Toad The Wet Sprocket - All You Want

Toad The Wet Sprocket - All You Want
2011, Abe’s Records

Grunge was the buzz word of the 1990's, but great pop/rock music didn't disappear entirely from the airwaves.  Toad The Wet Sprocket was one of those bands keeping great songwriting alive while the rest of the country wore their angst on their collective sleeves.  With hits such as "Walk On The Ocean", "Fall Down", "Something's Always Wrong" and "Good Intentions", Toad The Wet Sprocket managed to quietly carve out a place for themselves on college and commercial airwaves throughout the US.  The band broke up in 1998, but performed together occasionally over the years.  In 2009, Toad The Wet Sprocket became an active project once again.  Unfortunately all of their song rights were recorded by the evil empire, also known as "The Labels".  The solution?  All You Want, a collection of updated recordings eleven of Toad The Wet Sprocket's finest songs.

Such recordings are often met with skepticism by fans, but offer some real opportunities for the artists to, A.) gain control of recordings of some of their songs, and,  2.) update familiar songs with their current vision for each.  All You Want accomplishes both objectives quiet well.  Toad The Wet Sprocket in 2011 has a more organic sound than you'll find on their classic albums Duclinea, Pale and Fear.  The songs haven't changed significant, but the pure pop sheen of the 1990's has been stripped away, leaving their wonderfully well-written songs with more of a live-band feel.  Glen Phillips' voice is as easy-going and as pleasant to listen to as always.  The bands' hits are as solid as ever, with the Americana-rock arrangement of "Brother" standing out in addition to the closer "I Will Not Take These Things For Granted".

All You Want allows Toad The Wet Sprocket (named from the Monty Python "Rock Notes" sketch) to make a living off their own material in licensing deals, but also shows a band working at or near the same level of artistry and finesse as they displayed during their mid-1990's heyday.  A new album of original material is in the works as well, but for now, All You Want is more than enough to keep long time fans happy, while appealing to a new generation of fans.

Rating: 4 Stars (Out of 5)

Learn more about Toad The Wet Sprocket at http://www.toadthewetsprocket.com/ or www.myspace.com/toadthewetsprocket.  For the time being, All You Want is only available from www.toadthewetsprocket.com or at their live shows as a CD or Download.  A formal release to retail will occur in the Spring of 2012.

Terry Holley - Acoustic Covers

Terry Holley - Acoustic Covers

2010, The Standard Electrical Record Company

Terry Holley is a man living his dream.  Over the course of three months Holley recorded eleven covers of classic tunes in his home.  Mixed in a Florida studio with limited compression, the album Acoustic Covers gives life to Holley’s straightforward style of acoustic guitar play, mixing in organic and synthesized instruments.  Holley will be giving away one hundred copies of the album as Christmas gifts to family and friends this holiday season, and will also be offering Acoustic Covers for sale online in the near future.  Holley expects to lose money on Acoustic Covers, but is proceeding purely on his love for music.

Acoustic Covers is literally titled.  There isn’t much original or surprising in the eleven tracks offered here, but Holley offers consistent and loving renditions of classic rock songs one might assume were among his personal favorites.  Holley keeps the arrangements simply drawn, offering up just enough instrumental support to build a sufficient canvas to backlight his guitar-based melodies.  The results are generally very solid; while Holley never quite sets the night on fire with his guitar style, he manages to move from song to song with a bit of spirit and panache in spite of the middle-of-the-road arrangements.

Holley opens with The Lovin’ Spoonful’s “Daydream”, a straight-up instrumental read with a playful feel.  You can almost hear Holley’s smirk throughout the song.  “Splish Splash” is similarly arranged, adding light percussion this time around.  Musically solid, there’s a somewhat canned feel to this one – like slightly upbeat Muzak.  Holley shows some real bounce on Buffalo Springfield’s “For What It’s Worth”, working some jazzy life into the transitions.  Holley keeps upping the ante here, getting some real bounce into the act as the song progresses.  Holley takes The Beatles to the music box on “Maxwell’s Silver Hammer” with a faithful instrumental that keeps things simple.

Holley has some fun with Pure Prairie League’s “Amie”, a sweet cover that captures the melodic heart of the song in a tight and well-played cover.  Holley then steps out on a bit of a limb with The Left Banke’s “Walk Away Renee”, incorporating flute and strings in a solid rendition that seems a bit more ambitious than what has come before.  The Doobie Brothers’ “Black Water” is up next in a sufficiently intricate rendition that is aurally appealing.    Holley captures the snarky feel of Eric Idle’s “Always Look On The Bright Side Of Life”, offering up a light and airy reading that will leave a smile on your face.  “Obladi, Oblada” gets back to the music box Beatles feel noted earlier in a straight-up, enjoyable rendition.  Procol Harum’s “Whiter Shade Of Pale” is eminently reverent to the original arrangement even if it seems a bit dissociated from the emotional heart of the song.  Holley closes with Gioachino Rossini’s “William Tell Overture” in a technically splendid performance.

