2Cellos - Thunderstruck (AC/DC cover)

I am not even quite sure if this is legal, but it certainly is fun...

Anthrax - Anthems

Anthrax – Anthems
2013, Megaforce Records

Anthrax might just be the most storied metal band to ever come out of New York City.  Contemporaries of Slayer, Megadeth and Metallica, Anthrax have been a heavy metal force over the past 30+ years.  With ten albums and numerous world tours under their belt, entire generations of metal musicians owe at least part of their musical lineage to Anthrax.  The events of the past few years have been surprising, not the least of which is the return of long time front man Joey Belladonna to the fold.  Anthrax is currently preparing for their eleventh album, to be released later in 2013.  For now the band has released an eight song EP entitled Anthems, comprised of six classic rock covers and one original song in two versions.

The idea of a cover project seems anathema to a band like Anthrax, but in the end it turns out to be a rather pleasant surprise.  The EP kicks off with a vibrant cover of “Anthem” (Rush).  Anthrax treats the song with reverence, kicking it out with energy, power and a distinctive precision that does the original proud.  “T.N.T. (AC/DC)” is a rollicking good time.  Things get a bit surreal with the cover of “Smokin’” (Boston), with Anthrax quite possibly bettering the original.  And while they don’t quite surpass the originators of “Keep On Runnin’” (Journey), they certainly give the current formulation of that band a run for their money.  Cheap Trick’s “Big Eyes” gets a wonderfully dark reading, and “Jailbreak” (Thin Lizzy) is full of all the mischief of the original.  Anthrax winds up with the original tune “Crawl” in its original form as well as in the “Orc Remix”.  The song is well-crafted and much more pop oriented than previous work by Anthrax, but positions them well for a potentially huge comeback in 2013.

Anthrax is surprisingly supple and graceful in covering some major hits of 1970’s and early 1980’s rock and roll.  Anthems is a cover project, but Anthrax manages to show off some very subtle yet distinctive changes in musical personality.  Anthems is thoroughly enjoyable, and Joey Belladonna’s voice is amazing.  Hard core fans of the band might be a bit taken aback by the sound of Anthems, but there is no doubt that this metal for the masses.

Rating: 3.5 Stars (Out of 5)

Learn more at www.anthrax.com.

Jackyl - When Moonshine And Dynamite Collide

Jackyl - When Moonshine And Dynamite Collide
2010, Mighty Loud Entertainment/Fontana Distribution

Jackyl might never recapture the buzz and glory of the early-to-mid 1990’s, but apparently nobody told them this. On their latest album, When Moonshine And Dynamite Collide, Jackyl digs into a 1980’s inspired sound and yet sounds as fresh as can be. With influences ranging from AC/DC to southern rock n roll, Jackyl goes back to their roots and manages to write some of their best material to date.

When Moonshine And Dynamite Collide opens with "Loads Of Fun", a catchy piece of 1980's hard rock with serious pop sensibility. It's a great foot forward for a band looking to reclaim its glory days. "I Can't Stop" is an old-fashioned glam rock party song; well-done but done-before affair. Jackyl maintains their catchy glamour on "She's Not A Drug" and "My Moonshine Kicks Your Cocaines @ss", the latter of which is an off-beat celebration of the south and its many charms. The band runs out of momentum in the middle, but claws back with "When Moonshine And Dynamite Collide", sounding more than a bit like a cross between Lynyrd Skynyrd and The Black Crowes.

"Just Like A Negro" pays tribute to African-American contributions to American music and culture, particularly rhythm & blues both in and of itself and as one of the prime roots of rock n roll. Jackyl gets into their trademark sound with "Deeper In Darkness" and "Freight Train", going over the top in classic style. The cover of Janis Joplin's "Mercedes Benz" is amusing, done in the original a Capella style. This leads into the closing track, where Jackyl hits the aptly named "Full Throttle" in a song about motorcycling.

