The Venetian - I Wanna Tell You A Story

The Venetian – I Wanna Tell You A Story
2011, The Venetian

The Venetian isn’t so much a band as a force majeure.  Digging into the band’s past leads to more questions than answers.  Somewhere out there is a singer/songwriter who delights in blending the early roots of music and opera with the raw blend of rock and roll.  He is The Venetian, and his album is called I Wanna Tell You A Story.

I Wanna Tell You A Story is one of the more unusual rock operas you’ll come across.    Songs alternative between traditional Italian croon-tunes sung in Italian to forthright rock and roll sung in English.  The Italian tracks are titled as consecutively numbers Acts (“Act I”, “Act II”, etc.), while the rock and roll tracks are more descriptively named.   The tracks in Italian are well-crafted and well-sung, but I can’t comment on the lyrical content.  The rock and roll tracks represent a baroque-rock tragedy that follows the relationship of a boy with his father throughout the years of his life.

Dad is a musician, the son doesn’t understand at first why his father is gone all the time.  The Venetian takes us through the gamut of complicated emotions throughout I Wanna Tell You A Story, from the loneliness of a child who needs his dad, to the impact it has on life decisions, and to ultimate understanding as he, himself, becomes a musician.  In the end, the special bond that father and son share is through music.  They are forever connected in melody and rhyme, even if they are (meta)-physically distant in the end.

The primary rock and roll influence on the album appears to be Queen.  Particularly on tracks such as “Goodbye” and “I Wanna Tell You The Story”.  The latter even references the classic Queen track “The Seven Seas of Rhye”, in case you didn’t get the sonic similarities.  As a vocalist, the closest match you’ll find for The Venetian’s distinctive sound is Lawrence Gowan (Gowan, Styx). 

From a songwriting experience, I Wanna Tell You A Story is very much up and down.  “Goodbye” and “Dancing Angel” are tremendously vibrant rock and roll numbers while exploring disparate timbres and sounds.  The mischievous rock waltz instrumental “Soft Snow” is brilliant, sounding as if it were inspired by the Gypsy violin style of Stephane Grappelli.  “Lullaby” is the closer; where all of the son’s struggles for understanding finally resolve in a song in which he reaches out and touches the soul of his father.  It’s a wonderfully uplifting moment both in poetry and song, and draws the entire experience e together.  “My Black Cat” is also a treat, bringing a slinky, cool jazz feel to the proceedings.

I Wanna Tell You A Story has its less than exciting moments as well, particularly the middle of the road material such as “My Good Friend” and “Sometimes”, and the cheesy cliché of “My Sweet Italian Pie”. 

I Wanna Tell You A Story works very well as an early concept album for a one day rock and roll musical.  The songs are generally well-written and there is a narrative flow here that is impressive.  A true work up of this production would likely result in a couple of the songs currently here being either dropped or seriously re-worked, but as a whole the work has great potential.  The Venetian is a strong vocalist who does very well within his comfortable range.  The songs that require falsetto don’t always go as well, but he makes a fair effort.

Rating: 3.5 Stars (Out of 5)

Learn more at www.thevenetianband.com or www.facebook.com/thevenetianbandpage.

Art Decade - Western Sunrise

Art Decade – Western Sunrise
2012, Eldest Only Records

Boston rockers Art Decade team up with award winning producer Dan Hannon (Manchester Orchestra, Aaron Shust) to record their debut album, Western Sunrise.

Art Decade kicks things off with “A Lie”, an ambitious breakup song that can only be defined as orchestral rock.  The arrangement here is a thing of beauty, full of a deep musicality but maintaining a distinctive hard edge.  It’s a sonic landscape you’ll be happy to revisit, and a near-perfect opener.  “Western Sunrise” starts out like a balladeer’s tale, but soon breaks into a heavy progressive rock sound complete with strings.  Ben Talmi is outstanding on lead vocals, and the voices in harmony around him are perfectly fit.  Listeners will be blown away a sound that’s equal parts Yes, The Moody Blues, Polyphonic Spree and Break of Reality.

“I Try” finds Art Decade holding back just a bit on a solid album track.  The melody stands out, confined as it is in the gentility of the arrangement.  “Raspberry Universe” is a sonically expansive instrumental that sounds like the score of a spy thriller.  Manic and volatile, Art Decade is at their most unpredictable here.  Scaling things back for “Dandelion Tea”, Art Decade sounds more in synch with the mellow edge of Radiohead.  The ambling melody drifts steadily, but never loses coherence as it stumbles across an unusual and appealing sonic landscape.

“Breeze” is a dreamy orchestral number with a light, lilting feel.  The song has a melancholy air that’s inescapable.  “Weapon” finds Art Decade moving to the edge of dance music with an over-the-top, campy rocker.  Talmi reaches a bit too far past his comfortable vocal range here, but the effect in nonetheless entertaining.  Art Decade kicks it up a notch on “Steam Punk Sticker War”, using a dark guitar/bass sound as a contrast to the group’s buoyant vocal harmonies.  “Daydream” features the sort of chorus that stays with you for days, the primary hook buried deep in your aural pleasure center.  The simply complex arrangement seems like a light confection but is much deeper than it first appears.

Art Decade gets into the Beatles/Queen school of song construction with the musically multi-faceted “Kids And Kings”.  What starts out as a simple arrangement wrapped with a metaphor and gorgeous vocal harmonies becomes a complex cavern of musical ideas that wends its way around your brain.  Modern comparisons include Tally Hall and Tool, with Art Decade falling about half way in between.   Western Sunrise sets with “The Impossible”, an expansive piece of musical poetry.  Art Decade blows listeners away with a complex weave of sounds that is challenging and sonically appealing even at the unmanageable running time of 6 ½ minutes.

Every day a new band is born, and each one embraces a genre that has come before as the core of its sound.  Some bands are content with recreating sounds without adding a thing to them, while some add to the mix but choose to stay true to the roots of their style.  Occasionally a band transcends the sound they are born of and creates something new and exciting.  The jury is still out on Art Decade. But they’re knocking on the door of transcendence at times during Western Sunrise.  Much as the album title implies, Art Decade reorders the musical universe on an album that is frequently incredible, an occasionally genius.  Do not miss this one.

Rating: 4.5 Stars (Out of 5)

Learn more about Art Decade at www.artdecade.com.  Western Sunrise is available through the e-tailers below.

