The New Czars - Doomsday Revolution

The New Czars - Doomsday Revolution
2010, Samson Records

The New Czars have spent significant parts of their careers supporting other artists. Various members have spent time working with Alice Cooper, Puddle Of Mudd, Bruce Dickinson, Courtney Love, Lita Ford and Pink. Now singer/guitarist Greg Hampton, bassist Paul Ill and drummer David “Chilli” Moreno have stepped out on their own as The New Czars. Over time working with artists, the men of The New Czars started developing some of their own musical ideas. These ideas come to fruition on September 14, 2010 with the release of Doomsday Revolution.

Doomsday Revolution opens with "Keep On Goin'", a heavy rocker toward the crevice between mainstream alt-rock and Nine Inch Nails. The energy is solid, and there is a catchy hook or two buried in the sound but in the end it sounds a bit contrived. "Confessions" has more of the breakneck approach you might expect from The New Czars; driven and powerful rock and roll with no apologies and no punches pulled. "So Sure" is commercially viable heavy rock with a heavily pop-oriented chorus. It's product that will sell but doesn't necessarily reflect high quality songwriting. "Abstract Prague" is a cut-and-paste rock instrumental allowing guitarist Hampton to create some aural chaos. Full of riffs, runs and noises with little sense of progression, melody or continuity, its guitar-players self-indulgence. "Doomsday Revolution" is the catchiest track on the disc; falling closer to 1980's MTV hair metal than modern rock. "Doomsday Revolution" lacks any pretension and is the more enjoyable track on the disc for its lack. The New Czars close out with two instrumentals, "Funky Detour" and "Crotch Critters" that attest to the bands sense of sound over song.

The New Czars make a couple of real attempts at music with commercial legs on Doomsday Revolution, but generally fall into the musical cauldron where unguided self-interest and a lack of distinct musical direction meet. The result is an unfocused and surprisingly un-inspired performance. The loosest moment comes on the title track when The New Czars let their hair down and pay homage to their roots in early-1980's pop/metal, but even here there's a detachment that is somewhat frustrating. The New Czars seem to have talent, but still seem so fascinated with what they can do with their instruments to really explore how. Things will get more interesting once they make that transition.

Rating: 2 Stars (Out of 5)

Learn more about The New Czars at www.myspace.com/thenewczars or http://www.greghampton.com/. Doomsday Revolution drops on September 14, 2010.  You can pre-order the CD from Amazon.com.

Review: Butch Walker And The Black Widows - I Liked It Better When You Had No Heart

Butch Walker And The Black Widows - I Liked It Better When You Had No Heart
2010, One Haven Music

Butch Walker has had his share of success over the years, as guitarist for GangStar and particularly the Marvelous 3, Walker has known success as a performer. As a songwriter and producer for artists such as Weezer and Pink, Walker's songs have gone on to even greater success. More recently, Walker became a father, turned 40 and lost his home and recording masters. At this crossroads, Walker's songwriting has suddenly taken a more philosophical turn. Butch Walker's latest album, I Liked It Better When You Had No Heart offers up some of his most mature and prescient songwriting to date. While the title perhaps anticipates the response of some longtime fans to Walker's transition into the next stage of his life as a musician, anyone who has followed him any length of time knows that Walker's worldview isn't so much changed as broadened.

Walker's opens with the enigmatic "Trash Day", a scene in music as it were, taking in vignettes of everyday life in song. It's a unique and brave opening, working as much on its audacity as its veracity and pure musicality. "Pretty Melody" is a post-modern love story in song; a "how we got here" tune that is memorable both in lyrics and melody. Walker shows how he can pick moments of beauty out of thin air on "Don't You Think Someone Should Take You Home". The sentiment is pretty straight forward in the context of the song, and the arrangement is as close to "perfect" as you'll find. "Canadian Ten" is a melancholy look at a lost night that seems to glorify the fact that he can't remember what happened. The tone of the song reflects more of a lonely emptiness in the fact however, and the melody is reminiscent of some of Paul McCartney's more esoteric material.

