The 71's - We Are The Seventy Ones

The 71s – We Are The Seventy Ones
2012, The 71s Music

Anthem rock is back.  So declare The 71’s, a melodic power quartet from Houston Texas that is intent on breaking out or breaking something, and soon. The 71’s, known in and around Houston as a group of down to earth guys, write and play with a pretension to greatness that is reminiscent of the best of the progressive rock era.  This is accomplished with a blending of classic rock, punk, glam and even a bit of grunge.  All of this comes together on The 71’s recent release, We Are The Seventy Ones.  The album is not only a declaration of musical independence, but also charts out the course for what might be a long and glorious career.

The 71’s came to musical fruition at the inspiration of such bands as Pearl Jam, Foo Fighers and Oasis, which might explain their wide-ranging musical palette.  Comparisons of late have referenced Band Of Skulls, but honestly this is one case where such pigeonholing tends to sell a band short.  We Are The Seventy Ones reveals a band that has found their musical footing.  And even if, as I suspect, they haven’t fully settled on which path they are going to follow yet, they’ve yet to find anything that they can’t play well.  The album kicks off with a noisy, 1980’s hard pop number in the form of “Blue Blood”.  The 71’s add in a bit of punker sensibility here and end up with a sound reminiscent of early 90’s rockers The Men.

“Confession” builds on a bluesy guitar lick, driving forth in a wanton and vibrant rocker that you will have a hard time getting out of your head.  Interestingly enough, vocalist Keeton Coffman sounds a bit like a young Corey Hart here (think “Sunglasses At Night”).  The 71’s open the jets for “Waves”, a wide-open rocker that seems destined to be played in stadia the world over.  The 71’s keep the energy high and the melodic content higher throughout.  “Adeline” is a vibrant rocker with its own inertia.  You may find that you simply must dance when this love song for a middle-aged rocker plays.

The 71’s show they can do balladry as well as arena rock on “10,000” miles.  This is the fairly typical on the road love song, where the singer pines about getting back home to his baby.  In that regard it’s hard to view the song as being a bit cliché, but the melody is fine and Coffman sings from the heart, and the song is held together by a very solid, memorable chorus.  “Taken” explores the after-effects of a relationship that’s gone bad.  The song is well-written, and if Coffman’s vocal line is a bit overly-dramatic at times it’s just a small slip given the subject matter.  “Victimology” as a song is more of a vehicle for slinging around a six-string guitar than anything else.  The 71’s sound iconoclastic here, reminding listeners that rock and roll is meant to be fun sometimes too.  The pure chutzpah of guitarist Ryan Cecil is entertaining.

“Much Too Much” starts from a great premise, and keeps intact the urgent feel that seems to run throughout the album.  Coffman uses a lot of falsetto here, a choice that appears to not work out quite as well as he might have hoped.  On the plus side, this is the only song on the album I’d be tempted to skip if listening just for enjoyment.  “Lucky To Lose” is a solid, working-class rocker that is guitar-driven and full of a vibrant energy that’s impossible to ignore.  This would be a great tune to check out live onstage.  “Heaven” brings all of the components together, bringing a sense of compositional organization and polish that is hinted at throughout the album.  The melody is memorable, driven by an intriguing hook that replays in your head.  The coolest thing about the song is it could be a conversation between a son and his father, or it could be a prayer.  It’s never entirely clear but works well under either premise.  The polish sticks around for “Monsters”, yet The 71’s accomplish this sense of polish without letting go of the rock and roll edge that has driven them this far.  This is an exceedingly ear-pleasing tune that has single written all over it.

One of the things that make The 71’s so fun to listen to is that they are constantly skating on the edge of disaster.  There is a point of risk taking in music that many artists simply skate around.  The 71’s don’t skate; they march right up to the line and take chances.  As with all such efforts, sometimes they fall and fall hard.  But the pure chutzpah of the band, blended with their individual and collective talents, means that more often than not something intriguing, inspiring or even beautiful comes out of the process.  That’s the story behind the story of We Are The 71’s.  The 71’s will have you from hello.

Rating: 4 Stars (Out of 5)

Learn more at www.the71s.com.   

Chasing Jones - Stay Tonight

Chasing Jones - Stay Tonight
2010, Chasing Jones

Chasing Jones is a Canadian quartet with a propensity for pop-inflected rock songs that get inside your grille and stay there. Coming together in 2007 as a brother duo, Nick and Adam DiLullo didn't know what they were getting themselves into. Luring hometown boy Blair Brown (drums) to return home from Los Angeles, the twosome became a threesome and went on to record their first EP, The Lie. Soon thereafter Chasing Jones happened upon bassist Dwayne Ulliac and the circle was complete. Earlier this year Chasing Jones released their second EP, Stay Tonight, a collection of five irrevocably catchy rock songs destined for your ears.

