Blast From The Past: Denise Culhane - Love And Understating

Denise Culhane – Love and Understating
2000, Denise Culhane

There are classic Indie albums that everyone has heard of, and then there are the ones that never got on many people’s radar.  These usually happen because a really talented artist in a small local scene never gets the right breaks, or life circumstances gets in the way of taking things to the next level, or any one of another hundred possible reasons.  Today, as part of a new monthly series spotlighting classic Indie albums, I would like to introduce you to Denise Culhane. 

Culhane was part of a burgeoning music scene in the Albany, New York area in the late ‘90’s and early-aughts, along with folks like Mother Judge, Marcus Ruggiero, Matt Smith, Rosanne Raneri, The Figgs, Sirsy and seminal children’s act The Zucchini Brothers.  Culhane came to prominence on a locally produced television series Sounding Board, featuring live local music circa 1999 on television station WRGB.  Culhane was then promoting her debut album, Love and Understating.

Love and Understating was a low-fi affair cut on a shoestring budget.  Culhane herself acknowledges that there is more she would have done with the songs if the money had been there, but the sound is part of the charm of the album.  Love and Understating is an intimate affair, like a house concert among good friends.  The album begins with “Garden Party”, an intentionally cliché-filled song of partially unrequited love.  Culhane engages in wordplay both brilliant and mundane to capture the ambivalence of a relationship where only one party is invested.  The muted pop/rock arrangement fits the lyrics, and Culhane’s voice is a perfect match – invoking emotion and pure craft for an imperfectly perfect performance.  “Conflict of Interest” is driven by a powerful pop/rock arrangement and may well be the epilogue to “Garden Party”.  Culhane is getting ready to take flight here, and is beating him to the punch in the process.  This low-key, lo-fi effort is a very effective and emotive piece of song craft.  “Fly” takes a more introspective route, ruminating on love, loss, indecision and first steps.  It’s one of the deeper bits of songwriting on the album, and is a quiet gem.

Culhane is just getting warmed up, however.  The next three tunes are among some of the finest songwriting you’ll find in Indie rock from that era.  “Mirror Mirror” could be the anthem for every Indie artist of any era, a self-portrait of an artist trying to make it and dealing with her own self-doubt.  The upbeat pop arrangement will get stuck in your head and stay there.  “Torpid Heart” wins the award for best use of the word ‘torpid’ in a pop song ever.  That aside, this is a brilliant piece of songwriting about trying to pick your way through the minefields of love.  The lyrical constructs here are a bit awkward at times, but it is an honest awkwardness born of the uncertainty of love, and serves to make the song all the more genuine and charming.  The highlight of the album is “Just Hold My Hand”, which might possibly be the best pop song released in the mid-1990’s.  It’s a simple appeal for love and affection that is universal in its appeal and the song is an absolute piece of ear candy. 

“Rain Falls” is another universally themed number dealing with the inherent tendency for things to go wrong in relationships.  It’s well written, and Culhane’s voice is in top form here.  “Awry” is an utterly gorgeous vocal performance, with Culhane showing off the breadth and range of her sound.  “Outcast” is an energetic rocker that could use a bit more fleshing out but is well written.  The concept of relationships as a minefield recurs.  Culhane closes things out with “Run Away”, a solid closer that’s a bit on the downside, but aurally appealing nonetheless.

Denise Culhane’s Love And Understating is a brilliant effort from a then young songwriter trying to understand the ins and outs of relationships.  The songwriting is intelligent with a rough hewn but full of a distinctive melodic pop sensibility.  With the right budget and the right producer, this album would have launched Culhane into the stratosphere of popular music.  As it is, Love And Understating is an overlooked gem.

Rating: 4 Stars (Out of 5)

Learn more at www.myspace.com/deniseculhane.  

Baby Brother - Strange Things

Baby Brother - Strange Things
2011, Four Jerks In A Basement

Baby Brother comes from all over the map, whether it be stylistically or in terms of personnel.  The Brooklyn-based quartet effortlessly blends rock, rhythm and blues and country styles and sounds on their debut album, Strange Things.  Led by vocalist and lead guitarist Jeremy Beazlie, Baby Brother gets down and dirty in their pit-jumping, face-melting glory while alternating between the raw, unadorned anger of punk rock and the classy, articulate pop of the late 1950’s and early 1960’s. 