Walker gets symphonic in scope on "Temporary Title", a wonderfully dense mix of voices and instrumentation with a dashing melody and vital pop feel. "She Likes Hair Bands" is one of those songs that are great for late in the set when the alcohol is flowing freely and everyone is ready to sing along. The cadence of the chorus is unforgettable. "House Of Cards" displays a distinctive post-Beatles pop sensibility and is one of the catchiest tunes on the disc (this is not said lightly). Walker saves the best two tunes for last. "Days/Months/Years" is a delightful old school rock n roll tune about trying to get over a relationship in truly dysfunctional fashion. It's sort of a "Weird Al" meets George Thorogood moment that's unforgettable. Walker says goodnight we "Be Good Until Then", a tune you can imagine he wrote for his newborn child. Some may take issue with some of the particular statements in the song given the intended audience, but the songwriting is absolutely amazing. Wonderfully direct and apropos based on his life experience, Butch Walker thoroughly outdoes himself with "Be Good Until Then". This is a classic.

Music is a funny business. Some musicians find a way to hit once and spend their whole lives trying to claw back to that moment of glory. Guys like Butch Walker never fully embrace the glory, but continue to find themselves dancing on the edges of its spotlight. In Walker's case it's because an amazing talent as a songwriter. Walker has always had the ability to craft amazing pop songs, but as he begins to seriously mature as a songwriter; those raw talents he's brandished all these years are blossoming into something approaching genius. I Liked It Better When You Had No Heart may be a tongue in cheek title, but there's no joking about how good Butch Walker's latest work is.

Rating: 4.5 Stars (Out of 5)

You can learn more about Butch Walker at http://www.butchwalker.com/ or www.myspace.com/butchwalker. You can purchase I Liked It Better When You Had No Heart as either a CD or Download from Amazon.com.

Review: Original Motion Picture Soundtrack: Alvin And The Chipmunks: The Squeakquel

Original Motion Picture Soundtrack: Alvin And The Chipmunks: The Squeakquel
2009, Rhino Records

In reviewing the 2007 Chipmunk Movie soundtrack, Undeniable, we noted that Ross Bagdasarian, Sr. would be mortified to hear his Chipmunks voiced as they were. That really hasn't changed for The Squeakquel. The voices still sound over-processed, losing all of the low-tech charm of the original Chipmunk recordings. Whether it’s the basic recording technique or the use of software to modify the voices, the sound just doesn't work for anyone familiar with the original. That being said, anyone young enough to have missed the 1980's cartoons will likely be charmed by this soundtrack (and likely the movie), particularly if they liked 2007’s Undeniable. Alvin And The Chipmunks: The Squeakquel features singing voices of Ross Bagdasarian Jr. (Alvin); Steve Vining (Simon) and Janice Karman (Theodore). Additionally, we are introduced to the Chipettes: Brittany, Jeanette and Eleanor (all voiced by Janice Karman).

The Chipmunks open with a cover of The Kink's You Really Got Me, although it's really a cover of the Van Halen version). Its predictable stuff for The Chipmunks; decent but not a standout track. The Chipettes are next with Hot N Cold (Katy Perry). The vocal effects here are even more cloying than on the Chipmunk recordings. Pink's So What works a bit better for the Chipettes, although the vocalizations still sound highly electronic. Dead Or Alive's You Spin Me Round (Like A Record) gets the Chipmunks treatment, keeping the same feel as the original. This actually works as well as anything on the soundtrack and might even chart as is. The Chipettes tackle Beyonce's Single Ladies (Put A Ring On It) in perhaps the biggest misstep on the album. Between the vocalization issues (or EFX issues, if you prefer) and a striving for sound over melody, the franchise seriously begins to lose the heart that made it work for all of these years.

The Chipmunks tackle an overly modernized version of Stayin' Alive that relies more on bass than rhythm to drive the track, leading into The Chipettes brightest moment. The Song features Queensberry and is probably the best offering on the disc. The Chipmunk's It's Ok, on the other hand, is nearly impossible to decipher. The speed, effects and lack of any sense of diction on the song make it an aural mess (albeit with a catchy melody). The Chipmunks move into even shakier territory on Peaches & Herb's Shake Your Groove Thing.

