Serapicos - Serapicos Is A Town

Serapicos – Serapicos Is A Town
2012, Gabriel Serapicos

San Paolo, Brazil native Gabriel Serapicos claims Portuguese as his native language, but chooses to sing in English to feel more connected to the spirits of rock and roll.  This connection is at times raw and comically out of synch at times on his debut album, Serapicos Is A Town, but they playful heart of the album is ultimately its redeeming factor.

Serapicos gets things rolling with the message, incessant garage rock of “There Is No Satisfaction”.  This retro-post-modern answer to the Rolling Stones is built more from a bemused observationalism than any real sense of angst or disappointment.  You can almost picture the knowing smirk Serapicos is hiding as he sings.  “Blow Me” features the same sort of self-satisfied frat boy smugness and fails to be allegorical in any way.  It’s an entertaining look into the barely post-adolescent male mind with quasi 1970’s Lloyd-Webber flair.  The band comes back to Earth with fairly mundane numbers such as “Artists Are Crazy” and the shambling “Pee Pee Jazz”. 

With “Lucky Numbers”, Serapicos descend into a troubled They Might Be Giants parallel universe where bright airy melodies and whimsical story songs have been replaced by dark, minor key explorations and Smith’s inspired tales of woe.  Jumping into a sound once used by Jan and Dean, Serapicos get completed retro on “Inspire Me”. This fun rocker will get your feet moving, and the messy garage style of play creates a fun environment.  Things roll back downhill for “The Sexiest Girl In The World”.  This amounts to a teen boy drooling over a girl in song without any sense of art or tact.  That being said, there is an elemental cuteness to the song.  “Balloon” finds Serapicos practicing a bit more tact in their wooing techniques, but not much.  The vocal is enough to sink this one, as Serapicos has only a passing relationship with the key.

“The Egg Song” is a catchy little piece of post-pop fluff that one presumes is ironic.  The song is very entertaining, with a frenetic energy that’s impossible to ignore.  This is one tune where it’s best not to think too much about what you’re listening to.  “When Your Husband’s Away” is banal and droning; a difficult listen at best.  "I Just Want To Be Your Friend" has a Doors style groove, but fails on pedantic and repetitive lyrics. "Love Pills" and "Russian Roulettes and Persian Carpets" are equally mundane, although the latter captures a bit of that They Might Be Giants air found earlier on the album. "Sexy Julia" is an unsubtle yet entertaining ode to an object of affection/desire. There is an abstract musicality encompassed in the catchy rock arrangement, and the song is danceable in spite of its slightly messy presentation. Serapicos says goodnight with the title track, a stumbling and inexplicably sad number that is messily thrown together and performed without conviction.

Going it alone on a first recording can be wonderfully freeing as an artist.  It also leaves those who create exposed by the weakness of their own worse natures.  There is a clear influence of 1960’s rock and roll on Serapicos Is A Town, and the utter joy that emanates from music of that era is evident.  Serapicos even manages to create some of the same manic glee, both lyrically and musically, that drove the best of They Might Be Giants’ work.  At the same time, Serapicos struggles against his own sense of cuteness, crossing over at times into wildly banal or even downright unlistenable moments.  There is a lot of good to be mined from Serapicos Is A Town.  A first class producer could reign in Serapicos’ more self-immolating songwriting tendencies and help him find the pure pop gems he seeks here.

Rating:           3 Stars (Out of 5)

Learn more at www.serapicosisatown.com. 

Sly Stone - I'm Back! Family & Friends

Sly Stone - I'm Back! Family & Friends

2011, Cleopatra Records

August 16, 2011 is the day that Sly Stone makes his grand return.  I'm Back! Family & Friends is Stone's first new album since 1982, and finds him collaborating with the likes of Ray Manzarek (The Doors); Ann Wilson (Heart), Johnny Winter, Jeff Beck and Bootsy Collins. 

With little new to offer, I'm Back! Family & Friends relies on some of Stone's most cherished songs.  "Dance To The Music" gets updated with the subtle help of Ray Manzarek, capturing the catchy, danceable magic of Stone's heyday.  "Everyday People" is solid.  Ann Wilson's guest vocal is solid, but the part she takes up is fairly mundane.  "Family Affair" gets a solid update, while Carmine Appice & Ernie Watts lend their instrumental expertise to the inspired but messy "Thank You (Falettinme Be Mice Elf Agin)."  Jeff Beck sits in on "(I Want To Take You) Higher", providing some flashy fretwork in the process.  Bootsy Collins adds some style to "Hot Fun In The Summertime" without greatly changing the flavor of the original.

The rest of the collection features mixes of "Dance To The Music" (2), "Family Affair" and "Thank You", as well as one-offs "Plain Jane", "Get Away" and "His Eye Is On The Sparrow", making the collection seem as it is, a retread of past hits updated for today.