Amazon MP3         iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Never Shout Never - Time Travel

Never Shout Never - Time Travel
2011, Loveway/Reprise

Joplin, Missouri rockers Never Shout Never leap forth in 2009 with their first self-produced album, Time Travel. After several efforts at conforming their sound to the wishes of others, Never Shout Never speak fully in their own voices on Time Travel. The seismic shift in sound and style is a far cry from their previous effort, Harmony. Fans will either love or hate the new sound, but the change also opens the door to an entire demographic of new fans who enjoy modern rock deeply influenced by the sounds of the psychedelic 60's.

"Time Travel" is ethereal, synth-based anti-pop that sounds like a blend of Alan Parsons and Coldplay. The sound is intriguing, if a bit discommoding, "Awful" is anachronistically catchy, like a blend of The Beatles and ELO dressed in diatonics and fleshed out on the shared borderlands of Brit Rock and Prog. "Simplistic Trance-Like Getaway" is something of a love song, built from a subdued yet incessant melody and wrapped in full-bodied sound. "Complex Heart" sounds like an attempt to blend Adult Contemporary Pop and Emo styles in a fractious marriage that's overwrought and overdone. Imagine Queen meets Air Supply and you're in the ballpark. "Lost At Sea" plays to the prog and psychedelic image that Never Shout Never seems intent to craft. The modal vocal harmonies add cool effect, but the run on chorus contrasts poorly against the point-by-point quarter-note rhythms of the verse.

When a band takes back the reins on its sound for the first time after years of depending on other producers, the result is bound to be a bit messy at first. So it is with Never Shout Never on Time Travel. It's not a bad record, but Time Travel suffers from self-guidance by a band suddenly free to do what it wants, but uncertain about their chosen direction. It will take at least one more album, and some time on the road, for Never Shout Never to become fully comfortable steering their own ship musically, and the next album will be much more instructive about the direction of the band than is Time Travel. Nevertheless, this is a compelling document of a band in transition, with some almost brilliant moments to be found in the search.

Rating: 3 Stars (Out of 5)

Learn more about Never Shout Never at www.nevershoutnever.com or www.facebook.com/nevershoutnever.

             CD                  Download
       iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Roaming Royalty - Audio Bacon

Roaming Royalty - Audio Bacon
2010, Roaming Royalty

Seattle's Roaming Royalty take influences such as Queen, Muse, Billy Joel, Elton John, Ben Folds and The Who and blend them into a quasi-original sound that sets audiences on their collective ear. Touring the country in their modified van/recording studio, Roaming Royalty never has to make a choice between touring and recording. The road is their recording studio. That might explain the highs and lows of Roaming Royalty's most recent album, Audio Bacon. Not highs and lows as in quality, but the transitions that accompany change in day-to-day life, brought to life in eleven diverse and intriguing compositions on Audio Bacon.

Roaming Royalty opens with "Red Morning Joy", a catchy song of apocalypse that sounds like it might have come out of a classic Who session. "King Of Mars" is a wonderfully melodic composition that highlights the harmonic co-vocals of Charles Kraut and Todd Dunnnigan amidst unusual song construction. You might think you're listening to delightfully odd concatenation of Smash Mouth and Alan Parsons on first blush. "Chasing The Sun" is a solid, low-key pop/rock number that sets the stage for "The Only Woman In The Room", an ode, of sorts to human rights activist Beate Sirota Gordon. The construction and arrangement are a bit on the bland side, but it's a brave songwriting choice that's lyrically sound and deserves to be recognized.

"Only Time" is similarly water down, but is livened up by the highly driven piano part that turns out to be the song's lifeblood. Roaming Royalty returns to what seems to be their most comfortable sound on "Tipsy Jane", melodic rock n roll. "Killer" brings on a small dose of funk in the bass line, a step up to Roaming Royalty's wheelhouse sound on "Dive". When really on their game, the band seems to have a knock for these mellow pop/rockers with melodies that practically sing themselves into your ear. Roaming Royalty rest their case with "Epiphany", bringing their melodic talents up to a new wave setting that's the catchiest track on the album.

"Epiphany" is the perfect closer, suggesting there's even more to Roaming Royalty then we hear on Audio Bacon and offering tantalizing glimpses of where the band may take their sound next. On the whole Audio Bacon is a solid effort, but the details do stop Roaming Royalty short at times. Liken the band to a painter who puts great effort into the subject of the painting but doesn't always have the same enthusiasm for the background. When Roaming Royalty is at their best all elements of the song work together. Sometimes Roaming Royalty seem to expect a great riff to carry a song, but don't seem to develop the other "voices" around that riff to the same level. The results can sound less than enthusiastic, and listeners pick up on that.

Rating: 2.5 Stars (Out of 5)

Learn more about Roaming Royalty at http://www.roamingroyalty.com/ or www.myspace.com/roamingroyalty.  Audio Bacon is available from Amazon.com on CD and as a Download.  The album is also available via iTunes.

Bend - The Helpless EP

Bend - The Helpless EP
2009, Yoav Erez

Bend was born in Tel Aviv, Israel; the brain child of songwriter/keyboardist/lead vocalist Yoav Erez. While all members past and present have contributed to the sound of Bend, it’s inarguable that Erez has been the prime mover behind Bend, from founding the band to moving it to New York City to its musical direction. Elements of English icons such as Queen, Coldplay and Radiohead can be heard, but Erez' banging piano style will draw as many comparisons to Ben Folds as anyone else. Current mainstays on the New York City Indie circuit, Bend have documented their sound on The Helpless EP.

The Helpless EP opens with "Unpredictable", a funky rock tune full of eclectic piano stylings (ala Ben Folds) and a sense of energy and purpose that are infectious. Vocalist Yoav Erez has quite the range and a pleasant enough voice to overlook the occasional messy run on the fast-paced vocal lines of the song. "Stronger Than Me" is a lyric Elton John-meets-Radiohead moment that's surprisingly appealing. "Helpless" has an abject beauty that blooms into quintessence on a chorus full of hope and grace. "Changing Of Tides" a six-minute ballad with ethereal, new-age sensibilities blended into a gentle pop arrangement that's part Ben Folds.

Bend gets in touch with their folksy side on "See It Clear", a mellow rock gem with real vibrancy woven into the seams. The song takes on a life of its own, with a deep-seated urgency that's almost palpable wrapped inside a pretty melody that sounds like something Paul McCartney might have doodled one rainy afternoon. The Helpless EP closes with "Do It With You", a sweet love song that seems like it should be destined for a whole lot of mix tapes. The vocal levels are a bit off in this recording, buried a bit too deep in the instrumentation, but that's the only complaint that seems evident. This is a tune that will get your head bobbing, a near-perfect little pop gem that will insinuate itself into your brain and stay there for days.