The Chipettes pipe in next with Corinne Bailey Rae's Put Your Records On, an ill-advised choice by the music supervisor on the movie. Rae is one of those artists you just don't cover unless you either have a distinctive take on her song or you can really walk the walk. The novelty treatment here just pales in comparison to the original. Perhaps even more amusing is the Chipmunk's take on Foreigner's I Want To Know What Love Is. The song is redone in full electronic arrangement that's more about beat than melody, which is the essential core strength of the song. The vocal harmony effect here is nice, but is brought down by the electronic buzz in the vocals. Sister Sledge's We Are Family gets updated as an electro-rock hybrid at super-speed. Once again, sound is given importance over such elements as melody, harmony and pacing. The result is a wreck in the happening. The wheels never come off the car because the computer keeps it together, but there's little gratifying in the end result. The Chipettes' No One and The Chipmunks' I Gotta Feeling close out a disappointing set.

The Chipmunks, in essence, have crossed over the line from character to commodity. Cheap/easy computer animation and electronic effects tied to a desire to appeal to the lowest common entertainment denominator have stripped Ross Bagdasarian, Sr.'s creations of their inherent humanity. They are now officially a product rather than their long-standing status as cultural icons. If you're interested in The Chipmunks, I would suggest you take the time to listen to some of the older recordings made by Ross Bagdasarian Sr. There was more craft, humor and humanity in one of those original recordings than you'll find in either movie soundtrack. Good natured humor and an essential love for the characters has been replaced by a cynical, hollow humor driven more about return on investment than a desire to entertain.

Rating: 1 Star (Out of 5)

You can learn more about Alvin And The Chipmunks at http://www.chipmunks.com/. You can purchase Alvin And The Chipmunks: The Squeakquel as either a CD or Download from Amazon.com.

Review: Cheryl Catherine Smith - Cheryl Catherine Smith

Cheryl Catherine Smith - Cheryl Catherine Smith
2008, Cheryl Catherine Smith

Cheryl Catherine has the sort of back story that speaks of urban legend, mythology and hearsay, yet I am assured it's all true. A father who may have been part of the Mafia in New Jersey drove to Vancouver to see his two children when Smith was eight. The next day he was found dead. Smith's life spun slowly out of control from there. Smith frantically searched for meaning and purpose, trying everything from modeling to religion to drugs. Personal tragedy (rape) and success mixed in a whirlwind leading up Smith's own suicide attempt. Somewhere in there Smith came to terms with her own path; since that time the creative possibilities in her music have opened up a whole new world for Smith, who has been compared to Pat Benetar, Pink, Leonard Cohen and even Bette Midler. Smith's self-titled debut CD, released in 2008, is starting to gain serious traction in Canada and the United States, even garnering airplay in the UK.

Opener All Dark Places is set to a dance beat and speak of the void in anyone who has been hurt that waits for love to fill it. The vocal is lush and entrancing with a rocker edge to it. This will be the second single in the US and has serious commercial potential. Smash Up My Telephone opens with a talk/sing introduction before heading into a lyric bridge and a guitar-heavy chorus. This is another tune with real potential commercial impact. It's just off the beaten path enough to stand out and finely crafted enough as a Pop/Rock song to swim with the big musical fishes. Why Does She Hate You has already earned status as a moderate radio hit in the US. It's a driven rock song that calls to a cross between Pat Benetar and Patti Smyth. With the right push from a label this would easily be a top-10 single. It's that good.

Smith heads for deeper waters on My Body Bends, a song about the sort of insecurity, fear and plain that leads some to the point of ultimate decisions such as suicide. The song is shocking in its presentation, sounding otherwise like a 1980's Pop/Rock song. Pardon Me is a protest song of sorts against the power brokers of the world. It's spoken word over ethereal keyboard and a heavy, slow rhythm. It may be Mother Nature speaking or some other goddess figure but could just as easily be any deity you choose. I Am Strong is done as a country tune about getting out before things fall apart. The song appears to be written from the perspective of someone afraid of things working out rather than of them falling apart. It's great writing, fully in character and in situ. Time Is On My Side is a radio-ready Country/Rock anthem about believing in yourself. This could easily become the theme song of a television show and could become an anthem for all those striving to make their dreams come true.