I'm Back! Family & Friends is likely to appeal to long time Sly Stone fans, but other than the names of those sitting in with Stone and some new dance mixes, has little to offer to anyone who already has the original recordings.  Sly Stone's voice certainly isn't what it once was, and I'm Back! Family & Friends plays like a cynical effort by Cleopatra records to extract cash by repackaging old songs in new clothes.  The songs are familiar and loved by many, but available too many other places to plunk your money down for this collection.

Rating: 2 Stars (Out of 5)

Learn more about Sly Stone at www.slystonemusic.com or www.slystone.com.  I'm Back! Family & Friends drops on August 16, 2011.  You can pre-order the album through Amazon.com on CD, Vinyl, or as a Download.

Dexter Freebish – Shine On

Dexter Freebish – Shine On
2010, Copper Moon Records

Dexter Freebish rocketed into the national consciousness in 1999, winning the John Lennon Songwriting Contest with a number entitled “Leaving Town”.  The win led to a recording contract with Capitol Records and a top-40 single from their debut album Life Of Saturdays.  The relationship with Capital Records didn’t last long due to creative differences, but going independent never stopped the Austin’s quartet’s flirtations with success.  Two additional albums have seen Dexter Freebish land multiple songs on MTV’s The Real World, as well as placement in several video games and the movie Superman Returns, as well as racking up a second John Lennon Songwriting Competition Award in 2004.  After a six year hiatus, Dexter Freebish returned in October of 2010 with Shine On, their best work to date.

Shine On opens with “Wide Awake”, a highly catchy piece of pure pop music with a chorus that will ring in your ears.  This is the sort of tune that will have people running to Google to find out who sings it.  “Save The Last Dance” is in the same vein; highly danceable pop/rock with great harmonies.  The energy here is amazing.  “Do You Want To” shows off distinctive harmonies ala Yes or 1980’s Asia in a tune vaguely reminiscent of classic Rolling Stones.  “Made Some Friends Along The Way” shows a solid U2 influence in a soul searching tune full of big airs in a wide open arrangement.  “When The Sun Shines” maintains Dexter Freebish’s big pop momentum before moving into the album’s apex, “Shine On”.  “Shine On” could be either a love song or a song about making dreams come true; either interpretation works, but ultimately it’s a great pop song.  “Beautiful Girl” is a low key pop love song whose greatest weapon is the subtlety and touch in the songwriting. 

Dexter Freebish returns in fine style with “Shine On”; their most well rounded and complete work to date.  You don’t win the John Lennon songwriting contest twice for no reason, but Dexter Freebish continues their tradition of writing stand out songs.  Even if the industry at large and pop radio don’t pay attention, this turns out to be one of the more satisfying pop/rock albums of the past year.

Rating: 4 Stars (Out of 5)

Learn more about Dexter Freebish at www.dexterfreebish.com or www.myspace.com/dexterfreebish.  Shine On is available digitally from Amazon.com and iTunes.

The Rakehells - Please Yourself: Or The Devil Himself

The Rakehells - Please Yourself: Or The Devil Himself
2010, Rock Park Records

With members from both sides of the Atlantic, The Rakehells have developed a special relationship built on familiar building blocks: The Sex Pistols, The Rolling Stones, The Clash, The Ramones and The Stooges. Bringing their lascivious musical presence to New York's club circuit over the past five years, The Rakehells decided it was time to document their sound. With the help of producer Mitchell Rackin, The Rakehells recorded Please Yourself: Or The Devil Himself, live in Studio. The album is set for release on September 21, 2010 and captures the frenetic live energy that has made the band a crowd favorite.

The Rakehells drive their points home with fifteen sub-three minute compositions in a performance that smack familiar to the frenetic sound of The Ramones but with the deliberate chutzpah of the The Rolling Stones. "Ready Fire Aim" is the vibrant lead track that suggests the impulsive nature that runs throughout the album. "Souls For Sale" is a driven little rocker built around an infectious guitar riff that starts heavy and never lets up with rapid-fire lyrics and an arrangement that's quick, dirty and to the point. "Mode Of The Mountain" is a straight-ahead barrel ride of the song; the Rakehells offer no quarter in the pure punk diatribe. "Charles Malay" is pure punk energy but retails a serious pop song aesthetic that will have it playing in your mind well after the CD has stopped spinning.

"Meat On A Stick" maintains the breakneck pace before The Rakehells lapse into the Le Singe, sounding more than a bit like the Talking Heads. "Capital" keeps the same energy but in a more Ramones-inspired rampage. Things get a bit hairy thereafter, with The Rakehells flying further and further from the melodic core with songs such as "Sexton Blake", "Prophets & Profiteers" and the Rolling Stones-styled "Cool Your Boots". The Rakehells close with "Poison Pen Letter", clocking in at nearly four minutes; easily the longest track on the album. Imagine a sort of British Invasion/grunge mix and you'll have an idea where The Rakehells are coming from here. It's an intriguing offering, perhaps a sign of where The Rakehells might head when they eventually tire of the two-minute song form. A brief untitled track follows that plays with sampling and overdubs, but appears to be more afterthought than anything else.