Stay Tonight opens with "Anniversary", a snappy, hook-laden pop rocker that's likely to have radio program directors salivating. "Anniversary" has the sort of energy and momentum that sends people to their web browsers to find out just who Chasing Jones are; a perfect lead off to the EP. "Anniversary" also carries with a dark tale of love lost inside that happy, peppy rock arrangement, a nod to bands like The Cure that won't go unnoticed. "Say You Were Right" is a desperate plea for company that gets a bit caught up in repetition but is sonically pleasing. "Amelia" is something of a rock n roll tragedy. The song is written from the perspective of someone who is in love with someone who has all the wrong ideas about love. He yearns for her and lets her know he's there, but she's so stuck in bad patterns she can't even see him. All of this is delivered in poetic terms in a highly compact, hook-laden rock arrangement that could be a pop/rock hit in its own right.

"Twenty-Third Avenue" is a dark, disputed love song about realizing what you want once it's too late. Vocalist Nick DiLullo sings a comfortable melody while invoking the appropriate amount of hopeless hopefulness in a gentle swaying tune that gathers the momentum of inevitability before resolving to where it began. Stay Tonight closes with the turbulently pensive "Piece By Piece", which grows slowly and steadily into the sort of infectious arrangement that seems to be the trademark of Chasing Jones. Once again the catchy melody and big hooks complement lyrics of melancholy and heartbreak, an intriguing juxtaposition of musical setting and ideas that adds spark to Chasing Jones' musical milieu.

Chasing Jones creates a bit of magic on Stay Tonight, crafting five songs with solid rock radio credentials without making it obvious they're trying to do so. The melodies and arrangements on Stay Tonight have the sort of snappy feel that gets inside your skull, and Chasing Jones’ lyrics explore the sullen side of human relationships with an ardor that will peak your interest. Based on current tastes it would not be at all surprising to hear Chasing Jones all over the radio dial this summer and fall, as well as finding some of these songs on the soundtracks of some of your favorite network television shows. With the right break, Chasing Jones could be very, very big.

Rating: 4.5 Stars (Out of 5)

Learm more about Chasing Jones at http://www.chasingjones.com/ or www.myspace.com/chasingjones.  Stay Tonight is available digitally from Amazon.com.  If you prefer to own the CD you can get it directly from Chasing Jones.

Review: Crash Kings - Crash Kings

Crash Kings - Crash Kings
2009, Universal Motown

Brothers Tony and Mike Beliveau were brothers long before they were band mates, but as two-thirds of the Crash Kings, the brothers Beliveau have shown the sort of chemistry filial connections can bring to a rock band. Add in the stellar drum work of Jason Morris, and you have a recipe for success. The Los Angeles trio released their debut album in May of 2009. The self-titled debut disc perhaps hasn’t garnered the attention it deserves to date, but it’s not for lack of talent or musicality.

Crash Kings open with "Mountain Man"; a tune somewhat reminiscent of early Led Zeppelin for its stark rawness. Vocalist Tony Beliveau has all the makings of a big time glam-rock front man and a voice that jumps out of the speakers and grabs your attention. "1985" will have you dancing like its 1985. The arrangement here is somewhat sparse, but there's no question about the intensity or control involved. "It's Only Wednesday" is a piano-driven rocker delivered in an open arrangement that allows Beliveau to reign supreme over the top. The further you get into this album the more hooked you'll be. There's something indescribably catchy about Crash Kings the vibe they create on their self-titled debut.

"Come Away" finds Crash Kings settling into a mellower Brit-sound that will be familiar to fans of bands like The Killers and Oasis. Beliveau shows his lyrical side on songs such as Come Away and Non Believer before launching into the blistering pace of "14 Arms". Crash Kings let their glam hang out on this one even while sticking with the quasi-acoustic sound that holds sway here. Beliveau stomps and prowls like Freddie Mercury and blows the roof off. "Raincoat" embarks on a story driven by nervous energy as expressed in the uneven pace of the bass line and the percussive, Ben Folds-style piano line. "Raincoat" is the most sonically satisfying song on the album. "Saving Grace" is the sort of Glam/Brit-Pop anthem that launches national adulation and worldwide tours. Progressive and Pop elements help this song to enter the ever declining arc of the parabola extending toward Pop perfection. Crash Kings close out with "My Love", a theatrical love song that will remind listeners of a cross between Queen and The Beatles, and perhaps even a bit like Michigan rockers Woodward.