Jackyl still has their feet firmly planted in the 1970's and 1980's, but refuses to turn into a dinosaur on When Moonshine And Dynamite Collide. Jackyl's latest is a solid effort likely to appeal to old fans and add a few new ones along the way.

Rating: 3 Stars (Out of 5)

Learn more about Jackyl at http://www.jackyl.com/ or www.myspace.com/jackyl. When Moonshine And Dynamite Collide is available as either a CD or Download from Amazon. Digital copies are also available via iTunes.

Review: Kris Heaton Blues Band - R-Me Strong

Kris Heaton Blues Band - R-Me Strong
2009, Kris Heaton Blues Band

Connecticut's Kris Heaton has been in and out of the music scene for a number of years, taking a break to raise his family but coming home to the stage in 2002. Since then he's been a wild ride in Southern New England, playing to packed houses and opening for acts such as Stevie Ray Vaughan, Greg Allman, Huey Lewis and the News and Leon Russell. Heaton recently released his third album with the Kris Heaton Blue Band, R-Me Strong. Full of aggressive play, humor and pointed commentary, R-Me Strong is a fun listen full of Rock N Roll attitude.

R-Me Strong opens with Sugar, a testosterone-laden ode to a woman set to a Rhythm-n-Blues arrangement that is guaranteed to get your feet moving. Heaton has a voice that's perfect for the style of Blues/Rock he purveys, and the guitar work is hot. I'm Your Man is entertaining and fairly typical of the genre (the verses sound nearly identical to George Thorogood's Bad To The Bone). R-Me Strong is a tribute to all of those who serve in the US Armed Forces. R-Me Strong uses the call-and-response cadence common in old Blues tunes and military outfits in an arrangement that smacks of AC/DC. Shut Up is the most humorous song on the album, taking off after gossips with brutal alacrity.

And She Said is a joyous bit of innuendo where the guitar and harmonica get most of the good parts and generally rip up the dance floor. This tune is highly catchy; full of innuendo and intention. On Weatherman, Heaton takes on that guy who's so full of his ability to attract women he begins to think of himself as god-like. Heaton cuts him down to size to guitar work vaguely reminiscent of ZZ Top. Kris Heaton Blues Band almost seems to get a bit complacent thereafter, as the energy level generally falls for a while. Loser tries to recover the ship with a high energy level tightly twined into a mellow, melancholy performance. Heaton treats listeners to a wonderful live version of Long Time Ago. The sound quality of the recording itself is fine, although the song isn't mastered at anywhere near the same level as the rest of the album. Heaton closes out with When Men Cry, a song that underscores what's in your heart over what you do, what you make, etc. It's a pleasant ballad; a definite change of pace for Heaton.

R-Me Strong is a great way to get to know the Kris Heaton Blues Band if you don't know them already. Not every song works as well as the rest, but Heaton has high expectation and his band delivers. R-Me Strong deserves some attention.

Rating: 3 Stars (Out of 5)

You can learn more about the Kris Heaton Blues Band at http://www.krisheatonbluesband.com/ or www.myspace.com/krisheatonbluesband. You can purchase R-Me Strong as either a CD or Download from CDBaby.com.

Review: Corrin Campbell - Game Night

Corrin Campbell - Game Night
2009, Corrin Campbell

Corrin Campbell and her band The Election have taken Baltimore by storm. Compared to bands such as Evanescence, Heart and Paramore, Campbell and band have developed a reputation for high energy shows. Aside from being an amazing vocalist and vicious bass player, Corrin Campbell is also a combat veteran of the 1st Calvary Division based out of Ft. Hood, Texas. Campbell’s second album, Game Night, attempts to present that energy level in conjunction with Campbell’s big, beautiful voice.