The Rakehells certainly have the energy and vitality to make a live show worthwhile. On Please Yourself: Or The Devil Himself, The Rakehells show a propensity for straight-ahead punk madness with high energy and indifference to public safety. It's a style that will play well in New York and London and to select pockets of music fans around the world. There are hints of a deeper musicality and ambitiousness that may allow room for growth into a more balance songwriting style that will sustain The Rakehells long past the vigor of their youth. For now they're a lot of fun, with great potential on the horizon.

Rating: 3 Stars (Out of 5)

Learn more about The Rakehells at http://www.therakehellsnyc.com/ or www.myspace.com/therakehells. Please Yourself: Or The Devil Himself drops on September 21, 2010.  You can pre-order the digital version from Amazon.com.

The Loomers - Reeling Down A Road

The Loomers - Reeling Down A Road
2010, Sidewinder Publishing

Boston’s The Loomers have been making music for sixteen years now, performing the songs of singer/songwriter/vocalist Jon Svetkey. Over the years, The Loomers have won the Jury Prize at Berklee School Of Music’s Battle Of The Executive Bands, as well as having their music appear on MTV, Dr. Demento, PBS and NBC, and have even served as Ellis Paul’s backing band. Playing a brand of acoustic/electric rock that combines elements of 1960’s rock, 1980’s pop and new folk, wrapped around incessant little melodies that demand you listen. All of this is apparent on The Loomers’ 5th album, Reeling Down A Road.

Reeling Down A Road opens with the energetic rocker "Another Desperate Night". Get your dancing shoes, because the Loomers start out with a number that makes you want to move. "Dust It Off" is sort of a love song for re-capturing lost dreams. You know that instrument in the attic? The one you were going to do big things with? The Loomers admonish you to "Dust It Off", and remind you that it's not too late. It's a great tune in a catchy Americana arrangement. "Not Over You" is an honest song of sorrow; not their best songwriting but it gets major points for being real. The Loomers explore the other side of the coin on "Still Falling", an infectious little tune about a love that gets deeper every day.

Tom Petty fans will love the sound of "Hit The Ground Running", as it sounds like it could have come out of his own recording sessions. It's a very catchy tune with southern rock/Americana flavor. The Loomers get back to the good time, party rock-n-roll with "Breaking Out Tonight", a highly danceable number that's sure to get your feet moving. On "Paul McCartney Got It Right", The Loomers take to task all those disaffected rock-n-rollers who fill their songs with their own angst and inner demons, calling for a little more fun and a little less emotional weight in rock music. Ironic in that the song is full of angst over this. "Pity Party" is the lament of an older rock-n-roller; an amusing anecdote from someone who used to close down bars and now struggles to make it through Leno.

The Loomers' wit returns on "Ready To Rip" with one of the great cheesy opening lines in rock-n-roll, "I'm like a tight pair of trousers I'm ready to rip / That's what Crazy Eddie said to Larry The Lip". Unfortunately the rest of the song doesn't quite live up to the opening. Climbing from unrealized snark to touching emotion, The Loomers launch into "As Long As There's Forever", a love song to a daughter and a son. It's a bit awkward at times lyrically, but the emotional reality of the song more than makes up for it. In "Nobody Goes To The River" we hear a lament of the lack of faith in the world that implies that in these difficult times we need it more than ever. The song has a vague gospel feel, but is not so much a religious observation as a sociological one. The Loomers close with the album's title track. "Reeling Down The Road" is a retrospective about a life lived as a musician, a human being, a band and perhaps even as a couple. There are many layers here, wrapped up in an arrangement that's highly enjoyable and a dynamic closer to an album that seeks to celebrate life rather than dwell on its inconsistencies and heartaches.

The Loomers have a universal appeal that isn't so much commercial as comfortable. The sound on Reeling Down A Road is great for a live show or a night out, but perhaps even better for a sunny afternoon on the back deck with a couple of friends and a couple of cold beers. The songwriting is mature in construction if a bit lyrically primitive at times, but always honest. The Loomers make solid music you'll respect yourself for in the morning.

Rating: 3 Stars (Out of 5)

Learn more about The Loomers at http://www.theloomers.com/ or www.myspace.com/theloomers. Reeling Down A Road is available as either a CD or Download from CDBaby. Digital copies are also available through iTunes.

Review: Silk Tongue Gamblers - We're In Business [EP]

Silk Tongue Gamblers - We're In Business [EP]
2010, Silk Tongue Gamblers (UK)

London's Silk Tongue Gamblers are ripping up the Indie scene across the pond, and it won't be long before their fresh sound carries them to America's shores. Silk Tongue Gamblers have developed quickly, experiencing that preternatural "click" that sometimes happens when a group comes together. Formed in 2009, they've already built a significant local following and garnered high praise from the likes of Producer Ron Nevison (The Rolling Stones, Led Zeppelin, The Who) and Rachael Williams (Up All Night Music). Talent aside, what drives Silk Tongue Gamblers is the creative tensions. Vocalist Varun Atrey is heavily influenced by folks such as Nine Inch Nails, Tool and Alice In Chains, whereas Felipe Neves (guitars) is more drawn to Hendrix, Tom Waits and The Rolling Stones. Add in the chops of drummer Ollie Hipkin and bassist Equival Junior and you have an incredibly dynamic creative force. Silk Tongue Gamblers released their debut EP before turning a year old. We're In Business will serves as a more-than-adequate introduction.