Rock N Roll is dead. Yeah, right. Crash Kings are at the forefront of a new generation of rockers with retro influences who are creating vibrant, challenging music. It's difficult to imagine a band like Crash Kings not making it big, although on a major label even the brightest talent can be snuffed out and relegated to the bar circuit by one inept executive who doesn't get it. Regardless of what sort of push they get, expect Crash Kings to be on a lot of critics "best of" lists. Crash Kings will hook you on the first listen and still be with you far down the road.

Rating: 4.5 Stars (Out of 5)

You can learn more about the Crash Kings at http://www.crashkingsmusic.com/ or www.myspace.com/crashkings. You can purchase Crash Kings as either a CD or Download from Amazon.com.

Review: Will Weckel - Be Like You

Will Weckel - Be Like You
2006, Will Weckel

If you read through Will Weckel’s bio, you’ll understand quickly that he’s an artist with a lot of baggage, and he wears it on his sleeve. The San Diego-based singer/songwriter/surfer recounts an entire history of dashed expectations in word-bytes without ever actually telling you much about himself. We can divine that Weckel is a big Beatles fan, both from his songs and his statements. We know he’s originally from the Midwest and that he lost his mom at the age of five. Beyond that, facts are scarce. Weckel’s debut album, Be Like You, speaks to loneliness in documenting the end of a relationship. Weckel turns the corner towards living again at the end, but it makes you wonder at times along the way.

Weckel opens with More Than Anything, a straightforward Rock ballad with Oasis-does-the-Beatles charm. The arrangement and instrumentation are fairly simple, blending an Americana-Rock style that's derivative but borders on original. To My Heart comes off a bit whiny but has a solid melody and decent arrangement beneath it. Open Your Eyes is a tough listen, whereas Change is decent but a bit on the bland side. One Mans Dream is truly a decent tune. You'll note as you listen to Be Like You that Weckel finds moments where he channels Paul McCartney/Noel Gallagher vocally. One Mans Dream is one of those moments, and the energy in the song is subtle but believable.

Alyssa is heartfelt but fumbling in an awkward, lovelorn sort of fashion. Listeners will find this either charming or annoying based on their own predilections; I found it leaning slightly toward the latter but not awfully so. Weckel has another fine turn on You And I, a truly Beatles-esque tune with a garage feel and a catchy chorus. Some Other Guy is another shining moment; perhaps the best songwriting on the disc. There is a true Beatles vibe here that's irrepressible. I would suggest you might slip this tune into rotation on an oldies station and the song would fit in without a hitch. Be Like You closes out with the appropriately named It's Over Now, a melancholy tune that lets go of old grievances and tries to move on. The vocal harmonies here highlight the song perfectly. This is a great tune to sing; not overly catchy and not overly morose, but a real emotive moment with a strong melody that will hold listeners' attentions.

Be Like You is an interesting study, following a relationship essentially from beginning to end, including the painful letting go. It's hit or miss, with some very well written songs and some that just don't quite qualify for that designation. Weckel sounds like he might be coming somewhat into his own as a songwriter, crafting melodies and arrangements that are simple but lasting. There is a strong Beatles/Oasis influence here, from songwriting style to occasional flashes in Weckel's voice, but overall the album is highly enjoyable. Will Weckel is young and has some definite growing to do as a writer and performer, but he has a solid base to start from. It will be fun to see the process unfold.

Rating: 3 Stars (Out of 5)

You can learn more about Will Weckel at www.myspace.com/will4sale. Be Like You is available as either a CD or download from CDBaby.com.

Review: David Homyk - True Story

David Homyk - True Story
2008, David Homyk

David Homyk is a jack-of-all-trades when it comes to the entertainment world. Singer, songwriter, producer, actor and model, this Canadian born son of Virginia has worked with some of the biggest stars in show business. As a musician/producer, he's worked with Beyonce Knowles, Solange Knowles, Kelly Rowland, Aqualeo, Cheri Dennis and Cherish. As an actor, he appears regularly on All My Children, with numerous appearances on The Tyra Banks Show, Sex And The City and One Life To Live. Homyk also has a lot of presence in the advertising world, appearing in ads for Burlington Coat Factory, Capri Sun and Anheuser-Busch (the official mixologist for Bud Light Lime). In 2008, Homyk turned out True Story, a collection of seven original songs written, performed, mixed and produced by Homyk.