Strange Things opens with "Texas", a messy piece of Low-Fi rock n roll reminiscent of The Figgs or a cross between Violent Femmes and George Thorogood.  Vocalist Jeremy Beazlie performs with a distinctive conversational style.  "Abuse" is a high energy rocker full of crunchy guitar and a killer melody.  The result is highly danceable and entertaining.  "Go For It" is a predictable post-punk anthem about getting the most out of life.  The song is an entertaining listen, but the lyrics are so cliché you might find yourself able to sing along on first listen.  "Strange Things", on the other hand, is a catchy rocker with a brilliant chorus.  The blend of Low-Fi sound, a distinctive pop sensibility and an almost 1950's pop style should make this song extremely appealing in the licensing world. 

"Sad Kid" is a mildly catchy number that may not take with some listeners, but acts as a solid buffer between "Strange Things" and the eclectic early pop style of "Til The Phone Died".  The melody here is key, and the song stands out as one of the best pieces of songwriting on Strange Things.  "Long List" finds Baby Brother going mainstream in style without kicking the garage sound to the curb.  The effort here is a solid one, but doesn't sound as fresh or honest as much of the rest of the album.  Baby Brother does show a distinctive ear for melody throughout the album, a fact that is highlighted here.  Baby Brother compensates with "Crisis Issis", a raging song for the lovelorn with a relentless, repetitive chorus. 

"Lived On A Farm" gets back to the early rock n roll style in a repetitive number that's well constructed but could use more than one thought to drive it.  "David" is a solid story song with a mild early rock feel.  Beazlie is outstanding on the vocal line; his best performance on the album, and his guitar work stands out here as well, dressed up in a deliciously distorted and crunchy sound.  Baby Brother channels a bit of Big Rude Jake on "Ghost Train Robbers", a punkabilly number full of ghostly antagonists and bad luck.  The tune is very entertaining, and would be a lot of fun live.  Baby Brother closes with a recklessly played cover of "Rodeo Song".  It's surprising this song isn't covered more often in the (post)punk genre(s), but Baby Brother makes the most of every word in an over-the-top performance.

Baby Brother manages to be both surly and appealing on Strange Things, strutting with a punk attitude but showing a surprising melodic pop sensibility in spite of their Low-Fi garage rock sound.  If Brian Setzer had gravitated more to the punk rock sound he might have sounded quite a bit like Baby Brother.  Strange Things is a rough starting point for band likely to do some pretty interesting things in the future.

Rating: 3 Stars (Out of 5)

Learn more about Baby Brother at www.myspace.com/babybrotherbaby.  Strange Things is available digitally from Amazon.com and iTunes.

The Russians - Crashing The Party

The Russians - Crashing The Party
2010, Moontower Records

Boston's Scott Janovitz is back with The Russians, his collection of musical friends and accomplices who have released two critically acclaimed EPs in the past few years. Having played with Graham Parker, The Figgs and Dragstrip Courage over the years (among others), Janovitz has quite the cadre of friends to call upon for The Russians' first full-length album, Crashing The Party. Sitting in are Mike Gent (The Figgs, Death Vessel), Pete Caldes (Juliana Hatfield), Russell Chudnofsky (Lori McKenna) and Rob Dulaney (Sarah Borges), among many, helping Janovitz create the sort of lush and quirky pop album that blends influences as divergent as The Beatles, Pink Floyd, The Flaming Lips and Phil Spector.

Janovitz is the center of the album, with a voice as comfortable as an old pair of sneakers. He slips into the melodies like a second skin, and The Russians coalesce around him like a halo. Crashing The Party opens with "The Record's Over", a tuneful and melancholic song that mixes the melodic genius of The Beatles and the earthy undertones of Americana. Solid harmonies accent the depressed feel of the song. "Not So Loud" is peppy but dark, with a bass line that carries you along while Janovitz massages a bruised and beaten ego in melodic and slightly neurotic terms. It's a fun listen. "Sober And Un-Upsetting" features the melodic elements of Brit-Pop, wrapping them in a catchy and dark arrangement and an interesting mix of sounds.