We're In Business gets started with Is This The Time?, an upbeat, guitar-driven rocker with some Blues in its lineage. There's an edgy pop sensibility here that might do well in non-traditional Rock radio formats. Everyday Forever is either a daydream set to music or an accounting of the change in perspective brought on by new love. It's a decent song, although the blunt repetition in the chorus can become a bit nerve wracking. Nothing Left To Say trolls slightly heavier waters, with guitar and bass building a big, dark rock sound steeped in the Blues. Felipe Neves chips in with excellent guitar chops, and vocalist Varun Atrey is likeable enough, if a bit reserved. We're In Business wraps up with Run Away, a funky Blues-Rock gem that may be the most commercially viable track on the EP. A great, memorable chorus and a bass line that brings the song to life make this a keeper.

A four track EP such as We're In Business is what you might call a small sample. It's difficult to judge the overall sound of a band in just four songs, but you can start to get a real picture. Silk Tongue Gamblers have an edgy Rock sound with serious Blues roots that is bound to gain them some real attention. If commercial radio were a bit more willing to take risks, Silk Tongue Gamblers would be a perfect ad. Based on the EP, Silk Tongue Gamblers are a break or two from the big stage, as their sound and approach are a music marketer or Music Director's dream. Give the Silk Tongue Gamblers a bit of your time and see what they might talk you into.

Rating: 3.5 Stars (Out of 5)

You can learn more about Silk Tongue Gamblers at www.myspace.com/silktonguegamblers or http://www.silktonguegamblers.com/. You can purchase a copy of We’re In Business through LastFM.com.

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: Every Boy - The Last Lala's

Every Boy - The Last Lala's
2009, Every Boy

New York City-based Every Boy has a lot of musical friends. His debut album, The Last Lala's features Ben Peeler (The Wallflowers), Tom Freund (Ben Harper), Brian LeBarton (Beck) and Adam Topal (Jack Johnson). Produced by Grammy winner John Holbrook (Pink Floyd, The Rolling Stones, Natalie Merchant, The Isley Brothers, Fountains Of Wayne) and Freund, The Last Lala's mixes a Zen approach with an eclectic Pop sensibility in its best moments.

Every Boy opens with Life Is For Living, an interesting tune about the important things in life. Every Boy's vocal delivery is somewhere between Peter Gabriel and James Blunt here. The most enjoyable song on the disc, Im2b, is highly catchy with a Beatles-inspired sound. Im2b has real potential as a single; infectious enough to catch hold on the radio with the right break. Every Boy treads the path of relationship insecurity on Would You Still Love Me?; exploring all of the things he could do or become and asking whether his beloved would still love him. The vocal line gets lazy here, with Every Boy sliding around notes like they were theoretical concepts. Chinese Wine sounds like a Frat house rant, falling prey to its own repetition. Every Boy makes a positive turn on Keep On Keeping On, displaying strong Pop sensibility and a sing-a-long chorus. Lyrically there are some awkward moments, but the song is so catchy you won't care. Every Boy says goodnight with Unturn Every Stone, a ploddingly melodic tune that perhaps takes a bit too long to get where its going but isn't bad for all that.

Every Boy hits a couple of high moments on The Last Lala's, but spends much of the album mired in mediocre energy and an easy going approach that fails to reach out to the listener. It's clear that Every Boy has the talent to write and play great music, but too often on The Last Lala's easy choices beget easy music, resulting in songs that slip away from the mind easily once they're done. Take what you can from The Last Lala's and see what Every Boy comes up with next.

Rating: 2.5 Stars (Out of 5)

You can learn more about Every Boy at http://www.everyboy.net/ or www.myspace.com/everyboyrocks. You can purchase The Last Lala's as either a CD or Download from Amazon.com.

Review: Westerly - This Lonesome Town

Westerly - This Lonesome Town

2009, Westerly Music LLC

Westerly is a band, appropriately enough, with roots in the Western United States. Finding a common meeting point in Seattle, Joshua Schramm (vox/guitar/harmonica); Kory Nagler (vox/guitars/harmonica/keys); Bob Hyde (bass) and Andrew Squire (drums/percussion) have created a blend of Country, Rock and Folk that’s as accessible to fans of 60’s and 70’s icons Buffalo Springfield, Bob Dylan and Tom Petty as it is to fans of Ryan Adams, Wilco and Drive-By Truckers. Driven by ambivalence between life on the road and putting down roots, Westerly bridges the gap between genres by being all and none at the same time. Westerly’s sophomore album, This Lonesome Town, was released in March of 2009.