It's always a good sign when a CD gets your toes tapping right from the opening notes. Campbell opens Game Night in just this fashion with Find Your Way, a reserved, guitar-driven rocker built on a wonderful Pop hook. Campbell has a wonderful, strong Rock voice, filling in the sonic aura of the song with her rich, powerful alto. Campbell shows her lyric, vulnerable side on Time To Let Go, a freedom song that breaks out into a highly melodic rock arrangement that's highly enjoyable. Done With You is a kiss-off song that seems to lack the courage of its convictions. The lyrics suggest a finality born of anger or at the very least frustration, but none of that comes through in the relatively mild vocal line. Musically the song is great, there's just a disconnect between the words and the emotion as presented.

Campbell stays a bit reserved on Remember Me, but its such a great melody that theatrics aren't required, and the rhythmic guitar work helps to drive the song. Colors Of You finds Campbell engaging in a 1980's inspired Pop/Rock sound in a mildly catchy tune that could well be an incidental soundtrack piece. Campbell goes for mellow balladry on Apologize, a keyboard-led heartbreaker that turns power ballad after the first chorus. Campbell is smooth and not without energy here, but once again there is something of a disconnect between the angst and energy of song and singer. Campbell opens Sunbeam with a guitar riff that with some more distortion and insistence would make AC/DC proud. Campbell also answers the bell vocally here, revving up her performance to match the tension in the song. This is the best overall track on the disc because everything clicks, and Campbell sounds like a superstar.

The energy stays high on Blink Of An Eye, and a little bit of attitude finds its way into the music. From a Pop/Rock radio perspective this is the most likely single on the album. Keep Movin' is another fine Pop/Rock amalgamation, carrying an infectious energy that's sure to make it a concert favorite. Cast It Off stays firmly in the Pop/Rock realm, although the edge is gone from this track, which sounds more like a pure Pop song. Campbell says goodnight with A New Page, a gorgeous piano-driven ballad where Campbell lets her hair down and sings her heart out. This song could be a true hit.

Corrin Campbell has a great voice, but she spends much of Game Night mismatching her energy level to that implied by the songs themselves. By the final third of the album everything is working in synch, and musically the whole album is a fine product. The dichotomy between vocal energy and inner tension in the songs can be a bit distracting, but the rest of the package is so well done you can overlook it. In the end, Game Night feels like an album where Campbell and her band weren’t entirely sure what they were after at first, but at some point in the process everything started to click.

Rating: 3.5 Stars (Out of 5)

You can learn more about Corrin Campbell at http://www.corrincampbell.com/ or www.myspace.com/corrincampbell. You can purchase Game Night as either a CD or Download in Campbell’s Web Store.

Review: The Lost Fingers - Lost In The 80's

The Lost Fingers - Lost In The 80's
2009, Sony Music

Canadian trio The Lost Fingers know a little about what it takes to make good comedy. Don't get me wrong, there's nothing comical about the music of The Lost Fingers, but George Carlin used to say that the job of comedian was to take things you already knew and show them to you in a different light. That's what The Lost Fingers do on Lost In The 80's, a collection of cover songs presented in jazzy, acoustic renditions that are likely to surprise and amaze you. The Lost Fingers, named in memory of jazz guitar great Django Reinhardt, have already achieved Gold Record status in Canada and been nominated for two Juno Awards with Lost In The 80's. The album is now available in the US for the first time.

The Lost Fingers open with a cover of Technotronic's Pump Up The Jam, a tune that starts a bit slow but quickly comes up to speed. The jazzed-up version will appeal to fans of Squirrel Nut Zippers, and the instrumental work is absolutely flawless. You Give Love A Bad Name (Bon Jovi) has a frenetic feel, particularly in the guitar part, which is about as blistering as you can get with an acoustic guitar. You Shook Me All Night Long (AC/DC) could easily have been translated as a high energy tune, but The Lost Fingers made the brave decision to present it as a languorous tune complete with scat-singing. The risk pays off here in one of the most intriguing songs on the album.