September Morning addresses growing up and beginning to see that all the things that looked black and white at 18 are really all different shades of grey. This is a theme that has been done many times over in popular music, but Smith avoids cliché and creates a cogent and poetic pop song. Superhero walks the line between love song and best friend song; it could be read either way. Regardless of your reading this is a classic pop tune with serious potential for licensing and an outside chance of breaking at radio. It's a catchy melody, a solid and well-delivered subject laid out in poetic language and a steady pop beat that leaves it open to dancing. This is real mix-tape material and an instantly likeable tune. Smith heads back to the Country sound on Let Sleeping Dogs Lie; singing in the warm alto part of her range and letting herself go completely in the singer/songwriter pastiche she's so good at. Smith closes out with the Rockabilly/Rhythm N Blues On My Way; an acknowledgement that in spite of whatever has come before Smith is heading toward her dreams. It's a song that most working musicians can identify with. It reflects confidence and belief in self and is done with an almost magical touch on lyrics.

Cheryl Catherine Smith is the real deal. Her sound varies from Rock to Pop to Country without any variation in the quality of her songwriting. Cheryl Catherine Smith is the sort of album that breaks out and big, turning a relative unknown into a known commodity and occasionally even into a big star. There's enough material here with real commercial impact to sell a lot of albums/downloads, but Smith never seems to aim for a commercial sound. It's more like she writes what she writes and some of it is just so good that commercial radio can't ignore her. Once you've heard Cheryl Catherine Smith you won't be able to ignore her either.

Rating: 4 Stars (Out of 5)

You can learn more about Cheryl Catherine Smith at http://www.cherylcatherinesmith.com/ or www.myspace.com/cherylcatherinesmithfans. You can purchase a copy of Cheryl Catherine Smith at www.cdbaby.com/ccsmith.

Review: Naree - Dr. Jekyll & Mr. Hyde

Naree - Dr. Jekyll & Mr. Hyde
2009, Naree

Naree's life, to date, could be a Lifetime movie. The daughter of Thai and British parents who grew up in Abu Dhabi, United Arab Emirates creates Alt-Rock that blends Rock, Classical, Indie and J-Pop styles. The heartfelt singer/songwriter has a talented edgy band by her side and the future looks bright for the 22-year old Berklee School of Music student. Looking at her today you'd never know she was diagnosed with Ovarian Cancer at the age of 14. You'd never imagine the 15.4 lb tumor that was removed from her, or the blood clots, heart attack and multiple operations she endured. If you can't imagine any of this, you at least begin to understand why Naree shuns pretense and looks to the future with an optimistic spirit. For all she's been through, every day is a gift, and Naree lives them all to the fullest. This spirit is immediately evident on Dr. Jekyll & Mr. Hyde, Naree's third release and first with a full band (Tony Song - lead guitar; Casey Marks - bass; Jaime Jimenez - keys, synth and Alex Santiago - drums). Dr. Jekyll & Mr. Hyde also marks Naree's first foray into the production booth.

Opening with the title track, Naree sets the tone for the EP with an emotionally honest song about wanting to be out of a relationship because it's not what the narrator needs and yet not wanting to let go. It's a strong Pop/Rock tune with a good melody and could be something of an anthem for a lot of teen (and none too few adult) relationships. Life's Lessons is a more empowering song about not settling for less than what you want. The focus here is a man who is less than what the narrator needs and is given the heave-ho in no uncertain terms. The song is smart, strong and empowering without coming off as shrill or mean. Never Leave You Alone is another empowering tune, encouraging a friend or loved one to not give up on their dreams. It's a song of devotion and faith in another, spoken from the well of experience that Naree has accrued. It's a bit more powerful than your typical alt-rock song and sounds like a highly licensable song.

A Song Written On An Arm is a song of vulnerability in a relationship; Naree ponders walking away but seems trapped in the emotional conflict here. The Cello work of guest Marie Kim is stellar and ads an almost mournful sub-context to the song that is perfect. Deceive Me (Before We Get Too Close) has an element of feat that comes from being burned one too many times. Fearful of getting too involved and then getting hurt, Naree ponders self-protectionism based on this fear yet begins to accept the desire she feels. This is a great Alt-Pop tune with strong hooks and real commercial potential. Glamour Kills is a live recording of a song Naree originally wrote for the Glamour Kills song contest. It's pure Alt-Pop; highly infectious with the sort of chorus that could dominate pop radio.