This Lonesome Town opens with Pour The Wine, a gentle and overly generic country tune. The sound here is pleasant but the song doesn't make much of an impression. Every Word has a California Country sound reminiscent of The Eagles. It's a decent tune in a fairly predictable arrangement. This Lonesome Town is a pleasant composition and well arranged, although the lyrics are highly repetitive. The song has a quiet sway that gives it a lullaby-like feel. Westerly breaks out with the high energy Third Wheel, perhaps the best song on the disc. This song could go straight to Country radio as-is. Memphis and Holding On plod their way through to Weightless, a moderate tempo Country/Rocker with an infectious nature and some excellent vocal harmonies. Black Hat and Slow Trail follow a somnolent path, musically. Before You Came picks up the energy a bit in what might be the best song on the disc. Westerly performs and inspired rendition of The Rolling Stones' Wild Horses before closing out with 30 Seconds, the most ambitious composition on the disc.

Westerly makes a decent impression with This Lonesome Town. Instrumentally the band is excellent. From a songwriting perspective there are highs and lows, but generally the results are above average. This Lonesome Town is a pleasant listen that grows at the intersection of Rock, Country and Folk. There are a couple of weeds in the grass, but on the whole it's a good listen.

Rating: 3 Stars (Out of 5)

You can learn more about Westerly at http://www.westerlymusic.com/ or www.myspace.com/westerlyseattle. You can purchase This Lonesome Town directly from the band as either a CD or download, where the download option allows you to choose your own price.

Review: The Bludlows – Americaville

The Bludlows – Americaville
2009, The Bludlows

The Bludlows rose to pre-eminence in the Boston Rock N Roll scene with their mix of Rock, Punk and even Americana. With influences including The Rolling Stones, Tool, Pavement, Nirvana, Bob Dylan and Captain Beefheart, it is safe to expect the unexpected. The Bludlows’ latest CD, Americaville, finds the band testing out all sorts of musical waters.

Americaville opens with the frenetic guitars of the title track; you'll be looking for a pit from the opening chords. The bass is the star of this song, driving the action with a vibrant and inventive bass line that varies the sound. The song is loosely political, lamenting the decline of America both internally and in the eyes of the world. ATG is Post-Punk Americana that sounds like a cross between 54-40 and the Tragically Hip. The song takes a shot at the greed of corporate executives in a veiled and mildly humorous fashion. On Layin' Down, The Bludlows hit the Tragically Hip sound-alike button once again in one of the more enjoyable tracks on the disc. Blockade is very catchy, built on a guitar riff that runs 8 bars and acts almost as a counter-melody. The Bludlows close out Americaville with Point Of Reference, a seven minute-plus musical odyssey that borders on the psychedelic Noize popular in the late-1960's.

Americaville plays like a soundtrack to a world in decline, joining together post-Punk sensibilities with sonic dissonance and the occasional big hook that binds it all together. The Bludlows come across as a sonically talented but stylistically ambivalent band that play what they want, caution be damned. Americaville is an interesting listen that suggests there are more involved and divergent tunes yet to be born in the heart of Boston. Check them out and stick around for the ride. It could be interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Bludlows at their homepage or on MySpace. You can purchase Americaville as either a CD or download at CDBaby.

Review: Foggy Nocean - Why Do Cows Have To Taste So Good?

Foggy Nocean – Why Do Cows Have To Taste So Good?
2009, Ron Mancini

Rock and Roll is dead. Long live Rock N Roll. Check that, Mancini’s still here.

Ron Mancini is the heart and soul of Foggy Nocean, the last bastion of anti-pop heroes on the Rock N Roll scene. Cranston, Rhode Island is a bit out-of-the way, and don’t be surprised if you don’t hear about it again (unless you live in Rhode Island), but it has the seeds of musical revolution in Foggy Nocean. Mancini rails against the music industry on his website, bemoaning the loss of creativity and music as a force for change in the world. Foggy Nocean certainly don’t fit the current mold of Poplets. Taking his cue from classic rockers such as The Doors, Grateful Dead, Bob Dylan, The Rolling Stones and The Kinks, Mancini constructs entire albums as organic creatures, rather than highly vetted, highly focus-group studied pop confections designed for maximum impact. Working in a wicked sense of humor and a quirky eye for the world, Foggy Nocean’s Why Do Cows Have To Taste So Good? is politically, fashionably and aerodynamically incorrect (thank you Berkely Breathed), but that sucker can fly.