The Helpless EP is a pleasant surprise; the sort of recording you might tend to blather on to friends about until they check it out for themselves. Even if it's just to make you stop, don't be surprised if most of your friends find the charm of Bend's EP too much to resist. Pure pop melodies in reserved arrangements that allow the simple beauty of the songs free reign are the order of the day, and Bend serves them up with aplomb. Even the apparent over-use of vocal masking software can't overcome the simple, infectious beauty of the songs on The Helpless EP, although hopefully Bend will see their way past such tricks in the future.

Rating: 4 Stars (Out of 5)

Learn more about Bend at http://www.bend-music.com/. The Helpless EP is is available as both CD and Download from Amazon.

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: Gills And Wings - Gills And Wings [EP]

Gills And Wings - Gills And Wings [EP]
2009, Gills And Wings

Gills And Wings was born in Miami Beach, Florida, from the songwriting partnership of Danny Reyes and Santiago de la Fuente. The pair moved to Virginia Beach to work with guitarist Alex McCallum (Jason Mraz) and added bassist Matt Hulcher and drummer Andrew Hackett in the process. Together, the quintet has gone to create music with the ethereal air of Radiohead or Coldplay and the glam of Bowie or Queen. Gills And Wings, the band's debut EP, serves as a throwing down of the gauntlet to the next generation of rock stars. Gills And Wings have arrived.

Breaking out of the gate with the sort of melodic glam Queen was known for, Gills And Wings breaks the glass with Rebirth Of A Nation. Guitarist Alex McCallum even captures some of Brian May's signature guitar sound, and vocalist Danny Reyes is a fair approximation for the vocal style of Freddie Mercury without being a sound-alike. Rebirth Of A Nation is about changes in the US and is delivered in sarcastic overtones, contending, perhaps, that the "rebirth" in this case may not be for the better. Catastrophe falls into the category of "mellow glam"; Reyes' voice drives this angst-filled number about letting your mouth get you into trouble. Solitude carries the same sort of heavy Baroque feel, but is perhaps a bit less accessible than the rest of the EP. On The Dealer, Gills And Wings offer up the viewpoint of a flawed man doing his best to show broken people love of a sort. The vocal performance is chilling, and the song is compelling for both its humanization of a social archetype and willingness to step outside of the politically charged conventional view. The song is amazing, showing a rare gift for capturing a person, place or moment in song. Gills And Wings closes with Circus, an infectious Pop/Glam number that will get stuck in your brain and stay there for days.

Gills And Wings have a sound with enough Prog and Glam in it to be considered Retro but are fresh enough to fly fans of Modern Rock and Pop. You'll hear Freddie Mercury comparisons regarding MLV, and they aren't unfounded, but Reyes lays himself out in his voice in a way that is highly personal and rarely found in a vocalist who is simply mimicking another. Gills And Wings have a very bright future. The self-titled EP is a great start.

Rating: 4 Stars (Out of 5)

You can learn more about Gills And Wings at www.myspace.com/gillsandwings or http://www.gillsandwings.com/. Gills And Wings [EP] can be downloaded from Amazon.com or iTunes.

Review: Tonight We Ride - Of The West

Tonight We Ride - Of The West
2009, Tonight We Ride

Small markets sometimes hold big surprises, musically. So it is with Helena, Montana and Tonight We Ride. Originally a collaboration of Dustin "Dub" Campbell (guitars, vox) and Greg Vivrette (bass, backing vox), the duo became a post-Punk power trio with the addition of drummer Adam McDonald after gigging for a while and realizing they needed a solid core to keep their sound developing. Tonight We Ride write about three subjects: Friends, drinking and the prophesied the end of the world in 2012. These are the building blocks of Tonight We Ride's debut album, Of The West.

Of The West opens with Cain Station, an energetic number about friendships and personal connections. It's a strong opener with a distinct Lo-Fi feel that works for Tonight We Ride. Duke Of New York A#1 was inspired by the Isaac Hayes character from Escape From New York but parodies the life and times of Amy Winehouse. It's a mid-tempo song with a dark feel; humorous yet respectful at the same time. Drink Myself Into Oblivion is just what it sounds like; a fun drinking song that pulls absolutely no punches. The language is a bit gratuitous (as it is throughout much of the album), but the effect is entertaining. Prelude To Hell On Earth takes on the upcoming annihilation of existence in 2012 in a funky instrumental that's among the finest playing on Of The West. Vivrette makes his bass get up and walk around the room while Campbell riffs off of the magic he creates.

The Other Side Of The Wall marks a real change of pace for Tonight We Ride, with an all-acoustic number that sounds more singer-songwriter than Post-Punk acoustica. The edges are rough, but the core is excellent. Heaven Can Wait finds Tonight We Ride taking listeners on a honky-tonk romp in a ferociously brief bit of fun. For Richie Rowe opens with a guitar progression that sounds like it wants to turn into Queen's Crazy Little Thing Called Love before Vivrette's walking bass line carries the band off on a highly energetic Acoustic Punk romp. It's a song about living in the moment, sucking the marrow out of life and all that. Parker's Got A Brand New Bag keeps the energy high with a more Pop oriented yet Lo-Fi gem, leading into the closer, Cash Money. Cash Money is a decent tune, but seems a bit out of place on Of The West, particularly so as a closing tune.

Tonight We Ride manages to bring a live feel to Of The West; I can only imagine how much a live show with these guys would be. Some will chafe at the gratuitous language, but one gets the sense this isn't so much pose as prose. In spite of the rough edges, there's real pop sensibility running through the veins of Tonight We Ridge. The songs on Of The West (most of them) could be played as Pop tunes (although part of what makes them work is the "in your face" approach of the band. Make sure you get to know Tonight We Ride. They're better than I expected.

Rating: 3.5 Stars (Out of 5)

You can learn more about Tonight We Ride at http://www.tonightweride.net/ or www.myspace.com/twrmt. You can purchase Of The West on CD from CDBaby.com, or as a Download from Amazon.com.

Review: Vangough - Manikin Parade

Vangough - Manikin Parade
2009, Clay Withrow

Who needs a sword when you carry an axe? Vangough front man Clay Withrow carries both on the band's debut CD, Manikin Parade, released in April of 2009. Pointed lyrics that cut to the heart are interwoven into a rock and roll matrix filled with heavy guitar, Progressive songwriting and a keyboard style that brings to mind Prog masters Styx, Yes and Genesis. Fans of Dream Theater and Styx will love the theatrical style Vangough projects through their music, and generations can come together over a mix of Classic and Modern Rock that does honor to both. Vangough is Withrow (vox, guitar); Brandon Lopez (drums); Abe Hartley (keys) and Carlton Dorsey (bass, cello, violin).