Naree shows a great deal of range and talent on Dr. Jekyll & Mr. Hyde. She also shows the duality the title describes - a positive and forward looking soul with a dark, suspicious and self-protective side. This dichotomy creates a cognitive tension running throughout the EP that somehow magnifies through the lens of infectious Pop influenced Rock N Roll. The end result is a CD you'll have on repeat for days or even weeks. Naree has already been on a lot of stages, including open for Pink in front of 10,000 people in 2007, but after hearing Dr. Jekyll & Mr. Hyde I think it's safe to say that Naree is one big break from the world stage.

Rating: 4 Stars (Out of 5)

You can learn about Naree at http://www.nareemusic.com/ or www.myspace.com/nareemusic. Dr. Jekyll & Mr. Hyde is a forthcoming release, but an official release date has yet to be established. Keep checking Naree’s website or MySpace for more information. Naree does regular fundraisers for organizations such as the UK's Teenage Cancer Trust and the Terry Fox Run (Canada). Her T-Shirt, pendant and other memorabilia sales fund her own Pick Life Cancer Foundation, which donates funds to Teenage Cancer Trust and other worthy organizations.

(Photo by Helene Norton-Russell)

Review: El Dorado - En Busca De Eldorado

Eldorado – En Busca De Eldorado

2008, Eldorado

Madrid has a secret, and it’s one that won’t keep. Madrid might just be home to the best new classic metal band around. Fans of Rainbow, Deep Purple and even Whitesnake will want to take note, Eldorado is the real deal. Combining a killer rhythm section with soaring guitar riffs, big choruses and a charismatic lead vocalist in Jesus Trujillo, Eldorado has found a winning Rock N Roll formula. Their debut album, En Busca De Eldorado, was produced by Richard Chycki whose worked with such august artists as Rush, Seal, Aerosmith, Sum 41, Kid Rock, Def Leppard, Pink and Dolores O’Riordan.

Eldorado mixes heavy blues, rock and classic 1970’s metal sounds into a musical patois that is both comfortably familiar and at the same time new and edgy. En Busca De Eldorado is eight tracks deep, with seven in Spanish and one in English. Even if you don’t speak Spanish, the musical language here is universal. En Busca De Eldorado opens with Abril, which has a real Def Leppard feel to the verse. Crushingly melodic guitars drive this song home while Trujillo goes soul-metal in a performance that is highly memorable. Guitarist Nano makes the point that he’s a force to be reckoned here with some incredibly hot soloing. Whereas Abril has a brooding core, El Final springs out of the gates with a lively beat and takes to the open road. Eldorado is a well-oiled machine here, rocking for all they’re worth. The harmonies on the chorus will hearken back to a time when most hard rock acts could really sing.

Un Mal Presentimiento sounds like something you might have seen on MTV in the hair band days of the mid-1980’s. Eldorado doesn’t skimp on the quality here, building a layered sound that is both melodic and edgy. Dejame Decirte sounds like a big rock ballad, fairly typical for the genre, but Trujillo’s vocals keep it more than interesting. En Busca De Eldorado goes for the big, soaring guitar sounds you might expect from Ronnie James Dio, although the song itself is a bit more polished and commercial than Dio might end up with. My favorite song here is El Jugador. Eldorado reaches down and grabs hold of an infectious blues core on El Jugador and refuses to let go. The result is a song that just won’t get out of your head. Mistreated is the only English Language song on the album, dealing even more keenly in a blues-heavy hard rock sound. You can tell the band is having fun on this one, waltzing into Prog territory with the song structure and even stepping on the toes of Led Zeppelin in a musical dance you won’t want to miss. The album closes with Identidad, the most ambitious rocker on the album; sure to be a concert favorite.

Eldorado is one of the most resilient and hardest rocking classic hard rock bands on the scene today. The fact that most audiences in the new world have never seen them aside, Eldorado is a band to watch. With a growing Latin American population and the addition of a few more English language songs, Eldorado may be on the precipice of jumping of the EU and taking over the rest of the Western Hemisphere. En Busca De Eldorado is amazing.

Rating: 4.5 Stars (Out of 5)

You can learn more about Eldorado at www.myspace.com/enbuscadeeldorado or http://www.enbuscadeeldorado.com/. You can purchase a copy of En Busca De Eldorado at www.cdbaby.com/cd/eldoradomusic.