comm)
• Trey Tidwell - Organ (Myssouri)
• Matt Chiaravalle - Recording, Mixing, Slide Guitar
• Phil Painson - Asst Mixing
• Greg Calbi - Mastering
• Frank Mullen - Inner Photo
• Robert C Lee - Artwork

Unknown-ness: Never heard of this band, but i feel like there have been a billion bands like them...so i'm guessing they sound like something between the Old 97's and Hives / Electric Six. Part of the retro rock scene, with one foot in oldies garage rock and one foot in high energy sweaty Mooney Suzuki style rock.

Album Review: The album is a fine balance of garage guitar wankery and psych revival organ with a little bluesy western vibe thrown in. The presentation is not in your face, but presents its case as here if you want it. They take power pop and spin it through a 50's greaser lense to make their own style of Detroit Rock, just down in Atlanta. The only song that doesn't quite fit the mold they've created is "King of Mexico," which is a simple & playful track in a campy, humorous way, reminding me of Gringo Star.

With three albums to their credit between 1999 - 2004, the band started out in 1998 as a three piece, and brought in Tidwell & his Hammond organ out of the audience from one of their early shows. It quickly became an important part of their sound, which feels duely dated- in a good way- as both a 2000's gritty rock revival, and as an 1960's garage psych outfit.

Stand Out Track: King of Mexico, Anytime At All

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Blowfly - Rappin', Dancin', and Laughin'

Name: Blowfly
Album: Rappin', Dancin', and Laughin'
Year:1980
Style: Rap / Hip Hop
Similar Bands: Grandmaster Flash, Kurtis Blow, Two Live Crew, Afroman, Sugarhill Gang, Kool Keith, ODB
"One-Word" Review: vulgar old school rap
Based Out Of: Georgia / West Palm Beach, FL
Label: TK Productions, Weird World

Cover, Record

Record, Back

Rappin', Dancin', and Laughin' (1980)

1. Convoy 7:15
2. Blowfly Vs. Darth Vader 7:40
3. Cricka 5:00 /
4. The Incredible Fulk 8:40 (single)
5. The Word Game 6:00
6. The Insects Theme 4:00

Album Rating (1-10): 7.0

Members & Other Bands:

• Blowfly/Clarence Reid - Writer, Producer, Vox (Clarence Reid & the Delmiras, Betty Wright, Sam & Dave, Bobby Byrd and KC & Sunshine Band, Helene Smith, Paul Kelly, Gwen McRae, Flea, 2 Live Crew, Deep City Band, Palmerforce Two, Funky Party Band, Miami, Le Coffret Ideal Blaxploitation, many)
• Freedy Stonewall - Recording, Mixing
• Marc Vaughn - Cover Photo
• Rob Vaugn - Art Direction

Unknown-ness: Never heard of Blowfly. Although most of what seemed envelope pushing in the 80's would seem more common place, the hype behind the sexually tinged name and the "X-Rated" classification on the cover & back make me think this is going to be some juvenile, suggestive hip hop music with basic beats and lots of lyrics about the singer himself. Especially interested to see the take on Blowfly vs. Darth Vader...is he posing as the hero, up against the villain? 

Album Review: The album is 80's old-school hip hop with familiar, laid back bass lines and guitar hooks and more talking in skits rather than straight up rapping over the music. But the lyrics are quite vulgar and raunchy; talking about dick size and hard sex, with "fuck" used ad nauseum. Unfortunately, there are no parodies of popular tunes here, as that is what Blowfly made his name for.

His nickname was earned from his grandmom, called him "worse than a blowfly" when he'd sing explicit parodies of radio hits like "Come on baby, and suck my dick (do the twist)" for money on a farm where he worked. He had natural musical skills, as he was an accomplished, renown song writer in his day job as a staff songwriter at TK Records, working with Betty Wright, Sam & Dave, Bobby Byrd and KC & Sunshine band. His mixed style of soul, funk & Caribbean helped coin the term "The Miami Sound." He was also a pioneer in "Soul Talking," the direct predecessor to rap, and might have self-pressed the first rap record in 1964 with a rough version of "Blowfly's Rapp" . Because of that, had to use the stage name Blowfly to protect his integrity. He was one of the first musicians to perform masked, and his gross parodies earned him legal trouble and record store bans (first artist ever?), which eventually led to him selling all his rights to his music in 2003. But in 2005, he signed to Jello Biafra's Alternative Tentacles label. His later career saw a couple more albums and international tours and even had a documentary "The Weird World of Blowfly" in 2010. But his career was a huge influence to many rap and hip hop stars on top of his material being highly sampled. in He passed away in Jan 2016, just before his final album came out. On a side note, his daughter, Tracy Reid played in the WNBA.