Terry Holley certainly chases the dream on Acoustic Covers.  In this regard the album is a huge success, as Holley manages to perfect a dream long held.  Acoustic Covers is a pleasant listen that is certain to please the ears and provide for hours of solid background music.  Holley is proficient with the guitar; technically consistent and able to display the occasional spark that turns a mediocre album into an above-average one.  Acoustic Covers does tend to be a bit too straightforward at times.  It would be nice to hear Holley actually interpret the songs offered up here rather than just playing straight melody lines.  But for what it is, Acoustic Covers is worth spending a bit of time on.  And as a dream come true, you could do worse.

Rating: 3 Stars (Out of 5)

 Acoustic Covers is available as a digital download from Amazon.com, CDBaby and iTunes.

Review: Patrick & Eugene – Altogether Now: Birds Bees Flowers Trees

Patrick & Eugene – Altogether Now: Birds Bees Flowers Trees
2010, Tummy Touch Records

Patrick Dawes (Groove Armada, Richie Havens) & Eugene Bezodis (near-tragic magic) are a British phenomenon that has danced along the periphery of American pop-cultural conscience for a few years now. Perhaps best known for the song “The Birds & The Bees”, which accompanied a well-known Volkswagen commercial a couple of years back, Patrick & Eugene have repeatedly found their music used in commercials and even in television shows (Weeds, Grey’s Anatomy). Patrick & Eugene owe nods to bands such as They Might Be Giants, The Beautiful South and Squirrel Nut Zippers, but also have comedic routes that stretch from Monty Python to Derek & Clive. Altogether Now: Birds Bees Flowers Trees is Patrick & Eugene’s US debut. It is a compilation of the best material from Patrick & Eugene’s two British albums, Postcard From Summerisle and Everything And Everyone. Some might quickly categorize Patrick & Eugene as a novelty act because of the oft comedic wit and atypical instrumentation/sounds, but the musicianship here is too good for Patrick & Eugene ever to be considered merely a novelty act.

Altogether Now opens with Patrick & Eugene’s best known song, “The Birds And The Bees”. The song has an old-timey feel with a modern array of electronic accoutrements. The sound is eccentric and eclectic, and melody is so catchy you’ll be knocking your head against the wall trying to make it come out weeks later. “Nevertheless” is a fun sway-inducing tune. The song will make you yearn for simpler times, relying on a spacious arrangement to give it an open, easy feel. “Circus Train” is a sound collage, creating train and animal sounds from percussion, found and synthesized sounds, instruments and creatively applied vocalizations. The song is highly rhythmic and fun, and displays keenly Patrick & Eugene’s talent for constructing a coherent song out of almost anything.

“Altogether Now” is a happy, highly positive tune. You’ll want to be up and dancing around to this highly active musical missive; it feels sort of like a children’s song for adults. Patrick & Eugene wend their way through the eccentricities of songs such as “Llama”, “Old Times” and “Don’t Stop” before settling on “The Leprechaun”, an eclectic and mildly catchy tune that listeners will find highly appealing. “A Dog’s Tale is likely to be a fan favorite, but the album’s theme song should be “Can’t Get You Out Of My Head”. That’s what you’ll be thinking about Patrick & Eugene in the days and weeks after your first listen to Altogether Now. Patrick & Eugene might have saved their best work for the last two tracks on the album, however. “Saturday Night” is a wonderful reflection on days gone by with a riotous twist; you’ll dance until your laughter prevents it. Patrick & Eugene take one more shot to show off their instrumental chops on “Peony”, an intriguing little number that’s a great calling card for the duo.

Altogether Now: Birds Bees Flowers And Trees might be one of the best original offerings of the year thus far. The music will be both new and familiar to American audiences, and with the right continued exposure should mean significant success for Patrick & Eugene. It’s unusual to find an act that can make you laugh and want to dance all while providing high-quality songwriting and musicianship. Patrick & Eugene harkens back to the days of Vaudeville, while maintaining seriously modern elements to the music they create. Spend some time getting to know Patrick & Eugene. You’ll be happy you did.

Rating: 4 Stars (Out of 5)

Learn more about Patrick & Eugene at http://www.patrickandeugene.net/ or www.myspace.com/patrickandeugene. Altogether Now: Birds Bees Flowers Trees is available from Amazon.com as either a CD or Download.