Homyk opens with the radio edit of Hard To Make A Friend, a relatively average tune with a significant amount of vocal FX work going on. Homyk sounds vaguely robotic, like a cross between Liam Gallagher and Max Headroom. The music itself has a vaguely lifeless quality; played primarily on acoustic instruments but with the mechanical nature of a computer. Fool In The Middle sounds different enough to say it's different from Hard To Make A Friend, but sounds like it could almost be alternative take of the same song, musically. All In All has a bit more verve to it, and gets points for novelty in sound but likely won't garner a lot of attention after the first or second listen.

Addicted To You is catchy and acoustic but very danceable. Homyk shows a touch for Pop hooks here that bodes well. It Makes You Believe is the highlight of the album. Sounding again a bit like Oasis, Homyk's look back at a relationship that's crumbled has real heart and soul. The law of averages kicks in thereafter on It's So Easy Now. Homyk goes from touching and real to predictable and repetitive in the course of one song. Knock Knock might not be the best song presented here, but it's the one most likely to be a Pop hit. It's the song where the guy begs to come back; catchy and annoying at the same time. It's the sort of song that catches on with the teeny bopper set and dominates the radio until it disappears as quickly as it showed up. Homyk closes out with the original version of Hard To Make A Friend, sounding like Alvin And The Chipmunks chipped in on the introduction.

True Story is a real mixed bag; there are a couple of songs here that show real hope for Homyk as a songwriter and performer, and he definitely has a distinctive Pop touch, but there are some touch moments to get through as well. True Story's biggest failing is probably the lack of another songwriter or contributor to bounce things off of. Sometimes material blooms with the advent of creative tension. Homyk has enough talent as a writer to exploit the benefits of such a relationship. The listening experience would also have been more enjoyable without all of the special effects on the vocal line. The best producers know when to play with their toys and when to put them away.

Rating: 2.5 Stars (Out of 5)

You can learn more about David Homyk at www.myspace.com/davidhomyk. You can purchase True Story as either a CD or a Download from Amazon.com.

Review: Clipper - Make My Day

Clipper – Make My Day
2007, Clipper

Italian Rock band Clipper is one of the more surprising entries into the Americana market that we’ve received. Citing roots in Rock N Roll, Folk and Country (in particular Hank Williams), Clipper delves deep into the roots of American music. Primarily a duo, Lorenzo and Davide occasionally enlist the assistance of other musicians, but the two have been with Clipper for a long time and stand firmly at the helm. Their most recent CD, Make My Day, provides a solid grounding in classic Americana with a European twist.

Clipper takes on a kind of Grunge-American style tempered by the sort of pop aesthetic practiced by Oasis on Make My Day. Lead singer Lorenzo Romagnoli sounds like a Gallagher on the opening track, The Mean Singer. The Mean Singer has a sort of Punk/Pop vibe running through it. While lyrically repetitive, the music is catchy and pleasant to listen to. Start Breathing is a catchy, jangly guitar-pop anthem that will get stuck in your head from the opening verse. Shopping Mall Blues has a real rockabilly feel to it that is as catchy as the flu; Doom, similarly, has a very viral country sound built around pedal steel guitar and a two-beat rhythm.

Through it all Romagnoli sounds very much like Liam Gallagher imitating Bob Dylan. This doesn't sound rediculous in fact, although it seems like it should. The overall effect is quite entertaining, as if Ringo had took lead vocals on all of the Traveling Wilburies' tunes. My favorite song on the disc is Black Sky Blues. The picked acoustic guitar and slide-guitar accompaniment make this sound like acoustic blues you might hear in a backwoods Kentucky roadhouse. Other highlights include You, Spean Bridge, the traditional Leaving Of Liverpool and Ramblin' Man.

Clipper finds the heart of Rock N Roll that many American rock artists have long forgotten. The definition of radical is returning to the roots, and by that definition Clipper is one of the most radical bands out there. Vocally intriguing and musically sound, Clipper explores the back roads of American music through the eyes of a Brit Pop fan. Make My Day, consequently, is a comfortable album with a classic sound that deserves real attention. Clipper is for real.

Rating: 3.5 Stars (Out of 5)

You can learn more about Clipper at www.geocities.com/clipperpeople or www.myspace.com/clippersound. You can purchase a copy of Make My Day using PayPal at Clipper’s online store.