Stand Out Track: Convoy

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Method Actors - Dancing Underneath

Name: Method Actors
Album: Dancing Underneath
Year: 1981
Style: No Wave New Wave
Similar Bands: Pixies, Talking Heads, Lou Reed / Velvet Underground, Violent Femmes, Adam Ant, Half Japanese, Devo, Television
"One-Word" Review: Playfully Funky Minimal New Wave
Based Out Of: Athens Georgia
Label: DB Recs

Cover, Record

Back, Record

Dancing Underneath (1981)

1. Dancing Underneath 4:45
2. Privilege 2:00
3. No Condition 4:00 /
4. E-Y-E 5:40
5. My Time 1:45

Album Rating (1-10): 9.0

Members & Other Bands:

• Vic Varney - Guitar, Vox (Tone Tones, Go Van Go)
• David Gamble - Drums, Vox (Tone Tones, Boat Of, Beauty Contest, Jack Heard, Peach of Immortality)

Unknown-ness: I've never heard of this band. By the look of the artwork and font, it looks very low budget. Perhaps the abstract art will lead to jazzy tunes. Or perhaps it's experimental. But it looks very independent, and not much info on the band itself anywhere on the packaging.

Album Review: So the songs have a very Talking Heads / Pixies / Lou Reed quality to them, with Violent Femmes instrumentation. The lead track in particular is odd in the fact that it sounds like a Gang of Four song played by a jangley band like REM. The urgency is there, but the playfulness in the vocals, similar to Adam Ant at times, makes it very non threatening, and still quite good. This collection of 5 tracks can all be found on 2010's full length compilation titled This Is Still It. The band is comprised of just the two, but later after Gamble left, the remainder filled out the line up with sax and full time guitar as they were winding down as a band. Vic Varney also managed fellow Athens alums Pylon, and you can hear similarities in what they were both up to. 

Stand Out Track: Dancing Underneath, My Time

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(the) Swimming Pool Q's - Blue Tomorrow

Name: The Swimming Pool Q's

Album: Blue Tomorrow

Year: 1986

Style: Jangle Pop, Folk

Similar Bands: Let's Active, Bongos, dB's, Shakespears Sister. Frank Black

One Word Review: Celestial Twang

Based Out Of: Atlanta GA

Label: A&M

 Blue Tomorrow - Cover, Sleeve & Record

Blue Tomorrow - Back, Lyrics, Record

Blue Tomorrow (1986)

1. Now I'm Talking About Now 3:59
2. She's Lookin' Real Good 4:21
3. Pretty on the Inside 2:56
4. Laredo Radio 3:52
5. Wreck Around 4:30/
6. More Than One Heaven 3:39
7. Corruption 4:33
8. Blue Tomorrow 3:58
9. A Dream In Gray 3:40
10. Big Fat Tractor 3:32

Album Rating (1-10): 5.5

Members & Other Bands:
Billy Burton - Drums (Coolies)
Bob Elsey - Guitar (Kevin Kinney)
Jeff Calder - Vox, Guitar, Sax, Theremin, Electric Dulcimer (Supreme Court, Glenn Phillips, Hot Place, Amazing Journey, Girls, Guns and Glory)
J.E. Garnetts - Bass (Atlanta Rhythm Section)
Anne Richmond Boston - Vox Keys, Art Direction (Marti Jones, Face to Face, Widespread Panic, Supreme Court, Drive By Truckers)
Greg Q Quesnel - Engineer
Scott Harmon - Asst. Engineer
Donal Jones - Asst. Engineer
Ron Christopher - Mix Engineer
Dennis Blackham - Mastering
Howie Weinstein - Mastering
Charlie Brusco - Direction
Jeff Gold - Art Direction
Richard Frankel - Art Direction
Douglas Brian Martin - Design
Britian Hill - Photographer
Karin - Stylist
Marty Kearns - Synth Programming. Keyboard Arrangements
Mike Howlett - Sequencer Program

Unknown-ness: I feel like I may have heard of this band, but as to their musical style, I do not know for sure. I can guess, with the sillyish name, year of '86, font and fashion choices, that this may not be too enjoyable. It looks like it may be overly complex, and very dated to the mid 80's pastel and jangley yet meandering production. The ponies per person does not really help, but gives it a folksy feel.

Album Review: The Swimming Pool Q’s, name taken from the phrase “swinging pool cues” in a novel, were a new wave band in the Atlanta area in the early 80’s. Often lumped into the Athens scene of the B-52’s, REM and Pylon, they were still a very different band. As the token new wave band, they often opened for bands that came through town like Devo, Klaus Nomi, The Police and Lou Reed. They released 4 albums in the early part of their career, and then reformed and released a fifth album in 2003. They even used Kickstarter to remaster and reissue their earlier albums.

“Now I'm Talking About Now” starts the album on a celestial cloud of sorts. A soaring, trumpeting synth hook repeats, as if beckoning a new king. The song continues down the renaissance path, with some Indigo Girls vocals, and come echoing percussion (think- Tom Petty’s “Don’t Come Around Here No More”). The instrumental section offers a spotlight to the electric guitar, which continues to soar and dip in the background under the vocals. The angelic harmonies toward the end of the song only enhance the lofty vibe the song emits.