Review: Requiem For Delinquency - Hobs End

Requiem For Delinquency - Hobs End
2009, Murdock Syndicate

Requiem For Delinquency is the musical projection of Faron Chance Morrison's muse. The classically trained composer writes from a kitchen sink of ideas and styles and funnels them into cohesive compositions on the band's debut CD, Hobs End. Electronic music with a spiritual component is the goal of Requiem For Delinquency, a point to be decided by listeners if ever there was one.

Hobs End opens on a mellow note with The Work Of Science, a rhythmic but mellow electronic composition featuring spoken word voiceovers and a sparse vocal line. The Work Of Science doesn't recommend the album or itself highly; it's a pleasant listen but really doesn't stand out in significant fashion. Picture Viewer raises the tempo a notch or two but retains the same one-dimensional sound from the first track. The electronic medium always runs the risk of monotony, making the use of dynamics of utmost importance. It just doesn't happen here. Fairytales opens with a sample of John Cleese saying "And now for something completely different"; a quote from a Monty Python film of the same name. It's marginally appropriate, as Requiem For Delinquency does seem to rediscover dynamics to a small extent, and the song itself is structure more like a pop/rock song, but there's still a lack of vitality beyond what is evidenced in the dance beat. It's almost as if Requiem For Delinquency is going through the motions.

Before Ourselves and Cemetary maintain the automaton approach to music, sounding dispassionate and cold regarding subjects which must have some emotional impact for the band considering they chose to write about them. Time seems to have a bit more life to it, although the landscape really doesn't change a great deal. Unfortunately things just don't get much better. Songs such as They, It Really Mattered, The Motor Area and Mechanism continue in a vein that's more cybernetic than human. All emotion and real sense of direction is wiped away leaving strictly clinical applications of notes, chords and variations in rhythm that create movement largely devoid of life. I trust that Requiem For Delinquency will find a fan base, particularly for dance/club/lounge aspects of the Hobs End, but the compositions presented here simply fail to grab the listener.

Rating: 2 Stars (Out of 5)

You can learn more about Requiem For Delinquency at http://www.requiemfordelinquency.com/ or http://www.blogger.com/www.myspace.comrequiemfordelinquency. You can purchase a copy of Hobs End at Amazon.com, or download the album through iTunes.

Review: John O'Hurley & Marston - Secrets From The Lake

John O’Hurley & Marston – Secrets From The Lake

2009, Little Giddings, Inc.

John O’Hurley is a man of many talents. He’s been on television and in movies since his run on a series of daytime dramas (The Edge Of Night, As The World Turns, Loving, The Young And The Restless) in the 1980’s. Best known for his role as J. Peterman on Seinfeld, O’Hurley was also a contestant in the first season of Dancing With The Stars. O’Hurley has hosted The Family Feud, been a guest co-host of Live With Regis & Kelly, and has even done voice work for shows such as Sponge Bob Square Pants, Father Of The Pride, Duck Dodgers and Buzz Lightyear Of Star Command. Oh yes, and then there are his professional theater credentials. He’s played Chicago’s Billy Flynn, as well as King Arthur in Monty Python’s Spamalot. Did I mention he’s also a well-known pianist and composer?

Secrets Of The Lake is the second collaboration between O’Hurley and renowned cellist Marston Smith. Their debut album, Peace Of Our Minds, as a big hit. It peaked at #13 on the Billboard chart for Alternative Classical music. Marston Smith has quite the impressive resume of his own, having recorded with the likes of KISS, Whitney Houston, Neil Diamond, Toni Braxton and Lionel Richie. Their second album, Secrets From The Lake, continues where Peace Of Our Minds left off.

John O'Hurley's compositions show the same dramatic flare that he displays on stage and screen. Even in quieter moments such as Forsyth Pond, O'Hurley captures a melody with theatrical implications. You can almost see the sunlight rippling on the water while a lazy bird rides the drafts overhead. Marston adds the perfect shading to this song. The title song, Secrets From The Lake, is full of cinematic themes and flourishes, like something that could have played in the closing credits of On Golden Pond. Waltz For The Man In The Moon is an inspired bit of writing, sounding like a lullaby. Marston steps forward to take the lead here in a warm and passionate performance, trading lines with O'Hurley's piano. My favorite track on the CD is Winterlake, with an ethereal, almost ambient synth wrapping itself around Marston's inspired cello play. Other highlights include Sailor's Suite, Variation On A Butterfly Aria and Cellian Cove.

John O'Hurley writes new age/classical compositions with the occasional touch of Broadway flair. O'Hurley's chops are undeniable, and Marston is a wizard with a bow in his hand. Secrets From The Lake is a thing of beauty; too good to just be background music and too alive to not listen to.

Rating: 4 Stars (Out of 5)

You can learn more about John O’Hurley and Marston at http://www.johnohurley.com/. You can purchase a copy of Secrets From The Lake at www.cdbaby.com/joam2.