The rendition of Luc Plamondon's Incognito (made famous by Celine Dion) is surprising in that it sounds like it might have come out of a European holiday film. Incognito goes down as a fine cup of espresso. Samantha Fox' Touch Me (I Want Your Body) again sounds like a Squirrel Nut Zippers rendition and is highly danceable (although perhaps not in the fashion Ms. Fox might have originally envisioned). The guitar work here is especially fantastic. Stevie Wonder's Part-Time Lover is given real life as a swing tune. In spite of some stylistic touches and changes in instrumentation the song remains essentially unchanged from the original, although it is interesting to hear the nuances acoustic instruments bring out in the classic Pop/R&B tune. Likewise for Kool & The Gang's Fresh; this cover works a lot better than I might have expected and is likely to bring big smiles live.

Perhaps one of the most interesting covers given his untimely demise is The Lost Fingers' take on Michael Jackson's Billie Jean. It's the best cover of Billie Jean I've heard; the Jazz setting works particularly well for this tune, bring out some of the natural energy in the chorus. Wham's Careless Whisper gets similar treatment, and once again the cover works better than I would have thought. In this case it actually sounds better than the original. Soft Cell's Tainted Love is interpreted here is a moody and off-kilter tune with some unusual vocal harmonies. It's once again one of the best covers of the song I've heard, although all covers of Tainted Love have forever been overshadowed by Dan Akroyd's nasally percussive version from Coneheads.

The Lost Fingers enter the Space Cadet service with a terrific rendition of Paula Abdul's Straight Up. As usual, the strong vocal lines are simply an appetizer for the splendid instrumental play of The Lost Fingers. Alannah Myles' Black Velvet gets sent up in a version that captures the wanton sensuality of the original. This may be one of the more underrated songs of the 1980's; a classic in sheep's clothing, but The Lost Fingers unmask it for the quintessential song it is. Lost In The 80's closes with a pair of Francophone tunes. The first is Joe Le Taxi, a song written for Vanessa Paradis in 1987 by Franck Langolff and Étienne Roda-Gil. Sung in French, the song has a Mediterranean feel that sneaks into the Gypsy Jazz arrangement. The Lost Fingers follow up with Belleville Rendez-vous from the animated Les Triplettes de Belleville (2003). Written by Benoît Charest and Sylvain Chomet, the song was nominated for an Academy Award for original singer Béatrice Bonifassi. The Lost Fingers run with the song, providing a high energy reading that's highly entertaining and bound to inspire some dancing.

The Lost Fingers bring a breath of Fresh Air to the 1980's and beyond, provide renditions of classic songs so full of energy and life you can't help but be hooked by the experience. It's no wonder The Lost Fingers are major stars in Canada; I have no doubt they'll repeat their success in the United States, Europe and beyond. Lost In The '80's rises above the genre of "cover album" to true artistry; make sure you give it, and The Lost Fingers, the time of day.

Rating: 4 Stars (Out of 5)

You can learn more about The Lost Fingers at http://www.thelostfingers.com/ or www.myspace.com/thelostfingers. You can purchase Lost In The 80’s as either a CD or Download from Amazon.com.

Review: Steve McCormick - Lowlights And Footnotes

Steve McCormick - Lowlights And Footnotes

2008, Steve McCormick

I have to admit that the United Kingdom isn't exactly the first locale to pop into my head as a place to find great Country or Americana music. Steve McCormick doesn't claim to be either of those things, although Waylon, Hank and Merle have had a fair amount of influence on his songwriting (as have Randy Newman, Leonard Cohen, Tim Buckley, The Squeeze and even AC/DC). The Carlisle, Cumbria native released his debut album in late 2008 entitled Lowlights And Footnotes to critical accolades and a slow-growing but significant amount of worldwide airplay. Lowlights And Footnotes was mastered by Simon Heyworth (Tubular Bells, George Harrison, Nick Drake) and is played entirely by McCormick with the exception of Pedal Steel Guitar, provided courtesy of Dave Midgely.