"Crashing The Party" approaches instant classic status with a rock-a-bye feel that's almost a cadence. Janovitz has crafted a melody you'll want to sing along to in a song of longing so palpable it hurts. "You Know" is a low-key love song that's a bit formulaic but has a strong enough melody to carry it. The Lo-Fi melodies make the sound of this tune. The Russians take us on a cross-country flight ala Tim Burton in "The Ground Below", a catchy but bizarre recounting of a flight that you'll be hitting replay on again and again. "Measure Out Our Space" is one of those tunes you might have to listen to a few times to get; a song where the more you listen the more you peel back the layers to reveal the beauty inside. Mellow and stripped down, "Measure Out Our Space" has a melody line that grabs you slowly over time. The Russians take a turn for classic rock n roll with "Make It Easy", showing garage tendencies on the most addicting song on the album. Crashing The Party bows with "Lovesickholiday", a melancholic mellow rocker with a 1950's/1960's feel and a melody that stays with you.

Knowing some of the personnel on Crashing The Party and not being previously familiar with the band I wasn't sure to expect from The Russians. To be honest, I didn't take to the album on first listen, but Crashing The Party is one of those projects that call you back; the more you listen to it the more you'll like it. Scott Janovitz is a convincing if slightly surprising front man, and the cast of characters he's surrounded himself with are among the best least-known working musicians around. Crashing The Party mixes old and new in quietly dazzling fashion; and is likely to appear on a score of Best of 2010 lists.

Rating: 4.5 Stars (Out of 5)

Learn more about The Russians at http://www.therussianembassy.com/ or www.myspace.com/therussians.  Crashing The Party dropped July 13, 2010, but hasn't made it to internet outlets yet.  Keep checking back to The Russians' webpages for availability. 

Review: Courage Pills - Ancient Headache

Courage Pills - Ancient Headache
2009, Courage Pills

West Chester, Pennsylvania’s The Courage Pills garnered critical praise from us for their 2008 self-titled debut EP last year, and have been haunting clubs on the Philadelphia scene for a good three years now. Not ones to rest on their laurels, the band returned in late 2009 with their sophomore album, Ancient Headache. With a Post-Punk pastiche that has both singer-songwriter and Pop veins running through it, Ancient Headache finds the Courage Pills stepping forward into a brave new world and developing their sound.

Ancient Headache opens with Swan Song, a rough-around-the-scenes acoustic/electric alt-Rocker that is surprisingly catchy. Swan Song is a great opener. Memory is a bit off the beaten track but is built around a wonderful hook in the chorus. The song is catchy enough to stay with you and novel enough to real get in your brain and haunt you for days. The Courage Pills kick over a healthy dose of Post-Punk rock on Cemetary Song; another surprisingly catchy tune that might make you want to dance just a little bit. Open Our Eyes finds the Courage Pills hitting a bit of Pop/Rock gold. The chorus is infectious, the song danceable and the musicianship is top-notch.

Courage Pills get a bit darker and less accessible on Broke and Dumptruck. The energy level of the band remains high, but the distinctive Pop sense that runs through the first four songs on Ancient Headache takes a breather mid-album, returning on the wonderfully earthy Way Down. This is the sort of song where you just close your eyes and surrender yourself to the gentle swaying rhythm. The melody is brilliant even if the lyrics might be a bit disturbing for some at times. Ancient Headache closes out with the dark and moody Get Out And Play, a mildly catchy yet disaffected tune that seems like it would be a hoot done live. There's a lot of room for instrumental mischief in this tune, some of which is realized on the album, but the jam possibilities are endless on-stage.

Ancient Headache is intriguing; the Courage Pills takes risks and move forward from their 2008 self-titled EP. Most of the material on Ancient Headache ranges from interesting to compelling, and a real Pop sensibility wends its way through the album. There are a couple of rough spots, but it all works out in the end.

Rating: 4 Stars (Out of 5)

You can learn more about The Courage Pills at http://www.thecouragepills.com/ or www.myspace.com/thecouragepills. You can purchase Ancient Headache on CD from CDBaby.com, or you can download the album from iTunes.