The title track, Why Do Cows Have To Taste So Good?, sounds like Randy Newman sitting in on vocals with They Might Be Giants. If that doesn’t intrigue I suggest you go back and read the previous line until it does. It’s a love song about all the things a cow can become (generally involuntarily). Shattered Image in an upbeat parable for looking to yourself for problems before blaming others. The song is well produced and yet maintains a Lo-Fi, garage aura to it that’s charming. You could picture this as the response to an argument with a significant after the fact. I should say about Mancini’s voice that it isn’t a perfect voice; it works really well with some songs/styles and occasionally doesn’t with others. All Those Things is one of the songs where it doesn’t quite work, which is unfortunate as the song is excellent from a musical perspective. Hurting Me sounds a bit like The Who’s Magic Bus on the verses and has a classic punk chorus. The vocals here are amiably off key and the song itself is very catchy. The piano and guitar work here is absolutely stellar.

Lay Your Hands and 13 Colonies both find Foggy Nocean sounding like Elvis Costello of the late 1980’s. Lay Your Hands is the best songwriting on the disc, coming across with a distinctive 1980’s Pop sound while retaining that Lo-Fi grandeur evident elsewhere on the album. 13 Colonies is a bit of fractured US History delivered with great energy and the panache of a real performer. Capn A Ship is upbeat and highly energetic, a young boy’s dream that’s never fully outgrown. You Don’t Know How Much I Care and Steppin Stone were both enjoyable, and The Foreskin is an absolutely unforgettable closer; a plea to remain whole that most any man who’s been circumcised can find sympathy with. The song perhaps isn’t quite as funny as intended, but should do well with the adolescent crowd.

Foggy Nocean practices one the greatest tenets of Punk Rock; “Here’s our music. If you don’t like it, go XXXX yourself”. If you don’t believe me, go read the bio of Foggy Noceans website. Ron Mancini is a guy who makes music he likes; he hopes you like it too, but he won’t be heartbroken if you don’t. Like most musicians who do what they do because their hearts can’t bear to do anything else, Mancini would still be making music if there was no hope of money or notoriety involved. Those things are nice, desired, sometimes needed; but they are not essential reasons why he or other artists like him make music. Why Do Cows Have To Taste So Good? is an experience. It’s a Rock album in the truest sense of the phrase. Not every song here will work for everyone, but there’s something here for most anyone who might listen. Foggy Nocean isn’t like ever to take the airwaves by storm, but they’ll provide you with some great entertainment, 47 minutes at a time.

Rating: 3 Stars (Out of 5)

You can learn more about Foggy Nocean at http://www.fnmmusic.com/ or www.myspace.com/foggynocean. You can purchase a copy of Why Do Cows Have To Taste So Good? at www.cdbaby.com/cd/foggynocean.

Review: Hudson Rail Company - Hudson Rail Company

Hudson Rail Company - Hudson Rail Company
2008, HRC Inc.

Hudson Rail Company is a neo-Classic Rock Quartet based in Jersey City, New Jersey. Raised on bands such as Led Zeppelin and The Rolling Stones, Hudson Rail Company marches to a similar beat to these bands and modern classicists Black Rebel Motorcycle Club. Their self-titled EP, released in 2008, is a solid collection of classic rock influenced songs sure to satisfy both Classic Rock and Modern Rock fans.

Hudson Rail Company opens with City By The Ocean, a straight up classic rock song with a groovin' bass line. You'll find yourself dancing and singing along to this highly commercial offering. Take Their Toll sounds a bit like a stripped down Live, with LV Leigh Wilson sounding a lot like Ed Kowalczyk Mystery Madonna finds Hudson Rail Company in a similar mold, although the guitar work here reminds me a bit of Lowest Of The Low (but still with Ed Kowalczyk on vocals. Wisdom sounds very radio ready, with some great guitar work by Arun Viswnathan. Superstar Tonight brings a bit of the rock star glam feel to a modern rock arrangement in a song that seems like it should be a concert favorite. Hudson Rail Company saves the best for last on Friend Or Lover.

Hudson Rail Company brings a classic rock feel into the modern era with songs built on steady, classic rhythms and lots of guitar. Hudson Rail Company is a solid Rock N Roll EP, definitely worth a listen.

Rating: 3 Stars (Out of 5)

You can learn more about Hudson Rail Company at http://www.hudsonrailcompany.com/ or www.myspace.com/hudsonrailcompany. You can purchase a copy of Hudson Rail Company at www.cdbaby.com/cd/hudsonrailcompany2. Hudson Rail Company was recently chosen to open for Kevin Costner & Modern West on Friday, May 8, 2009 at The Starland Ballroom in Sayreville, New Jersey. We have one pair of tickets to give away. Please email wildyscontests@gmail.com with a subject line of Hudson Rail Company contest. Entries will be accepted through April 30, 2009. One winner will be chosen at random.

Review: Canadian Invasion - Three Cheers For The Invisible Hand

Canadian Invasion – Three Cheers For The Invisible Hand
2009, Old Janx Spirit Music

Philadelphia’s Canadian Invasion comes calling with their latest release, Three Cheers For The Invisible Hand. Smartly sardonic lyrics mix with mellow-rock arrangements to create a subdued listening environment. Lead vocalist Andy Canadian and gang have traveled the East Coast of the US for the past couple of years, sharing the stage with the likes of David Bowie, The Rolling Stones and Lou Reed. Their songs strive to reflect the lifelessness of suburban living, where the soul has been ripped quietly away by separating residents from both the action of the city and the vibrancy of nature.