Lowlights And Footnotes opens with Another English Cowboy, rocking right down to the roots of Country in a diatribe about not fitting the country mold. You'll be driven to dance and sing along to a song that could chart on American Country Radio if given the chance. McCormick gets a bit of Southern Rock flavor on the mid-tempo If Only She Were Lying. McCormick gets a bit trite in the chorus here, but the arrangement is a great listen. Making Light (Of Being Kept In The Dark) brings a touch of British humor to the honky-tonk on a mid-tempo number that walks the line between classic Country and the Eagles brand of California Country. On I'm Alright, Jack, McCormick celebrates his state of being at the expense of a friend who's down in the dumps, all set against a vibrant classic Rhythm & Blues fueled Honky Tonk sound. Back To The Booze hits the R&B fueled Country sound another try with a kicking guitar solo in the middle to really spice things up. McCormick lights the lamp with a song that might just be a party anthem in the States.

McCormick sounds a bit like Lyle Lovett on The Other Man, pointing out that no matter which point you are in a triangle, the other guy is always The Other Man. The song is well written, with a plaintive, Tex-Mex country ballad feel. My Woman Doesn't Give A Damn deals with stereotypical country heartbreak with uncharacteristic wit and panache. Like much of the rest of the album, McCormick is a classic story-teller. When he's funny it's not because he's trying to be funny, but because real life is sometimes dotted with humor and wit. Black And White Photographs is about family, memories and how gateways to the past often pave the way to understand who we are. It's moving and heartfelt without sounding sappy and may just be the best songwriting on the disc. McCormick closes out with Living In Loserville is a tongue-in-cheek song about being happy with yourself. It's a great closer for an album that plays the country game without giving over it's essential character to Nashvillian Zombification.

Steve McCormick is a story teller in the vein of Randy Newman (although perhaps no one has the chutzpah that Newman manages). McCormick's songs work because the characters and events he portrays are honest and real; even the fictional ones are written like a good character, and the choices they make are convicted ones. McCormick's stories come to life in songs based in Country Music but ranging from Rock to Tex-Mex and every possible blending of those styles. Lowlights And Footnotes should be the darling of Country Radio. Let's hope McCormick gets the right breaks.

Rating: 4 Stars (Out of 5)

You can learn more about Steve McCormick at www.myspace.com/stevemccormickuk or http://www.stevemccormick.co.uk/, where you can purchase a copy of Lowlights And Footnotes using PayPal. You can download the full album from iTunes, or a free four song sampler from McCormick’s website.

Review: J.A.C.K. - Deletist

J.A.C.K. - Deletist

2009, Yabyum Records

Brooklyn-based alt-rock quarter J.A.C.K. keep the meaning of their acronym secret, but the word of mouth about their sound was uncontainable almost from the start. Three rip-roaring sons of Rock N Roll met while enrolled in New York University's music program, and after cementing their sound with the highly flying falsetto of vocalist/guitarist Scott Holland knew they had something special. Their sophomore release (and first full-length), Deletist, is out today. J.A.C.K. may be secretive about the original of their name, and DIY to the bone, but their sphere of influence is likely to expand significantly in the near future.

Deletist opens with the chaotic track Dracula, which spends most of its time as an alternative rocker but closes out with a keyboard driven classic rock section that would make Dennis DeYoung weep with joy. One thing you should understand about lead vocalist Scott Holland is that he can be something of a chameleon. On The Leader, Holland sounds like a cross between Klaus Meine and Bon Scott, whereas on a track like Extinguisher he can sound like a particularly raspy Bono. I Cut Off My Arms is perhaps the greatest “relationship gone wrong” songs I’ve ever heard, although it may be a bit disturbing for some. A distinctly poppy love song with some heavy guitar work represents the alternately lovesick and disturbed states of the protagonist. Bug appears to be a song about torture, or perhaps it’s just an allegory for crossing lines. Either way it’s at least mildly disturbing and gets your attention, right down to the lyric dueling guitar work in the bridge. Suicide Man opens with what might only be described as a gospel choir in Hell before turning into an alternately minimalist and noisy arrangement. The song itself is intriguing and definitely off the beaten track. You’ll also want to check out Summer’s War and Rainbow Blood.