Review: John Brodeur - Get Through

John Brodeur - Get Through
2009, Mr. Duck Records

John Brodeur has been a fixture of the Albany, NY rock and pop scene since before his 2000 debut album, Tiger Pop, started getting serious notice from outlets such as Performing Songwriter, PopMatters.com and Indie-Music.com. While based these days in New York City, Brodeur has a laid-back writing approach wrapped around edgy melodies and deeply ensconced pop sensibility. Brodeur's latest album, Get Through, started out as a band project with his previous cohorts, The Suggestions. That band essentially fell away in the process of writing and Brodeur soldiered on with the help of Pete Donnelly (The Figgs, Candy Butchers) and Ryan Barnum (Strange Faces). The end result is Brodeur's most well-rounded effort to date.

Get Through opens with Make A Change, a positive song about taking the reins of your life and making things happen. Make A Change is upbeat without being over-the-top and has a great pop hook buried in the middle. I'm Bad is a big, fuzzy rock song built on a great melody, pleasing melodies and the self-story of a bad boyfriend. Wit and a self-deprecating charm are the heart and soul of I'm Bad, which has some real potential as a single. Brodeur slows things down a bit with Flame, a moody and almost mournful look at a friend who's out of control. Shades of Elvis Costello can be heard here.

Security suggests a sound that could take Brodeur a long way. There's a Classic Rock element here in the harmonies, and the Costello-esque songwriting is evident, but Brodeur just shines through his songs, even on CD. Security is a musical rocket that soars, and Brodeur just has a Je-ne-sais-quoi that makes you want to hit repeat again and again. Silence, Please takes on a relationship doomed by the emotional instability of both participants; each living in fear of upsetting the other and dooming themselves to eternal misery instead of setting each other free. Listeners may hear echoes of Ben Folds here with the strong piano presence in the arrangement and the neurotic, self-destructive relationship archetype, but Brodeur's creation is wonderfully unique and his own.

Fight dances around the roots of the Grunge sound propagated by Nirvana and deals with addiction in very blunt terms. Meltdown is a straight-up down-tempo rock tune that begs to be let loose into the Americana/Country arrangement it wants to be become. Hints of this appear, particularly in the guitar part, but Brodeur keeps things on the guitar side of the scale with passages and phrasing that almost suggest late-stage Beatles compositions. Love And Misery is a great rock tune, complete with compelling harmonies and a melody line that just won't quit. Of all the songs on Get Through, Love And Misery is the one I would pick for a lead single, and with the right break you'd be hearing it coast to coast all summer long. Get Through recalls Folds again, in a surreal and melancholic song about surviving. The album closes out with Home. Home is a dedication of sorts; with home not being a physical place but the person to whom he has cleaved. The arrangement is the most bare on the album (Brodeur and guitar) and is quite engaging. The song itself has a slightly neurotic sense driven by the narrator but is a great listen.
John Brodeur is one of those artists that you might not get on the first listen, but the more you listen the more drawn in you become. He's kind of like that kid from high school who seems a bit odd or stand-offish when you first meet him but then it quickly becomes apparent he's the most interesting kid in the class. Get Through is a wonderfully varied collection of songs that range through Rock, Grunge and Alternative styles without ever losing a distinctive pop appeal. Brodeur writes intelligently, conveying thoughts and stories in a personal style that make the listener feel a part of the show. He might take a listen or two to dig into, because his style isn't exactly the flavor of the month, but careful listening brings great rewards. Brodeur is capable of writing big Pop/Rock songs (see Love And Misery), but is more likely to be the sort of artist who builds a stellar catalog for a not-so-small and appreciative fan base over time. For now, Get Through is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Brodeur at www.johnbrodeur.com or www.myspace.com/johnbrodeur. You can purchase a copy of Get Through at www.cdbaby.com/cd/brodeur2, or you can download it from iTunes. Be on the lookout also for the debut from John Brodeur's new band, Maggie Mayday, due out in the Fall of 2009.