“She's Lookin' Real Good” pulses with a bass beat as it begins, and jangly guitars play with percussion clicks. The song is led with male vocals, and has a bit of a bluesy, country twang to the delivery, particularly with the echoing vocals. Some of the vocals lines end with Frank Black’s style of execution.

“Pretty on the Inside” transitions back to a lofty, celestial scene, placed on the back of the lead vocals, and toe taping, non-threatening music. The guitar solo soars, but does not detract from the flowing, meandering melody.

“Laredo Radio” is a definition of Alt-Country, with its rural guitar, and slightly gruff male vocals. The song feels like generic background music. The surf guitar instrumental does breathe a little life into the song, but it is far too brief, and the song transgresses to its tedious melody far too quickly. The chorus tries to build up, but it does not have any teeth to make it memorable.

“Wreck Around” begins like it is entering a dream state, with methodic bass notes over a jangly guitar loop. The flip flopping shared vocal duties takes us back to the haunting female vocals. The song has a Fleetwood Mac feel to it (as far as my uneducated impression of them goes).

“More Than One Heaven” is a nice break in the meandering melodies, and presents one true fun, bouncy, pop song. The hooks are short, and full of energy, as does the echoing drums and steady, driving tempo. The vocal melody is a rollicking, fun to follow course, and is harmonized, to give it a nice thickness. The layout of the song is predictable, and enjoyable, even if the song has a little of a goddy vibe (the “take me on up” bridge). The male vocals give a spoken word sermon over the transitional breakdown to the final verse of the song.

“Corruption” has an angry, country version of Frank Black feel again, and this feels more like landscape rock, like The Alarm or Big Country. The song is slinky and dirty, but is kind of empty of substance. There is an electric guitar solo in the middle that does feel a little like hair metal.

“Blue Tomorrow” is the title track to the album, and begins with a jangly non-hook. The synth keyboard adds the necessary hook, which is quite catchy, and gives off a Belle & Sebastian vibe. But the male vocals are in this song: a break from the male/female switches. The song is catchy in an Americana Pop vibe, and is basic, yet pleasant. You think the melody of the chorus will be the first instance of Blue Tomorrow, but then the melody shifts to give you a different interpretation of the melody and it works quite well in its building of energy.

“A Dream In Gray” has a little swagger. We’re back on track with the switch to a female fronted song. It sways side to side, thanks to the slightly disjointed guitar hook and complimentary drum beat. The song does not give much chance for itself to change, adapt or build, so it remains a little one-dimensional. Falling back on the staggered guitar building blocks, at least the vocals do change up from deep reverberating to free flowing angelic hums.

“Big Fat Tractor” has a country, less-campy version of Fred Schneider’s vocals, and the female vocals do well to parallel his vocals, in a similar style to Kate Pierson also of the B-52’s. The song is down and dirty country honky tonk song, with a few odd breaks and emotional vocal offerings, which are often pinched out. It is an interesting, and parts of it grind out with metal guitars. It is a nice chaotic, near-experimental end to an album that held back for almost its entirety. 

Stand Out Track: More Than Just One Heaven

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(the) Producers - You Make the Heat*, Run For Your Life~

Name: (the) Producers

Album(s): You Make The Heat*, Run For Your Life~

Year: 1982*, 1985~

Style: New Wave*, Power Pop* Yacht Rock~

Similar Bands: Squeeze*, Rod Stewart~, Kansas~, Rick Springfield~, Shoes~, Tommy Tutone*, Planets*, Cheap Trick*, Michael Bolton~, Genesis~, Journey~

One Word Review: Naive-Pop* Dad-Rock~

Based Out Of: Atlanta, Georgia

Label: Portrait Records, CBS, Marathon

 You Make The Heat* - Cover & Lyrics

You Make the Heat* - Back & Record

 Run For Your Life~ - Cover, Liner Notes, Record

Run For Your Life~ - Back, Liner Notes, Record

You Make the Heat (1982)*

1. Back to Basics 5:10
2. She Shelia 4:36
3. Operation 4:19
4. Dear John 5:59/
5. Breakaway 3:44
6. You Make the Heat 3:33
7. Merry Go-Round 4:19
8. Chinatown 3:53
9. Domino 3:36

Run For Your Life (1985)~

1. Run For Your Life 4:25
2. Slow Dancing 3:57
3. Depending on You 3:39
4. Tight Rope 4:15
5. Can't Cry Anymore 5:35/
6. Boat Song 3:29
7. Table For One 3:40
8. Friendly Fire 5:01
9. Big Mistake 3:51
10. Waiting on a Train 4:24

Album Rating (1-10):*8.0

~5.5

Members & Other Bands:
Van Temple - Guitar, Vox* (Cartoon, Rainmen, Reason Y, Steve Morse Band)