Anyone who publishes under the name Old Janx Spirit Music gets points for chutzpah but can they carry the name? Canadian Invasion has perhaps met their objectives too well. Lyrically strong, the music is not without energy, but reflects the hum-drum angst of suburban living all too well, forming a sort of musical monotone that stretches across the CD. The sound is pleasant and works for the individual songs here, but the lack of significant sonic variation across the CD makes for a listening experience more memorable for what it’s not than what it is. Even the occasional moment of sonic violence or turmoil would spice this up and provide some ebb and flow to the sound; they are not to be found.

Nevertheless, highlights abound. Tomorrow and Tomorrow is a great musical arrangement, though subdued. Americana/Country accents flavor this song nicely. One Hand Claps The Other is the closest thing to a real change of pace, featuring s new wave flavor and a vibrant energy level, but still produced in that very subdued, repressed sound that dominates the album. Neighbors, the final track, is the absolute class of the album. It gives hope that whatever might come next from Canadian Invasion might provide more spark.

Canadian Invasion is a very talented band, that much is clear. Three Cheers For The Invisible Hand has solid to plus songwriting and a couple of truly inspired moments, but falls victim to a uniformity of sound that makes it seem less than it is. It seems as if Canadian Invasion was going for a specific sound, with continuity, for the album. If so, they outdid themselves. It’s a pleasant listen, but it will be too easy to tune out because of that consistency.

Rating: 2.5 Stars (Out of 5)

You can learn more about Canadian Invasion at http://www.canadianinvasion.org/. You can purchase a copy of Three Cheers For The Invisible Hand at Amazon.com.

Review: Cush + The Intelligent Designers - Happy Accidents

Cush + The Intelligent Designers
2008, OtherWorld Distractions

It’s time to introduce you to Cush. You’ve met Cush before even if you don’t remember or recognize him. And no, he’s not the first round draft pick Bob Sugar stole from Jerry Maguire. Cush carries with him a significant musical history. From his early days as founder of cult favorite The Wigs to his stint as a member of Interscope’s Fisher, Vush has shared the stage with artists such as Sarah McLachlan, Sinead O’Connor, Bon Jovi and David Grey. Cush also contributed backing vocals to Ringo Starr’s Vertical Man album alongside the likes of Sir Paul McCartney, Steven Tyler, Joe Walsh and Daniel Lanois (to name a few). Younger fans may know Cush’s voice as the one behind the “Mighty Morphin Power Rangers” theme songs, but he’s contributed material to soundtracks such as Dawson’s Creek, Melrose Place, 7th Heaven, Great Expectations and Cradle 2 The Grave. Cush’s latest project, with The Intelligent Designers, Happy Accidents, features fine Brit-Pop inspired Rock N Roll that will have fans of all generations buzzing.

Happy Accidents opens with the funk-laden Little Black Dress. Little Black Dress is the song that might have occurred if Lennon/McCartney had ever sat down with Jagger/Richards to pen a song together. Won’t Let It Rain has a definite Beatles vibe in a sonically gorgeous arrangement that makes the best use of harmonies and a soaring chorus. Sorry I Ruined Your Life brings some punk energy into the mix. This is the catchiest tune on the album and its absolutely unforgettable. You’ll be humming this one for days.

Sweet Doomed Angel starts out on a dark but hooky note and turns into a wonderful pop confection with Beach Boys style harmonies and a big chorus. Beautiful Something is a sweet waltz looking at loves lost. Happy Accidents closes out with The Way You Need and the surprising Dreaming (Black) In White. Cush recasts DeBussey’s Claire De Lune as a gothic pop ballad. I have to admit that Claire De Lune is probably my favorite classical composition, and hearing it in this fashion was a bit disturbing on first listen, but Cush + The Intelligent Designers make excellent use of the classic in a way that enhances it without detracting from the original.

Cush’s voice is familiar right from the outset of Happy Accidents. There are shades of Beatles past and present in there, but who he sounds most like is Styx’ Lawrence Gowan. This becomes most evident on Dreaming (Black) In White, but once you’ve identified the connection you’ll recognize it in every song here. Happy Accidents is an inspired album full of solidly original compositions based in familiar musical landscapes. Cush + The Intelligent Designers have enough pop gold running through their musical veins to really make something of this, and enough rough edges to make them interesting to listen to. Happy Accidents is a keeper.

Rating: 4 Stars (Out of 5)

You can learn more about Cush + The Intelligent Designers at www.myspace.com/cushla. Copies of Happy Accidents are available from www.cdbaby.com/cd/cushatid.

Be sure to check out Cush’s podcast, Cush: Things I Say at http://www.cushrocks.com/.