Review: Broadcast Live - Boomerang Metropolis

Broadcast Live - Boomerang Metropolis
2009, Rebel Army Media

The Albany, New York region has long held a relatively un-noticed well of musical talent (perhaps due to its relative proximity to New York City). Artists such as Sirsy, Rosanne Raneri, Denise Culhane, Matt Smith, The Figgs, The McKrells, Katie Haverly, Eric Margan & The Red Lions, Peter Davis, John Nazarenko and Jeff Halstead have been consigned to trying to go outside of the area to gain significant attention or accepting the local market as something of a boundary. Some have done well for themselves; The Figgs have been together for close to twenty years now with multiple releases to their name and an extended gig as Graham Parker's touring band. Sirsy has made a long and successful career as a highly sought after Indie Act on the Eastern seaboard with significant critical acclaim. Matt Smith left for New York City and wound up as a highly sought after session guitarist. Nazarenko and Halstead still make music and double as educators. The McKrells are still together although not in their original and most dynamic form. Peter Davis continues to teach and play music running the gamut from Dixieland Jazz to country, folk and Rock N Roll. Denise Culhane had her career interrupted by health issues but continues to make music. Even some solo musicians have caught on, with two Saratoga Springs natives catching on with big bands. Dorian Crozier spent some time as touring drummer for The Rembrandts and has recorded with numerous artists, while Scott Underwood is the drummer for Train.

The point of all of this is that there is a wealth of under-noticed talent in the Albany region. I am certain there are several I have forgotten or overlooked as I haven't lived in the area in a few years, but the area continues to have a vibrant music scene. The latest band to make some big noise out of this small market is Broadcast Live, with their heavy dose of social commentary and atypical mix of Hip-Hop, Rock and Pop. Lead singer and resident urban poet laureate Victorio Reyes lists influences that range from KRS-One and Dead Prez to Bob Dylan, Bob Marley and Tracey Chapman. Even some of his raps have a very musical quality to them; spoken word with the cadences of a singer. The band is filled out by Gaetano Vaccaro (guitar, drums, and bass); Seantel Chamberlain (drums, bass, guitar, vox) and Jory Leanza-Carey (drums, guitar, vox). Suffice it to say that a live show could be interesting with members playing musical instruments both during and between songs.

To the music; Broadcast Live is as groundbreaking and unique in sound as Gym Class Heroes were when they first appeared on the scene, but with a wider range of sounds and more powerful social slant. Boomerang Metropolis opens with the title track, which compares landlords and bankers to drug dealers, implying that all trap people into need based relationships that working folks can't afford but can't afford to get out of. This song appears to be about the current "gentrification" trend in New York City where landlords buy cheaper properties in poorer neighborhoods and start the process of raising rents. This has the net effect of pushing the working class, the poor and a disproportionate number of minorities to furthest edges of the City and beyond. This isn't happening just in New York, but New York might be the place where it is most apparent.

One Metaphor sounds like a mellow pop song from the outset, an autobiographical soliloquy about the cathartic effect of writing for Victorio Reyes. It is a reminder that communication can be the most important means to overcoming adversity and moving beyond wherever you are. Spoken Vision is a musical call for unity that is a highly infectious listen. This song is radio-ready and could be a potential hit. A Bronx Tale is about doing the right thing, the best way you can, regardless of the cards you've been dealt. It's a sweet musical arrangement with some great piano work and a strong melody in the chorus. Commonplace attacks the mindset of prejudice, excusing no one in the process. Perhaps the biggest surprise of the album is the thrash-punk mayhem of Harry Potter Is Black, which closes out with something that sounds like Dobby The House Elf beat-boxing. Pledge Of Allegiance is done Body Count style, turning from the ideological roots of the US to an ironic statement of the darker hours of our collective history. Other highlights include the singer/songwriter style of New Orleans, Semiautomatic and Willie Lynch.

Broadcast Live takes you down to street level; not the glorified Gangsta culture version, but the real people trying to live day-to-day street. With songs yearning and entreating for social justice, Broadcast Live initiates a new-sounding hybrid of Hip-Hop, Pop, Latin and Rock that is bound to garner critical attention and praise. The music is organic from start to finish; the songs alive with real people and real places. You can't help but caught up in Boomerang Metropolis. Well done.

Rating: 4 Stars (Out of 5)

You can learn more about Broadcast Live at http://www.broadcastlive.org/ or www.myspace.com/broadcastlive. You can purchase a copy of Boomerang Metropolis at www.cdbaby.com/cd/boomerangmetropolis3.

The Boneless Children Foundation – Stars For Anyone
2007, The Boneless Children Foundation

San Francisco’s The Boneless Children Foundation requires your attention. Compared to bands such as The Talking Heads, The Police, The Who and even The Dead Milkmen, The Boneless Children Foundation make a mark on their listeners right away. Their latest CD, Stars For Anyone was released in 2007.