Kyle Henderson - Bass, Vox* (Whiteface, Laura Branigan, Kyle Henderson's Blue Eyed Soul, Boy Meets Girl, Kansas)

Wayne (McNatt) Famous - Keys* (Billy Joe Royal, Cartoon)
Bryan Holmes - Drums* (Cartoon, Pat Walsh, Charlie Mars, Ultraphonic, Nelson)
Tom Werman - Producer* (Cheap Trick, REO Speedwagon)
Tim Smith - Bass~(Jellyfish, Umajets, Sheryl Crow, Lynyrd Skynyrd, David Mullen, Pat Walsh, The Perrys, Cricket, Stevie Nicks, Curly Corwin, Arvel Bird, Legacy Five, Molly Bancroft, Rusty Truck, Greater Vision, Abby Burke, Meghan Hayes, Jason Burton, Bonnie Bramlett, Emmylou Harris, Hennifer Hammond, Boots Randolph, Mr. Groove Band, Mastedon)
Joe Blaney - Production~
Rick Diamond - Photography~
Chuck Fedonczak - Engineer~
Louis Hajosy - Asst Engineer~
James Flournoy Holmes - Design~
Bob Ludwig - Mastering~
Linda Mitchell - Design~
Kim Parks - Sax~ (Bluebusters, T Lavitz, Pat Coli)
Luis Stefanel - Congas Percussion~(Dardanelle, Larry Saunders, Curtis Mayfield)

Unknown-ness: I've never heard of this band. I got these albums in two purchasing trips seperated by many miles and many years. What looks like a standard pub rock, perhaps with a little power pop and new wave influence via the artwork and photo portraits on the first album, changes form on the second, to be a art deco, mid 80's style of adult contemporary pop. I'm hoping both lean toward the earlier guess.

Album Review:Starting as a Beatles cover band, they decided to write their own stuff and were picked up right away by CBS. Two albums got them some MTV airplay, and even a headliner spot in the MTV’s 1982  Rockin’ NYE. On their third album, they co-wrote a song “Can’t Cry Anymore” with Kansas, and it is featured on both their and Kansas’s albums. Aside from reuniting once in a while, the now hold as varying as taxi driver to carpeting & flooring labor.

*“Back to Basics” starts with a drum beat that you are not sure if it is going to go into an angular new wave song, or a reggae influenced song. And it kind of walks that line of ska, at least in tempo. But it falls more into the new wave camp, with the bouncy bass and cowbell. The vocal melody is kind of whiny, as it rises in volume and pitch. It is a descent building song, with good vocal energy, but it never capitalizes with a big hook. It feels a little like the Planets.

“She Shelia” was a single and popular MTV Video. It starts with a single synth note pinging around, creating a nervous tempo. Then an icy bell synth line is added over top, and the song has a steady progression. The vocals take the song off the ground and creating a solid new wave guitar driving song. The song powers through a steady template of single songwriting, and it trickles away with the beginning synth songs.

“Operation” begins with a dazey, loopy melody, reminding me of the instrumental winding down part of “School’s Out.” Guitars try to power themselves into the fray, but the song teeters on a half-steady tempo. There are some strong vocals in the chorus, which are followed up with some long, power guitar chords and some Cheap Trick vocalization.

“Dear John” chugs away with guitar power chords to introduce itself. It finds a natural Americana groove, and the song drives forward. Minus the small addition of some synth effects, the song has a little of a grungy, alternative style that was 10 years too early, with alarm-style guitars and choppy, slacker melodies. The end of the song falls into a Foreigner “Urgent” style loop.

“Breakaway” starts off side two like a different band. The song is sunnier, and poppier, and just all over catchier. Only the chorus has a touch of the metal edge, heavier guitars. But it is really a shiny power pop nugget.

“You Make the Heat” is the chugging start stop nervous song, with a slight dark undertone, that can really stand out in a band’s catalogue. It features a superbly catchy ska-tinged bridge that delivers some massively effective bopping release. It repeats enough times that it sticks in your head, and you anticipate it whenever the song comes on. I often questions when bands name an album after one sub-par song, as if that’s the sound they were going for. But here, this is a good model to try to live up to. The entire song is not that attractive, as the verse is a little sloppy and directionless. But the bridge and chorus more than make up for it. At the end of the song, the backing vocals carry the chorus out, while the lead vocals take an alternate melody/path.

“Merry Go-Round” follows up as another catchy, pop nugget. It bops side to side, and then up and down, like a happy name sake. Then there is a bit of a psychedelic part (like the break in Ugly Kid Joe’s “Everything I Hate About You”) part that they count down a couple days of the week. If this was produced a little differently, it has an ability to be an angular song, in a computer / Devo sort of way.

“Chinatown” was the b-side to “She Shelia.” A drum solo introduces the song, and then the guitar has a little of an “What I Like About You” for a burst, then it slows down to a dreamy sequence. The burst of guitars come back for the chorus, which has a bit of a Phil Collins emotional vibe to it, mixed with some island keyboard synth sounds and the Romantics riff.