Manikin Parade kicks off with the Progressive Rock love fest Estranger. Vangough channels Dream Theater, Queen and Styx here. Using a 2-vocalist approach (one of who sounds more than a bit like Tommy Shaw) works incredibly well here, and the song construction is out of this world. There are no tricks here, Vangough has simply let the song develop as it might without trying to restrict it to a tight ABACAB format. The song rocks and yet has a very lyric flow from beginning to end that makes it a highly intriguing listen. Both vocalists are exceptional and Vangough could not have chosen a better opener. Manikin Parade berates the dumbing down of a society that prefers reality television to reality and tweets to conversation in a guitar-driven anthem reminiscent of Queensryche in their Empire days. Christmas Scars drives this point home, focusing on our obsession and glorification of celebrity. What begins as heavy, driven tune with growling vocals trends to a more serene state, passing through rap/vocals and the occasional return to percussive musicality along the way.

Disorder Quotient is a stark examination of both sides of the issue of abuse by priests in the Catholic Church; both the priests' and victims' perspectives are represented in surprisingly even-handed fashion, almost seeming to imply that both are victims of a larger entity (the Church itself, God?). Either way, the song is serious sociopolitical commentary wrapped inside of a dynamic Prog shell. Not wanting to leave anyone out, Vangough turns their eyes to the vaunted gates of Scientology on Paradise For The Lost, essentially calling it out as a business enterprise that sells salvation one course at a time. If possible, there seems to be more anger in Paradise For The Lost than in Disorder Quotient, pulling no punches ("Fail to see his hateful greed / like a church of fools we follow the rules"). Paradise Of The Lost is part one of a three song cycle called The Twilight. Part Two is Gabriel; looking at what can happen to a person when all else (hope, faith, love, self-interest) fails. The song exhorts the subject to move out of the darkness by letting go all these expectations and give in to the magic that is life.

Dance Of The Summer Mind is a nearly six-minute instrumental interlude, primarily of piano and acoustic guitar. It is a beautiful composition that never really soars but continually presses at the sky and serves as a lead-in for One Dark Birthday; focusing on self-exclusion and sorrow. The protagonist here is from all around him by his own choices but doesn't know how to reconnect to the world. Part Three of Twilight is the epic musical odyssey called Etude Of Sorrow. Etude Of Sorrow opens as one of the more straightforward songs on the album, but diverges into what sounds like a convoluted diatribe against God. The narrator turns his back on God because of all he's lost. This is followed by Halcyon Days, which appears to be a song commemorating passing the veil of death. Vangough closes the set with The Cosmic Bus Stop, a highly dramatic representation of what might be waiting after death.

I have to admit that I had a hard time connecting to the subject matter here; I was never 100% certain how much of Manikin Parade is tongue-in-cheek and how much is meant as direct social commentary (or perhaps a smidgen of both). What is clear is that Manikin Parade is a disturbing album full of grand musical compositions, devastating themes and intensely virtuosic musicianship. I may not like all Vangough has to say, but I certainly like the way they say it on Manikin Parade. Think of it as Faust done over for our modern age.

Rating: 4 Stars (Out of 5)

You can learn more about Vangough at www.myspace.com/officialvangough. You can purchase Manikin Parade as either a CD or download via CDBaby.com.

Review: Hotpress For Leopold - Hotpress For Leopold

Hotpress For Leopold - Hotpress For Leopold
2009, Hotpress For Leopold

Los Angeles, California’s Hotpress For Leopold is what happens when you give a composer free reign to create what he wants how he wants. Omar, whose last name appears to be a secret, has placed music in television and movies at a consistent pace over the years, but touches down on a composer’s dream on Hotpress For Leopold.

Hotpress For Leopold opens with Can't Stop The Bomb, a realistic if somewhat morbid take on the one potential end for humanity. This apocalyptic monologue is set against a wonderfully peppy composition that combines Classical and Pop/Rock elements. The result is wonderfully bizarre and sort of inspiring. Torturer (Rock Mix) finds Rock guitar in cohorts with Glockenspiel, Trombone, Flute and drums to create one of the most unique sounding Rock tunes of the year. The melody of Torturer will paste itself to the underside of your subconscious and haunt you for days. You Weren't Exactly A Saint is a song I've had on repeat for sometimes as much as an hour at a time. Elements of 1950's and 1960's Rock, Queen-style glam and a theatrical hubris combined with a melody that just won't quit make this perhaps one of the best songs of 2009.

Hotpress For Leopold slows things down a bit with an instrumental entitled Fish Market that sounds a lot like something the Trans Siberian Orchestra might come out with. Barn Burner takes more of a 1960's Folk-Rock tune but with modern elements. The arrangement is unique and bit peculiar but a highly enjoyable listen. Two Ships is a melancholy and vaguely mournful song about missed opportunities. The melody line and harmonies here are gorgeous. Omar has been great on vocals throughout the album, but particularly shines here. Don't Be Afraid is done as a 1980's New Wave Pop tune, and would likely have charted if it were released around 1985. Hotpress For Leopold closes out with Drinking Song; sounding like someone took circus music and superimposed it over a folk tune. The result is better than you might think, although quite busy and challenging if you dig into listening below the vocal line.

Hotpress For Leopold is practically indescribable. Atypical instrumentation and a menagerie of musical styles pushed together with the appropriate pressure produces a gem. Hotpress For Leopold may not be for everyone, but the album is done with such humor and glee that you can't help but catch the bug. With radio programming so compartmentalized it's hard to imagine where Hotpress For Leopold might fit in. College radio is always a possibility, as is NPR, but something this good has to find an outlet. Make sure you spend some time getting to know Hotpress For Leopold. There really is no one quite like them!

Rating: 4.5 Stars (Out of 5)

You can learn more about Hotpress For Leopold at www.myspace.com/hotpressforleopold or http://www.hotpressforleopold.com/. You can purchase a download of Hotpress For Leopold through iTunes or Amazon.com. No on-line sources for CD copies were noted.

Review: Suddyn - Dark Lights

Suddyn - Dark Lights
2009, Suddyn

Two brothers from Montauk, Long Island meet two Irish guys... what sounds like the beginning of a joke is actually the genesis of one of the hottest rock acts in Ireland that's building a significant buzz here in the US. With a sound that mixes elements of Queen, Radiohead and U2, Suddyn has racked up three Top-30 singles in Ireland as an Indie act and has already accumulated more than 150 adds in the States from their debut EP, Dark Lights. With a tremendous reputation for their live shows and a glam mentality that's too little seen in Rock N Roll these days, Suddyn shows no signs of slowing down.