Stars For Anyone opens with the title track, an upbeat garage rockers with a bit of pop mystique. The Boneless Children Foundation remind me significantly of the early days of The Figgs (when they were a quartet). Carl Sagan is an amusing and befuddling work of rough edged alt-rock. No pithy nuances here, just a vague inference between the number of the stars in the universe, the number of cars on the freeway and love. Relax is a fun song that has a bit of the rock anthem aura to it, while People Care About Their Cars descends into good-natured, silly chaos. Other highlights include My Little Book, Get Up, King and Will Never Come True.

The Boneless Children Foundation offers an unusual mix of raw, unvarnished rock and flashes of distinct musicality. The sound is rough, closer to what you might hear live than to your usual over-produced studio recording, but Stars For Anyone charms with its raw energy and enthusiasm. Call it post-punk alternative, but don’t get too attached to the label. There’s flashes of Weezer in the sense of humor found here. It’s an enjoyable listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Boneless Children Foundation at http://www.bonelesschildren.com/. You can purchase a copy of Stars For Anyone at www.cdbaby.com/cd/bonelesschildren2.

Review: The Courage Pills - The Courage Pills

The Courage Pills – The Courage Pills
2008, The Courage Pills

West Chester, Pennsylvania natives The Courage Pills have the right idea. Formed just two years ago, they already haunt the clubs and venues of Philadelphia with a sound that is steeped in punk rock energy and a pop-hook driven musicality that’s bound to make the most cynical critic look up and take notice. The Courage Pills are no slouches as musicians either, with lead guitarist Michael Schramm featured in the March 2007 issue of Guitar Player magazine. Despite the recent loss of their original drummer, The Courage Pills continue to weave great pop/post-punk tunes in the same vein as Graham Parker’s former backup band, The Figgs. The Courage Pills sent along a seven-song demo entitled The Courage Pills. Let’s take a look.

The Courage Pills open with Way Down, an Americana flavored tune with an underlying punk sensitivity. The song is incredibly catchy with a bit of a garage sound to it (as if it were a live recording, which it may be). Open Our Eyes is a live recording, and is another incredibly catchy creature. The Courage Pills ride a big guitar sound and an almost Jim Morrison style vocal here to a bit of pop/punk nirvana. The melody will not escape you, recurring in your brain until you want to stomp on it. It’s infectious and a lot of fun. Cut Back The Lawn heads for Americana territory again with a surprisingly smooth sound offset by electronic voice box supporting organic vocals. The arrangement here is wonderfully smooth and high brow and shows The Courage Pills broadening their range of sound.

Cemetery Song has a manic, almost new-wave sound to it. This is perhaps the song with the greatest commercial potential on the demo; although the vocal/guitar mix is very muddy and should be clarified (vocals and guitar are at the exact same level, meaning the vocals become lost at times). Cemetery Song carries the same sense of pop hook wonderment mixed with the frenetic punk energy that underlies much of what The Courage Pills play, and is thoroughly infectious. Dumptruck is a little more driven, sounding a bit like early Figgs material. Swan Song is a glorious romp with big guitars and an almost Pearl Jam style pomposity. For alt-rock fans, Rabbiteater is the song you come to the Courage Pills for. Easily their most complex composition from the material here, Rabbiteater shows a band jumping to the next level artistically. This particular recording is rough, but shows the distinct potential of the band as a future entity.

The Courage Pills are a young band at a crossroads. The first real personnel change is just behind them, and they show the restless tendencies of a band just starting to take wings and find its true voice. It’s generally within the next year that they’ll either explode into the band they’ll become or implode into a mass of good intentions and lost potential. If I were a betting man I’d pick the former. The Courage Pills mix pop and punk in a style reminiscent of Ben Folds, and there is a real hunger for great Rock N Roll out there right now. The Courage Pills could be part of the answer.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Courage Pills at www.myspace.com/thecouragepills or http://www.thecouragepills.com/. It does not appear that The Courage Pills have any CDs or MP3s for sale online at this time. You can stream six of the songs discussed in this review on their MySpace page, although Rabbiteater is curiously not available. Perhaps if you message them through the MySpace account they’ll sell you a copy of The Courage Pills.