“Domino” begins with a guitar hook, that sounds like the intro of XTC’s “Senses Working Over Time.” But the song itself grooves with a much less sinister tone. The underlying backing vocals that echo the lead vocals add a nice pop characteristic. The chorus comes out of nowhere and is just a shout of “Girl,” followed up with “I’m not a domino” that’s basically a refuting catcall. The second half of the song is basically a combination of the backing pop vocals with hair metal lead.

~“Run For Your Life” twinkles into existence with spaceship synth and a breathy running w/ footsteps. So the idea is of running from aliens. The vocals are a little smoother, or reigned in, more like Rod Stewart here. But there is no energy that would signify running for your life. After two run throughs, the breakdown features a bouncy keyboard and melody reprise. The synth that takes over in the instrumental is the complete opposite of threatening, taking meaning away from the song.

“Slow Dancing” is a slow-ish song, with a pendulum, guitar melody, which sweeps side to side. The song is about wanting to slow dance with a girl. It has a little mellow Def Leppard feel to the song, as a simple power rock attempt. More like Def Kitten. And it fades out without so much as a whimper

“Depending on You” was a single. It introduces the elements of the song in the intro. The guitar then picks up and chugs along under an uninspiring vocal melody, akin to Michael Bolton. It shifts gears slightly for the breakdown leading up to the instrumental, which is a sad guitar ballad.
“Tight Rope” starts off with a smoothed over prog-style synth melody (Mid-late Genesis), and vocals that walk a fine line between Rod Stewart and hair metal-styles. The build in the second half of the song is nice, but it leads into a spring-like synth instrumental that sucks the life out of the song.

“Can't Cry Anymore” was a collaboration with Kansas, and was also on their 1986 album Power. It starts as a slumping, leg dragging slow dance, punctuated with bell chimes. The vocals are reserved, but ready to burst like in a Journey song. The song is ambient; echoing like it takes place on a windy sailing vessel. It’s very sparse in production and instrumentation. And when it finally gets to the instrumental it is led by Yes-style keyboards.

“Boat Song” has marching drums, and a hooky synth line fade up from some boat horn sounds. The structure is a fun prog melody, and all things considered, is a strong start to side two. The loop of the jangley guitar is disjointed and chaotic, which makes it fun. They overlaid a lot of slight melodies, creating a complex song that actually works in the realms of Rush Prog music.

“Table For One” continues with the fun, almost Devo like guitar hook. But then the vocals begin, and it has an island-style cover band feel, with a Steve Nieve like piano in support. There is a conga breakdown, after a vocal overdub seating a guest at a table…for one, and the song embraces the island theme.

“Friendly Fire” fuses jangley guitar with a bunch of overproduced studio instruments creating an impotent jazzy adult contemporary pop song. There is a synth xylophone effect that reminds me of some of the later Oingo Boingo songs, but the song is just so tame, it cannot evoke any kind of emotion, but it could be used as backing music for a Miami Vice montage. And it just seems to go on for about an extra minute and half after it should have faded out.

“Big Mistake” begins with a bass driven lonely melody, reminding me of Heart’s “All I Wanna Do Is Make Love to You.” The vocals take any similarity away, but the melody feels like it could follow the same path. Instead, the song barely transitions from verse to chorus with any noticeable difference. As if to date the song further, they employ a gloomy sax.

“Waiting on a Train” begins with conductor announcements unintelligible and echoing at a train station’s vast cavernous size. The song’s melody sounds familiar, like a slow, sad Michael Bolton song, or a bad Richard Marx melody. The song is about the gloom associated with leaving a girl, and prolonging the grief by waiting for a train.

Stand Out Tracks: *You Make the Heat 
~Boat Song

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Parade - A Red Button

Name: Parade
Album: A Red Button
Year: 2005
Style: Indie, Power Pop
Similar Bands: Belly, Throwing Muses, Alanis Morissette, Mazzy Star, Jennifer Trynin, Dismemberment Plan (musically)
"One Word" Review: Grungy Mystic Emo Rock
Based Out Of: Atlanta, GA

Label: self released

 A Red Button - Cover, Inner Back & CD

A Red Button - Back, Liner Notes

A Red Button (2005)

1. Snowflake 2:44
2. Yune 2:17
3. Feenan 3:04
4. I Only Lived Once 2:57
5. Little Fucking Sandcastle 2:44
6. My Father the Bride 3:11
7. Penelope Shoes 3:03
8. Put the Foot Down 3:11
9. Cut 2:08
10. Bannoatmeal 5:27
11. Taste 2:37
12. D'accord 3:35

Album Rating (1-10): 6.0

Members & Other Bands:
Carrie Hodge - Vox, Bass, Keys, Hand Claps (Two Hearts, What Happened to Your Fire, Tiger?)
Scott Trinh - Guitar, Hand Claps
Emily Martin - Bass, Keys, Hand Claps
Jason Chamison - Drums, Percussion, Hand Claps
Asa Leffer - Hand Claps, Recording, Mixing, Production (Dark Meat, Jet by Day)
Eric Friar - Recording, Production
Glenn Schick - Mastering
Lauren Clay - Artwork

Unknown-ness: Received this unheard album in a shipment of CDs from a friend, so I assume it will be of a similar vein of his interests: sporty pop songs. It is self-made, so its obviously DIY. I'm not sure if the production of the packaging is simplicity for simplicity's sake, or if it is the best lo-fi printing they could throw together. In either case, I appreciate the non-cluttered sleek budget design.