Dark Lights opens with Holding Up The Backdrop, a maudlin Modern Rock tune with theatrical ambitions. This is probably great radio fodder but is a bit weak as an opening tune to the EP. Generation, on the other hand, has a darker, more intriguing tone that would probably serve better as a lead song (although not necessarily a lead single). The first two songs on Dark Light suggest a strongly melancholy songwriting style and both are focused heavily on the downside of a relationship. Side Arm opens like a traditional Glam Rock ballad, with vocalist Alan Steil accompanied only by piano. Side Arm focuses on a relationship gone bad, asking for a cessation of hostility and remembrance of what once was. It's a very well written tune and is likely a showstopper live. Dark Lights winds down to Closing Spaces, a song about running away rather than losing; you could almost call it an anthem for cowardice, where it's easier to run than to try. It's an interesting choice and seals Dark Lights in an envelope of melancholy.

Suddyn makes interesting choices on Dark Lights, investing their energy in the darker emotions of loss, regret and fear. It is perhaps music for the times, and hearkens back to a sound and style embraced by bands such as The Cure and The Smiths (although The Cure at least accompanied their lyrical pathos with irrepressible melodies). At the end of the day I'm ambivalent about Dark Lights. There are things here I like (the song construction, the vocalist, the instrumental work), and Side Arm is particularly well-written, but much of the EP just fell a bit flat for me. It's like the energy that Suddyn is so well known for in their live shows simply didn't carry over to the EP. That's unfortunate, because as dark and depressing as they may be, the songs here are actually quite good.

Rating: 3 Stars (Out of 5)

You can learn more about Suddyn at www.myspace.com/suddyn. You can purchase Dark Lights as a download through iTunes.

Review: Carmine Appice's Guitar Zeus: Conquering Heroes

Carmine Appice's Guitar Zeus: Conquering Heroes
2009, Fuel Label Group
Carmine Appice has legendary status in the world of Rock N Roll. A founding member of Vanilla Fudge, Cactus and Beck, Boggert & Appice; Appice has also played with KGB, Paul Stanley, Pink Floyd, Stanley Clarke, Ted Nugent, King Kobra, Blue Murder and Ozzy Osbourne. Appice also played in Rod Stewart's band for a time, co-writing Young Turks and Do Ya Think I'm Sexy. In 1995, Appice created the Guitar Zeus project, an opportunity to do one-off performances/recordings with some of the best guitarists in the world. A total of three Guitar Zeus albums were released during the 1990's, featuring most of the top guitarists of the previous 20 years. Conquering Heroes, released August 25, 2009, compiles the best of those performances on two CDs.

Fans of 1980's Rock will have a field day with Conquering Heroes. Take your pick: Mr. Big's Paul Gilbert is here, Neal Schon (Journey), Brian May (Queen), Jennifer Batten (Michael Jackson), Elliot Easton (The Cars), Mick Mars (Motley Crue), Warren DeMartini (RATT), Richie Sambora (Bon Jovi) and even Steven Seagal. If the 1970's are more your thing, you can choose between Steve Morse (Sea Level/Deep Purple), Ted Nugent, Denny Laine (Moody Blues/Wings) or Bruce Kulick (KISS, Meat Loaf). Highlights include the Progressive guitar wizardry of Yngwie J. Malmsteen (This Time Around), Wayne DeMartini (Perfect Day), Ted Nugent (Even Up The Score, Days Are Nights), Ty Tabor (Killing Time, Trippin' Again), Slash (Where You Belong), Kenji Kitajama (My Own Advice) and Mick Mars (Under The Moon And Stars).

Conquering Heroes is a great opportunity to catch some of the biggest guitar heroes of the past two generations doing what they do best, and occasionally offering some surprise turns in the process. This is some of Appice's finest work behind a drum kit, and each tune runs over with the vibrant energy of a new relationship. If you yearn for the days of the strutting guitar god, then Conquering Heroes is for you. Very well done.

Rating: 4 Stars (Out of 5)

You can learn more about Carmine Appice and the Guitar Zeus project at www.myspace.com/guitarzeus or http://www.carimappice.net/. You can purchase a copy of Conquering Heroes at Amazon.com.

Review: Entice - Let The Fire Come

Entice - Let The Fire Come
2009, Entice

Entice is three parts Orange County glam with a heaping helping of Rust Belt sensibility thrown in. Isaac Leland (vox/piano/guitar); Kevin Brunhofer (bass/backing vox) and Kevin Doyle (drums/backing vox/electronics) are all Southern California born and bred, while lead guitarist Tony Chopp made the trek all the way from Michigan, finding a musical home in Entice not long after landing in SoCal. It's a match made in Heaven for the quartet, whose smooth, heavy modern sound has been opening eyes locally and has started to generate some regional buzz. Entice's first full-length album, Let The Fire Come, mixes solid songwriting, a lot of technical skill and a slick commercial sense that's aided by producer Scott Silletta. Entice they will.

Entice kicks off the set with Take A Number, mixing Alt-Rock guitar and New Wave synth sounds to create a sonically pleasing and slightly out of the norm feel. Vocalist Leland adds an urgent air to the music, driving at each song with incessant energy and a sense that he's just holding onto the rails. Take A Number is a great Rock radio song with a chorus that will stick with you. Tell Me There's More is a big Rock ballad that shows shades of Freddie Mercury and Chris Martin; the song is great Pop-Radio ready material without a lot of long-term lasting power. Let's Just Go leads with piano once again, burnished by a melodic guitar lead that evolves into a mellow Pop/Rock arrangement. The energy isn't as high here as on other tracks and this wasn't really a personal favorite, but the melody is strong and still stick with some listeners on that basis alone.

My Kind Of Disaster is flat out a great Pop/Rock song. The melody and rhythm actively work to burn themselves in your mind, and Leland is the consummate Rock front man here. The Freddie Mercury comparisons are never more apropos than here, even the sound of his voice on the CD suggests at least of that sound is electronic. Let The Fire Come has an elegance about it that's a bit unusual in Rock N Roll, harking back to 1970's Progressive Rock with serious lyric overtones. The song is a thing of beauty, bolstered by some great falsetto vocal work by Leland. Soon brings an overtly dramatic sense to Let The Fire Come, doing a long, slow build in intensity that bespeaks of the intensity of emotion behind the song. This is the most moving composition on the album, driven by its own sense of inevitability. All This Is Free carries with it a similar sense of power, a slow-to-mid-tempo tune driven by a wall of guitar sound and enigmatic vocals before spiraling down into nothingness in its final seconds. Who's Got Your Money is an emotionally and sexually charged tune built on a driven guitar riff and a sense of anger that is palpable. Let The Fire Come closes out with You're Infected, a slightly stilted song that lives on the edge of sanity. The piano-driven arrangement is gorgeous with it's gothic feel and big harmonies.