Review: Tamara Hey - Miserably Happy

Tamara Hey - Miserably Happy
2008, Miserably Happy Records

Tamara Hey is a product of New York City. All the humor, intelligence, sarcasm and soul searching that goes with being a New Yorker is reflected perfectly on her latest album, Miserably Happy. Her press materials site influences such as The Beatles, Fleetwood Mac, The Rolling Stones, Suzanne Vega and Aimee Mann, and you can hear shades of each within her songwriting, but Tamara Hey would appear to have a musical progenitor in Christine Lavin. Hey is a bit edgier than Lavin perhaps, but carries that same sense of intelligent wit and mischief that infuses the best of Lavin's material. The subtle essence of wit is ever-presented on Hey's most recent album, Miserably Happy. No subject is devoid of opportunity in Hey's capable hands.

Miserably Happy opens with You Wear Me Out, a reflection on a boyfriend whose amorous intent is based more in his own insecurities than affection. The arrangement is peppy pop sweetness that encapsulates the quiet angst that runs through the song. Round Peg is contrasts the distaste or discomfort some people feel with regards to an acquaintance or friend with a real weight issue, and yet it contrasts this feeling against the feelings of inadequacy engendered by the struggle for the perfect body. The narrator ends up deciding the less than perfect body and fun life are more desirable than the pursuit of elusive perfection. Umbrella is a humorous song that residents of any large pedestrian metropolis will understand. It's cute and understatedly funny.

Somebody's Girl reflects an almost neurotic sense of hope or knowledge that the perfect person it out there somewhere. It's a sweet song with a great pop arrangement. Isabelle incorporates subtly beautiful Spanish guitar licks into a song about how friends sometimes change once they get married or seriously involved. It's as much a lamentation of friendship lost as it is a passive or internal exhortation for the friend to see the truth about her choice. Drive is probably my favorite song on the record, nailing the angry urgency with which New Yorkers live every single day. Drive is about the need to get away from time to time to refresh yourself, and is delivered with a wink of wit. Other highlights include David #3, Long Dog Day and Miserably Happy. Tamara Hey closes out with October Sun, a musical painting of images and understandings drawn from the sun in decline. This is the prettiest and most poignant song on Miserably Happy.

Tamara Hey is quite the songwriter. Intelligent and funny lyrics back up against strong country/folk/rock arrangements that serve as perfect vehicles for Hey's sweet voice. Tamara Hey is just quirky enough to be instantly memorable/recognizable. Once you've heard her sing you'll always know Hey's voice right away. That is a quality most singers would die for. Add to that the obvious talent and you have quite a package. Miserably Happy is well-written and well-performed, and an indication that Tamara Hey should be a viable force in folk and rock for some time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Tamara Hey at www.myspace.com/tamarahey or http://www.tamarahey.com/, where you can purchase a copy of Miserably Happy. You can also pick up a copy at www.cdbaby.com/cd/tamaramusic3.

Review: Medicine Hat - Blood And Bone

Medicine Hat - Blood And Bone

2008, Deep Fried Coelacanth

Chicago's Medicine Hat just can't stop writing and recording. Their latest release, 2008's Blood and Bone is their fourth album in under five years, and by far their most refined effort to date. Staying well within the bounds of the Classic and Southern Rock sounds they've always been steeped in, Medicine Hat attempts to provide a true 1970's era album experience. Broken into "sides" like an old school vinyl album, Medicine Hat provides both an electric and an acoustic set full on inspired songwriting and performing.

Blood And Bone opens with Take The Bait, a classic rock gem that is reminiscent of early Rolling Stones material. Take The Bait has a rough, unfinished quality to it that recalls Jagger & Richards at the top of their game. Emmett Till incorporate guitar work that would make Gary Richrath blush with glee, while Mudhen is a classic Rhythm & Blues rocker that you won't be able to get out of your head. South 55 shows off the country side of Medicine Hat, with a classic ballad that would have been entirely at home on 1970's country radio.
Twelve Lights opens the acoustic "side" of Blood And Bone with a sound that's reminiscent of Crazy Horse. Old Country Home is another classic country sounding song that probably deserves some serious commercial attention. Diary Of A Northern Soldier is a tremendous story song that you're not likely to forget any time soon. Cast as a country song, this could easily become a folk standard. Other highlights include Blood And Bone and El Dorado Suite.

Medicine Hat is not your typical, hard-working mid-western band. Lead vocalist and primary songwriter Demi Buckley is a special talent, with an ability to craft images and stories into a three-and-a-half minute country/rock song then many writers could put into a manuscript. His rough and tumble delivery combined with the incredibly tight play of Medicine Hat is just what the doctor ordered. Blood And Bone is a great album, although in some ways it may have been a better bet to split the album into two EPs. Nevertheless, you can't deny the talent here. Blood And Bone is very much a worthwhile listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about Medicine Hat at http://www.medicinehatband.net/. You can purchase a copy of Blood And Bone at www.cdbaby.com/cd/medicineh4. Please note to be careful with the web addresses, as there is also a band named Medicine Hat in the UK with a very similar web address.