Album Review: There is not much out there about this one full-length band, but they did manage to make a fan base for themselves in Atlanta. They have fully embraces and tried to pull together elements of mystical girl rock, grungy alternative production, and emo spirit and complex melodies that are unmatched by the vocals.

“Snowflake” begins with some fractured guitar chord strums, and then a sense of darkness in the bass and flat/removed drums begins behind thoughtful female vocals. The guitars kick in and overwhelm the late chorus, as the vocals change to a style similar to Alanis Morissette.

“Yune” is a delicate groove, with the vocals distorted and echoed through what sounds like a megaphone. The melody is emo in the chorus, with off timed guitar strums, and rising, yet tired vocals.

“Feenan” comes in with a bang of all the instruments: fuzzy guitars, melodic guitars and drum/bass at the same time. It then stops abruptly, to have a somewhat angular bass and chugging guitar driven song. It features a fun, “alternative” produced bouncy melody, and reminds me a little of Jennifer Trynin. The song breaks down at the end, just leaving the drums to finish it out, and hand claps, as if it live fade out at the very end.

“I Only Lived Once” has urgentness in the rhythm guitar’s style. The vocals float along slowly, trying to catch up with the music, like a tablecloth that can’t ever sit square in the middle. The layered guitars drone on as the song breaks down to a quiet Dismemberment Plan style guitar (think Secret Curse).

“Little Fucking Sandcastle” also carries a long a dark, Belly-like bassline, and the vocals punch the notes like a slow, mellow siren. Clash like rhythm guitars are thrown overtop for a verse, the drums pick up on a Dismemberment Plan likeness too as the song heads toward the 2 minute mark.

“My Father the Bride” combines a jangly guitar with a simple flat drum. The vocals find their own melody overtop the tempo inducing instruments, which shift, without connection to the vocals. The vocals begin to get emotional at the very end, over a train tempo, saying “ I lost you / I can’t find the truth” to the song’s focus. Added to the very end are some Ice Cream truck sound effects, like they are tuning their instruments, that don’t seem to have any meaning to the rest of the song.

“Penelope Shoes” starts out with some Beatles LSD-style instrumentation with synth-flute, and follows up with jangly rhythm guitar chords stringed in repetition. The side to side stomping drum beat is added, and the song builds nicly, and would make for a sturdy emo song. The song queits down to allow the echoing Mazzy-Star-ish vocals begin. The angular guitar chords come back, as if the intro instrumental was just a taste as to what to expect in the song. The pace and energy changes and grows quite a bit, getting invigorated and complex in spurts before returning to a quieter place.

“Put the Foot Down” harkens back to mid-80’s college fluid pop bands that are overproduced and bury their melodies down below the production. The vocals here are given a spotlight, and are pushed to the front. The song has an inquisitive, carefully stepping melody, with mystical qualities as well. The song increases itself in volume and the guitars get thicker and fuzzier generating a wall of sound. The onslaught is silenced for one final short line.

“Cut” twinkles in with guitar notes plucked. Then the grungy style of guitars and wah-wah effects crash into the song, and they take breaks as the vocals see fit. But the vocals continue along, without seeming to care of pay attention to the melody. It feels like any melody could support the vocals, and conversely, a different set of vocals could match the melody more efficiently. Same as the song before it, as the song seems to end, it picks up with one final vocal line.
“Bannoatmeal” plays like it is going to be just a wandering guitar daydream, but it is reigned in when the drums start, and a xylophone adds that bit of mysticism that the song needs to fit in with the rest of the album. The guitars again feel like they could be Dismemberment Plan melodies, but the vocals are free floating over them, making it hard to focus on the song as a whole. The mid song breakdown has the chimes, bass and guitar interplaying quietly, and the vocals are minorly processed through an echo chamber. The music comes out on the other end of this with a few glorious power pop chords, then feedback and buzzing regroup themselves into a powerful force to finish the track out for a full minute.

“Taste” cuts the feedback with a pleasant happy guitar hook, and a mocking keyboard melody. Jangely chords build up in the bridge-like chorus, but the song quickly returns to the focused melody of the first verse. A prog section follows two rotations of the verse-chorus, and the song gets a little prog-heavy but only for a little bit, as the song ends quite suddenly.