Entice comes along in an era when they've never been less appreciated. This is the sort of Rock N Roll that's too esoteric to make Pop radio, too lyric to make it on Modern Rock Radio, and just too good to go unheard. In the late 1970's or early 1980's, Entice would have been superstars. Their sound today is better than a lot of major label artists, but it takes time and work to get the sort of attention Entice deserves. Let The Fire Come is a bit unfocused as an album, but the individual songs are great and there is a sort of vague cohesion that comes about along the way. I recommend Entice's Let The Fire Come as a great listen that holds a few surprises for those who listen carefully.

Rating: 3.5 Stars (Out of 5)

You can learn more about Entice at www.myspace.com/enticetheband. You can purchase a download of Let The Fire Come through iTunes, or you can name your price through Bandcamp. Contact Entice through their MySpace page for information regarding potential release on CD.

Review: SPiN – h-Factor EP

SPiN – h-Factor EP
2009, SPiN

Philadelphia-based rockers SPiN made a big splash in 2008 with their debut release, SPiN EP, which FMQB termed as “easily one of the surprises of the year”. SPiN’s track Home rose to #7 on the FMQB charts and garnered SPiN national attention. The band, which traces back to the collaboration of vocalist Eric Rothenheber (E) and keyboardist Jim Vacca in high school. Guitarist Henry Cieplinksi and drummer Lou Chudnofsky quickly jumped on board and SPiN was born. SPiN takes the melodic rock tendencies of 1970’s heavyweights Styx or Queen while maintaining a modern edge that makes them highly appealing across several age demographics. SPiN returns in 2009 with the 3-song h-Factor EP, a brief but exciting step forward for a band that’s already evolving into a more dynamic sound.

h-Factor opens with Hurt By You, a mid-tempo big-rock tune that sounds like what you might get if you cross Styx with Bon Jovi. The song is eminently marketable and has the potential to be a real hit for the band. This is the sort of tune that, if it gets the right break, could rule airwaves for a summer. Left Behind is a honey-coated power ballad that shows off E’s big front man pipes; he sounds like he born to front a rock band. The comparison to Bon Jovi is particularly apropos when it comes to E, who could pass for him vocally at times; and the guitar work in this song is eerily reminiscent of Brian May in the solo. Now it’s one thing to recall other artists with a sound, but Shine, a great song in itself, may have some real similarity issues. Don’t get me wrong, it’s a well-written song, but once you get to the chorus you’ll be certain it was lifted note-for-note from Lonestar’s Amazed. The words are different, and there is some variation, but it’s so close that it will be noticed and commented on endlessly.

SPiN takes a step forward into a more lush, melodic Classic Rock sound updated for today. The songwriting and performance on the h-Factor EP is top-notch, although the uncanny resemblance of Shine to Lonestar’s Amazed may end up being a huge distraction for the band. SPiN continues to surprise, and h-Factor is likely to expand their fan base significantly.

Rating: 4 Stars (Out of 5)

You can learn more about SPiN at http://www.spinrocks.com/ or www.myspace.com/spinrocks. A release date for h-Factor has yet to be announced. Keep checking SPiN’s website for additional information.

Review: Greg Capozzi - One More Day

Greg Capozzi - One More Day
2009, Vienna Records

Greg Capozzi returns this summer with his latest disc, One More Day. The songwriter, author and worship leader follows up 2006’s Show Me The Way and 2007’s The Mission with his most dynamic and vibrant album yet. Piano based Rock n Roll done up in classic rock robes is the order of the day on One More Day, with Capozzi challenging himself to hit new heights. The Christian message of the music is unmistakable and perhaps even more out front than in the past (if possible).

One More Day opens with The Beacon, an Elton-John-style 1970's classic rock number. The love song or testament to God is quite well done. Capozzi steps out of the CCM mold to deliver a quality song that would succeed in secular circles with different lyrics. Heart & Soul is a stab at a traditional pop ballad, but written to God. The song works but gets a bit too cliché. Wake The Dead is a sermon in song; the sort of song that will get a church on its collective feet. This worship song about spiritual warfare gets a bit too wordy at times but is otherwise very well written. I Just Wanna Go To Heaven finds Capozzi rising to new dramatic heights with an almost Freddie Mercury-style vocal (ala Who Wants To Live Forever). All of this is wrapped in lush, Classic Rock harmonies that will stick with you.

It's Not About You gets more of a Billy Joel/Elton John vibe to it; an anthemic rocker that will stick in your head. Your Grace Is Enough gets where Capozzi's been heading on One More Day; a soaring Arena Rock anthem complete with vocal triads, a big, layered guitar sound and a hook-filled chorus that will inspire you to sing along. Capozzi closes out the set with You Are My First Love, another power ballad with God as the focus. This works to some degree but just isn't as dynamic as the big rock tunes here.

One More Day is perhaps Greg Capozzi's most compelling work to date. It's clear that Capozzi pushed himself musically on this disc after solid but safe efforts on Show Me The Way and The Mission. The result is an album that is good enough to cross genres on the basis of the music, although the Christian content is so strong and in your face that it will probably always be classified as CCM. A great effort in any case.

Rating: 4 Stars (Out of 5)

You can learn more about Greg Capozzi at http://www.gregcapozziministries.com/ or www.myspace.com/gregcapozzi. You can purchase a copy of One More Day at www.cdbaby.com/gregcapozzi4.

Review: Sam Pollard - World Of Difference

Sam Pollard - World Of Difference
2009, Sam Pollard

Melbourne, Australia’s Sam Pollard has been banging on the keys since he was five years old. Raised in England but relocated to Oz, Pollard began to bloom early as a musician, and was soon writing his own songs. 2009 sees the release of Pollard’s sophomore CD, World Of Difference. In a word, the album is amazing.

World Of Difference is an album with multiple personalities. Sam Pollard is a guitar rocker, a piano rocker ala Ben Folds, and occasionally a ska rocker ala Sublime. The currents change on World Of Difference as often as does the wind here in Buffalo. The result is an amazingly fluid and enlightening listening experience. World Of Difference opens with Better Day, a catchy "things will get better" anthem that's quite enjoyable. What To Do What To Say is a great love song with an unusual arrangement that's a bit rough around the edges but perhaps all the more charming for that fact. Not your typical love ballad but still a big-time mix-tape pick. Blah Blah sinks into a fancy bit of post-Punk Bubblegum Pop with real commercial potential. On Better Way, Pollard sounds like Ben Folds got locked in a studio with Queen and the horn section from the classic, late-60's/early-70's Chicago albums. The melody here is strong but the arrangement is pure genius.