“D'Accord” is a nice, quiet album ender, it floats along with single, gentle guitar notes, and a gentle bell. This reminds me of the quiet Belly songs, but not as creepy (which makes this song far less interesting). At any time the song could explode, and once the drums-vocal dual begins, you think it might just become an energetic song. But it retains its quiet lullaby demeanor, and is only becomes enhanced with thicker guitar chords, but the tempo retains the same foot-dragging slosh. 

Stand Out Track: Feenan

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(the) Coolies - dig...?

Name: (the) Coolies
Album: dig...?
Year: 1986
Style: Silly Punk, College Pub Rock
Similar Bands: Dead Milkmen, Wesley Willis, early-mid Ween, Half-Japanese
"One-Word" Review: Gaggy-Amateur-Pub-Punk
Based Out Of: Atlanta, GA
Label: DB Recs

dig...? - Cover & Record

dig...? Back & Record

dig...?(1986)

1. Scarborough Fair 2:24
2. Bridge Over Troubled Water 4:08
3. The 59th St. Bridge Song (Feelin' Groovy) 2:23
4. I Am A Rock 3:58
5. El Condor Pasa 4:02 /
6. Having My Baby 4:41
7. Cecilia 2:27
8. Homeward Bound 3:11
9. Mrs. Robinson 1:53
10. The Only Living Boy in NY 4:35

Album Rating (1-10): 6.5

Members & Other Bands:

Clay Harper - Vox (Ottoman Empire)
Rob Gal - Guitar, Recording
Jeb Baldwin - Bass, Recording
Teddy Murray - Guitar
Billy Burton - Drums
Anne Richmond Boston - Cover Art (Swimming Pool Q's)
John Cerreta - Keys
Kathryn Kolb - Photography

Unknown-ness: I’ve never heard of this band, and it looks like a very home made, pasted-together album. Juvenile and silly also come to mind with the juxtaposition of the cover and the band images on the back. Now, I’m not that familiar with Simon and Garfunkel, but I am enough to notice that most of the songs here are either covers or repurposed interpretations of their songs. So perhaps they are silly versions of familiar songs. I’m interested to see how bad this is, that’s my gut feeling.

Album Review: So these are all covers, or renditions of Simon & Garfunkel songs, with the exception of “Having My Baby,” which is Paul Anka. They have an interesting-sounding follow up concept album, that coincidentally or not, reads “Dig” “Doug” when said in chronological order with this album.

“Scarborough Fair” starts with a guitar played like a car alarm siren, and the vocals are sung/spoken with a type of Wesley Willis cadence, but more similar to the Dead Milkmen.
“Bridge Over Troubled Water” the vocals are an angry singing, and the simple drum beat and guitar sound (again similar to Dead Milkmen) make me think that they are trying to parody AC/DC or maybe the Beastie Boys. That is at least until the backing guitar is added, and the song rocks out. They lyrics are there from Simon/Garfunkel, but the melody is totally different. There is a lead guitar freak out a couple of times that reminds me of both Ween, and the solo in Weird Al’s Eat It (or Beat It, but the amateur nature of the recording is closer to Yankovic)
“The 59th St. Bridge Song (Feelin' Groovy)” is a side to side swaying doo-wop (without the doo-wap vocals) love song. It feels stoned and drunk in its vocal tempo, and reminds me of Half Japanese a little. By the time the tired chorus finishes the song out, the vocals just don’t care anymore.
“I Am A Rock” starts out as a bluesy pub ballad, but then a catchy guitar riff comes in and the song becomes a straight forward pub rock song. The vocals have a sort of redneck, unintelligent style about them. The singing sounds like a half-assed, incredibly drugged up one-take recording.
“El Condor Pasa” comes in with fuzz and distortion, and the song feels like a Jimi Hendrix impression. Even the background vocals sound warbly and off key in a kind of annoying way. But somehow, it all works together. Like a really bad 60’s garage band.

“Having My Baby” begins with the guitar slide sound from Walk on the Wild Side. And the vocals are like the bad traits of a combined Roy Orbison and David Byrne offspring. The vocals are just trying too hard to walk the line between serious yet mocking. That said, it is probably the most accessible song. There is a cute joke when the singing stops and a monologue is spoken about leaving town because of the baby. It ends boldly with a build up to a instrumental climax.
“Cecilia” is sung slowly with the same familiar melody through the first stanza. After that, it continues with the melody, but the tempo increases to something of a surf punk stylized song. As the vocalist becomes board with the melody, the experimenting reminds me a lot again of the Dead Milkmen.
“Homeward Bound” is a great pub rock version of the song. It retains the same melody. Basically. But the vocals in the chorus sound genuinely excited to be singing this song. He sounds like a bad Mick Jagger impressionist at times.
“Mrs. Robinson” begins with a fast drum beat and progresses into an instrumental surf guitar tune with the original familiar melody as its basis.
“The Only Living Boy in NY” sounds like Jad Fair singing a Lou Reed song in front of a fuzzed up garage band playing a generic Ramones composition. It has a nice driving pace instrumentally and both vocal excited energy and not caring boredom side-by-side.

Despite my review saying it is bad, or poor versions of, or amateur version, or whatever negative sounding critique I may have made, I actually kind of liked the album. I like the rawness, the inexperienced feel and general this is our idea and baby production. This could have been done in one take or it might have been scrutinized to sound like this, but I do like it. The album really finishes much more competently than how it starts.

Stand Out Track: "Homeward Bound"

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Beaverteeth - s/t

Name: Beaverteeth
Album: s/t
Year: 1977
Style: AOR, Southern Pop/Rock
Similar Bands: Badfinger, Supertramp, B.T. Thomas, Big Star, Wings, Beatles, Paul McCartney, Kinks, Airwaves
"One-Word" Review: Southern-Lite-Disco-Beatles
Based Out Of: Doraville, Georgia
Label: RCA, Victor

Beaverteeth - Cover & Record

Beaverteeth - Back & Record

Beaverteeth (1977)

1. I'm Callin' 5:13
2. Just Another Local Band 3:47
3. You Wanna Go To Heaven 4:27
4. Where no Man's Been Before 1:53
5. Dixie Fried 3:31/
6. Sing For You 5:10
7. Sacred Harmony 3:58
8. Hope 2:37
9. The World's Really Flat 3:10
10. Where Does Love Go 3:09

Album Rating (1-10): 8.0

Members & Other Bands:
Steve Clark - Engineer
Rodney Justo - Producer, Vox, Guitar (Atlanta Rhythm Section, Roy Orbison, Candymen)
Larry Hunter - Vox, Drums
David Adkins Vox, Guitar, Keys
Jeff Cheshire - Vox, Bass
John Rainey Adkins - Vox, Guitar
Jay Scott - Horn, Vocals (Background)
Laura Scott - Horn, Vocals (Background)
John Ragsdale - String Arrangements
Paul Cochran - Executive Producer
Ron Stansell - Executive Producer

Ken Harper - Artwork
M. Silver Jr - Photography
D.H. Wickham - Photography

Unknown-ness: I’ve never heard of this band, but just from the name and the artwork, the juvenile me had to nervously giggle a bit as I bought it. The main telling of what I can expect in the music comes from the lunar pictures of the band members on the back, sporting the unmistakable 70’s southern rock uniform: Collars, long hair, scruffy facial hair, and the glasses. As for the artwork, I can’t really tell what kind of music it advertises. I’d like to say progressive, but it is more novelty than that, so I don’t really think it is prog. Anyway, it looks like a great album, definitely going to be interesting.

Album Review: “I'm Callin'” is a chill, mellow soft southern rock song. It has a little of the 70’s funk mixed in via organ and disco string section.
“Just Another Local Band” feels more folky, but also part earlier Bee Gees. This would have been on the radio, and I could see it being covered by current artists like Wilco, which would now be ironic. After the first section, it rocks out, and feels like a Big Star song
“You Wanna Go To Heaven” is a bit funkier with a pronounced bass section and light disco with a big horn section, and falsetto harmonizing chorus. “Where no Man's Been Before” sounds like a light Beatles “When I’m 64” mixed with the 70’s southern rock style the Kinks embraced. It is a cute, quiet song with a bit of a bluegrass feel.
“Dixie Fried” begins with a vocal that sounds a little like Glenn Tilbrook of Squeeze, and plenty of well placed southern harmonies in the background. The songs so far have not really been driving, they are lazy and slinky; meandering at their own pace. A few times the lead vocals come out with emotion, nearing a Jimmy Page level of screech and pitch.

“Sing For You” starts out with a very familiar melody, hard to place, but easy to enjoy. Maybe something from Wings? The song definitely reminds me of Paul McCartney’s lighter, simpler songbook. There is even a section, where they mix in I Am the Walrus’s breakdown melody, even jokingly claiming that the Beatles sound exactly like them. This is a southern rock gem. It has a positive vibe and a great repetitive upbeat hook.
“Sacred Harmony” is a slow ballad. The vocals are sentimental, and sad. The piano feels like it stumbles over itself, as if lightly drunk. The strings really work their way into the end, emphasizing the sentiment.
“Hope” is a nice sing song melody. The chorus does not deviate from the verse too much, it is just an accented, and more energetic version of the verse. A violin enters in near the end not adding anything more than a more complex sound scape.
“The World's Really Flat” picks up where “Sing For You” left off. Beautiful engaging harmonies and very rollercoaster-like melody that is reminiscent of the Beatles relaxed, later period and is toe-tapping fun. Actually it sounds very similar to Badfinger’s “No Matter What.” This is a great song.
“Where Does Love Go” relaxed the listener with one final ballad. It is much more confident than “Sacred Harmony” yet just as wispy and smooth. The chorus is louder vocally and emotional, boldly asking allowed the question in the title.

Stand Out Track: The World's Really Flat

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