The Other Side brings in a bit of Funk and Ska to the Ben Folds style Piano Rocker. Pollard shifts to Fold's influences on Out, hitting on big harmonies and Billy/Elton-esque themes before offering a fun and frolicking interlude on Earplugs. Whoops marks the transition to big guitar rock album and is probably destined to be a concert favorite. Save Me is probably one of the weaker tracks on the album but is built on a distinctive guitar riff that was worth following through on. It's actually a pretty decent song but just doesn't live up to the level of much of the rest of the disc. You Know is catchy to the point of being virulent. It's not a terribly complicated song but is quirky enough to break the Pop/Rock radio wall; this one has real commercial potential. Pollard returns to the Foldsian Piano Rock style on World Of Difference for a somewhat quieter epilogue to an album that ends up being a real pleasant surprise.

Sam Pollard is the real deal, and World Of Difference is destined to be an album that a lot of people are going to want down the road. An album or two in the future this guy is going to break out big time and people will be clamoring for his early releases. The two distinct musical personalities of Pollard co-exist here nicely, although the Piano-based rock is generally the strong of the two. World Of Difference is an album to put on your listen-to/get list. It's that good.

Rating: 4 Stars (Out of 5)

You can learn more about Sam Pollard at http://www.sampollard.info/ or www.myspace.com/sampollardmusic. You can purchase World Of Difference as either a CD or download through CDBaby.

Review: The Dear Hunter - Act III: Life And Death

The Dear Hunter - Act III: Life And Death
2009, Triple Crown Records

Providence, Rhode Island's The Dear Hunter is back with their third album, Act III: Life And Death, in a continuing song cycle about a character called, simply, "the boy". "The boy" is now a man weaving his way through the realities of day-to-day life. Love and loss, growth and decay vie for his energies on the way to renewal before he cycle starts all over again. Act III was produced by front man Casey Crescenzo, with guitarist Andy Wildrick sharing engineering duties. The Dear Hunter has taken great care to flesh out each song on Act III: Life And Death so that it reaches its full potential. The winner is you, the listener.

Act III opens with Writing On A Wall, burnished in vocal harmonies that would bring a tear to Brian Wilson's eye. This sunny prologue with an almost funeral-march like undertone serves as an intro to In Cauda Venenum, an urgent rocker that's part Queen and part Latin Rock Opera. Vocalist Casey Crescenzo has a wonderful "big rock vocalist" sound, mixing power, emotion and just a bit of melodramatic grit for a sound that's as glam as the band's. The Tank is bombastic and filled with wonderfully dark harmonies in both vocals and instrumentation. Something here is eerily reminiscent of Pink Floyd's best work, but I can't quite put my finger on it. The Poison Woman has one of those melodies you won't be able to push out of your brain; a Queen-like aura surrounds the song from vocal line which sounds enough like Freddie Mercury to make you look twice and the harmonic construction.

Mustard Gas retains the highly theatrical element that makes Act III - Life And Death work so well. Freddie Mercury is the last singer I can recall who could literally let you hear his heart break in his voice, but Crescenzo has that same gift. The arrangement here is brutal, jaunty and beautiful in turns, covering all of the markers from madness to transcendence. Saved brings a strong lyric melody in full and lush mostly-acoustic arrangement that sounds like it could a transitional piece in a stage show. He Said He Had A Story is a wonderfully structured bit of personal chaos, detailing the loneliness and fear that sometimes drives human interaction. This is a precursor to This Beautiful Life, an ironic look at struggle to survive and get ahead in day-to-day life. Queen fans will love this; The Dear Hunter are extremely adept at resolutions that aren't. Just when you think the harmonies and instrumentation are building to a conclusion or release, The Dear Hunter leads you down a side passage you didn't see. When the resolution does finally comes its almost a surprise.

Go Get Your Gun is incredibly catchy, you'll find yourself tapping or even dancing along while the dark subtext of the song sinks in a true flash of cognitive dissonance. Go Get Your Gun is a true bit of ingenious songwriting. Son brings home the truth that death is part of the dance of life, all relayed in the form of a somber waltz. Contrast this with Father, an ethereally layered and lush composition built on layered chords and harmonies. Act III closes out with Life And Death, a song that could be the closing number to a musical. It starts out with Casey Crescenzo and piano before adding in the rest of the band in a rising flourish. The drama and release of the entire album are here in an understated yet powerful fashion.

The Dear Hunter sound like they grew up surrounded by the sounds of Queen, Pink Floyd and other concept-album artists of the late 1970's and 1980's. I have not heard their two prior releases, but Act III - Life And Death is a concept album that's too well-written to simply be a conception. Characters and their tales come to life on Act III, driving events in directions that their creator(s) may have not initially conceived, but in ways that are essential to their stories. The composition and arrangement throughout the album are consistently excellent. The only complaint I could find about Act III: Life And Death was around the 58 minute mark when the CD stopped spinning. Like a great movie, I just didn't want it to end. Act III: Life And Death is an absolute must-listen; a Wildy's World Certified Desert Island Disc. Don't miss it!

Rating: 5 Stars (Out of 5)

You can learn more about The Dear Hunter at www.myspace.com/thedearhunter or http://www.thedearhunter.com/. You can purchase a copy of Act III: Life And Death at Amazon.com or download it from iTunes.

Review: Zydecosis - Zydeco All Night

Zydecosis - Zydeco All Night
2009, Vinyl Records

Zydecosis is the musical brainchild of Houma, Louisiana's Steve Junot (guitar, vocals). He's joined by prodigious accordion player Chubby Carrier, and Lupe Valdeviez, Jr. (drums) with special guests Waylon Thibodeaux on fiddle and Tony Hall (Harry Connick Jr., the Neville Brothers, Dave Matthews, Emmylou Harris) on bass. Zydecosis plays classic rock standards in Zydeco style, and reminds listeners that Rock N Roll was meant to be fun. Zydeco All Night, the band's debut CD, is good old-fashioned party music. Covers they may be, but at their best Zydecosis restores the spark that these well-worn classics once had.

Zydeco All Night opens with Led Zeppelin's Whole Lotta Love. To be honest this was my least favorite track on the disc, mostly due to the verses (the chorus is very well done). Particularly in the first verse there's a feeling of separation between the vocalist and the instruments that's a bit jarring. Each segment is well done but they just don't seem to mix well on this track. Talk Dirty To Me (Poison) is a whole other matter; this one is a cross of early Elvis Presley (Don't Be Cruel) and Zydeco and works wonderfully well. Aerosmith fans may well bristle at the idea of Walk This Way being interpreted as a Zydeco tune, but once again the song sounds like it was never meant to be anything else. Satisfaction (Rolling Stones) is fairly close to the original in spite of the different instrumentation. Perhaps the biggest treat of the disc is Zydecosis' take on Queen's Fat Bottomed Girls. It helps that Queen themselves never forgot that Rock N Roll was fun and entertaining. This is a song that translates well into most any genre, but Zydecosis seems to have a special affection for this song that shines through in their performance.

Baba O'Reilly (The Who) sounds more like a country arrangement. Junot provides a great vocal but the arrangement lacks the life and energy elsewhere apparent on Zydeco All Night. I Want You To Want Me (Cheap Trick) is presented in a live track with a small but appreciate crowd listening in. The arrangement here just doesn't carry the urgency of the original, or that the song seems to demand. Musically it’s aesthetically pleasing but just lacks the oomph you might expect. Some Kind Of Wonderful (The Drifters) is presented in a sparse arrangement (bass, drums, harmony vocals), adding guitar on the second verse. It's not Zydeco, but is full of the joy that the song's lyrics imply. Your feet will be tapping and don't be surprised if you feel the urge to dance. Zydecosis closes out with Bad Company's Feel Like Making Love in a memorable rendition that might just be better than the original.

Zydeco All Night is an uneven but memorable effort. At the top of their game Zydecosis sounds like one of the best party rock bands there is. Steve Junot is a plus vocalist who's very composed and sings with a lot of heart. Chubby Carrier is inspired on the squeeze box and really drives the album. Most of the songs here are memorable. A few tracks are well done musically but lack the pizzazz or zest heard elsewhere. On the whole, Zydeco All Night is a very welcome project that I recommend.

Rating: 3.5 Stars (Out of 5)

You can learn more about Zydecosis at www.myspace.com/zydecosis or http://www.zydecosis.com/, where you can purchase a copy of Zydeco All Night. If it’s digital you want, you can download the album from iTunes.

Review: The Crazy Ivans - Go Back To Russia, Sucka

The Crazy Ivans – Go Back To Russia, Sucka
2009, The Crazy Ivans

Dallas, Texas is ground zero for The Crazy Ivans, a sextet with big dreams and even bigger questions about just who they are. Biographical information about the band is next to impossible to find, but we do know that the band grew out of the streets and clubs of Dallas in June, 2008. Named for a submarine maneuver used during the 20th century to help a submarine crew to see behind the submarine using sonar, The Crazy Ivans look back in mixing sounds ranging from classic, arena rock to punk, and look forward with an edge that is truly post-modern. Their debut EP, Go Back To Russia, Sucka, was released this year. Let’s check it out.

Go Back To Russia, Sucka opens with Frequency, a bit of hyperactive Grunge/Punk. Lead vocalist Kristen Lueken sounds a bit like Rush’s Geddy Lee here. The song is really a fun listen and is a great way to kick off the EP. Still Waters surprises with some arena rock style harmonies blended into what is just a great rock tune. Can’t Go Home takes things down a bit as a mid-tempo bad girl song. The energy just didn’t make it to the CD on this one, leaving it with a ho-hum feel that doesn’t match the “I’m going to be a bad girl” message. Wail Of The Banshee is everything you might expect for the title, and Lueken gets to belt for all she’s worth here. This is a bit rougher than the first few songs, and that sound carries over into the last track, Six Feet Above The Sheets. It’s here that you realize what a treat The Crazy Ivans must be to see live.

The Crazy Ivans get in some good shots on their first recording project together. Go Back To Russia, Sucka introduces us to a band that has an idea of where their sound is going but hasn’t really refined that sound yet. The result is an intriguing and somewhat varied EP that’s highly listenable and entertaining. Get your moshing shoes, your punker tee and your best snarl ready, The Crazy Ivans will make you dance.

Rating: 3 Stars (Out of 5)

You can learn more about The Crazy Ivans at http://www.thecrazyivans.com/ or www.myspace.com/yecrazyivans. You can purchase a copy of Go Back To Russia, Sucka at www.cdbaby.com/cd/crazyivans.

Review: Spinal Tap - Back From The Dead

Spinal Tap - Back From The Dead
2009, A2M

Spinal Tap is back (again?). David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest) and Derek Smalls (Harry Shearer) have re-recorded many of the classic songs from the soundtrack of This Is Spinal Tap and five new ones as well for Back From The Dead, released June 16, 2009. Spinal Tap resurrects itself every few years for brief periods, having started out as a TV skit in 1978 on ABC’s The TV Show. The actors have also appeared as The Folksmen in the movie A Mighty Wind. Guests on Back From The Dead include Phil Collen, Keith Emerson, John Mayer and Steve Vai. The two-disc set includes a DVD with commentary on each of the songs on the album, and is highly entertaining it its own right.

The album opens with Tonight I'm Gonna Rock You Tonight, which is either a typical bit of Glam braggadocio or the sort of song that will get your computer searched by various law enforcement agencies ("You're sweet but you're just four feet and you've still got your baby teeth / You're too young and I'm too well hung but tonight I'm gonna rock ya"). It's great Rock N Roll, and I don't think the intent of the song is bad, but if Sarah Palin hears it... Back From The Dead opens funereally with the rather obvious admonition "Give me reincarnation or give me death." The song is amusing, particularly for the faux Vincent Price voiceover in the breakdown section of the song. Junky Sex Farm brings the Funk high and hard. The horn arrangements are excellent, and the innuendo here is about as subtle as Darth Vader at an Edgar Cayce convention.

Spinal Tap breaks over into rampant novelty music with songs like Gimmie Some Money and (Listen to The) Flower People (Reggae Style), and continues right into Big Bottom. This last song sounds like Larry The Cable Guy tried to come up with a follow up to Queen's Fat Bottom Girls. Jazz Odyssey III sounds a lot like Pink Floyd (think Umma Gumma), and Stonehenge is a rather interesting paean to the Druids and the structure they left behind.

Spinal Tap has always been something of a joke, but it's a joke that has kept them laughing all the way to the bank over the years. The shtick on Back From The Dead is a bit tired, but the music is solid and Spinal Tap still knows how to entertain. These guys aren't as funny to me as they were when I was about 15, but that's okay. I hear they're still making 15-year olds in large quantities.

Rating: 3.5 Stars (Out of 5)

You can learn more about Spinal Tap from http://www.spinaltap.com/. If you found this post by accident, you can learn more about spinal taps from eMedcine. You can purchase a copy of Back From The Dead at Amazon.com, or download the album from iTunes.