J.A.C.K., J.A.C.K., J.A.C.K., what are we going to do with you? You don’t fit in with the other bands. You have some of the loftier musical ideals of a Radiohead, the occasional slow-heavy drive of Black Sabbath or Heaven And Hell, an ability to write songs like what Bono might come up on a dark day and a wonderfully and slightly worrying warped world perspective. We’ll find a place for you, because I believe a lot of people will be intrigued by your sound, I am just not sure how we present you to the world. Hey, I know! Let’s bring everyone to a show in Brooklyn! After you melt all their faces for a couple of hours they’ll be hooked! They’ll be buying copies of Deletist hand over fist!

Rating: 4 Stars (Out of 5)

You can learn more about J.A.C.K. at http://www.jackbandnyc.com/ or www.myspace.com/jacknyc. You can get a digital copy of Deletist at either Amazon MP3 or iTunes. If you want a hard copy, the only place to get one right now is at a live show (Face melting is included in the price of admission), but if you contact J.A.C.K. through their MySpace page perhaps they’ll hook you up.

Review: Illicit Still - Monsterz Of Rock

Illicit Still – Monsterz Of Rock
2009, Illicit Still

Illicit Still is a tribute band from England that pays homage to the golden age of heavy metal. Everything from AC/DC to Motorhead to Van Halen is in play, and Illicit Still plays them with gusto. Illicit Still releases Monsterz Of Rock in 2009 highlighting some of their favorite tunes from the 1970’s and 1980’s. Let’s check it out.

Illicit Still is led by Mal The Voice, who growls his way through the five songs here effectively and passably. Mal is a decent singer for the style, but is victimized somewhat by the material. There are certain songs as a singer you just don’t tackle unless you can come close to the original or unless you’ve found your own original read on the song. Illicit Still is extremely faithful to the original renditions, and Mal just doesn’t have the range to match Bon Scott or David Lee Roth at their most dynamic. Illicit Still opens with Motorhead’s Ace Of Spades. It’s a solid, straight up cover, but the mix is way off, making it sound like the band is 100 yards behind the singer. Up next is Twisted Sister’s Shoot ‘Em Down. The rendition is faithful and clean, but once again Mal The Voice just can’t pull off the electricity Dee Snider was capable of.

AC/DC’s Highway To Hell is much the same story. Thin Lizzy’s Whiskey In The Jar is more within the range of Mal The Voice, and the faithful rendition sounds like the original than any of the other tracks here. Illicit Still closes out with Van Halen’s Panama. Here the gap is widest, as while both Mal The Voice and guitarist Stevie Peps Laing are faithful and talented, neither can quite capture the Zeitgeist of the original.

Illicit Still is a great cover band. On a Friday or Saturday night, if your taste runs to metal and Illicit Still is playing the local pub then they’d make for a fine evening of entertainment. They’re good, but don’t really stand out significantly in a market glutted with cover bands. Monsterz Of Rock is a decent listen, but in general these covers just don’t stand up next to the originals.

Rating: 2.5 Stars (Out of 5)

You can learn more about Illicit Still at www.myspace.com/illicitstill. We’re not sure if Monsterz Of Rock is to be a commercial release or a demo. Keep checking back to Illicit Still’s MySpace page for further info.

Review: St. Dominic's Trio - Switch

St. Dominic's Trio - Switch
2009, Frozen Rope Records

Minnesota rockers St. Dominic's Trio offer up a mix of original songs heavily influenced by a classic rock sound with the occasional to modern mores. The Minnesota based band (which is not, in fact, a trio) has been a local club favorite for some time but has started to branch out in the last two years. Switch is their debut album, and provides a picture of a band with a distinct musical taste and a chameleon-like nature.

Switch opens with Free And Alive, punctuated by 1970's Chicago (the band) style horns. Free And Alive is a happy romp with a driving rhythm and lots of peripheral instrumental action. 4th Day Of May is a straight forward classic rocker that draws from early R&B sounds. I Thought We Were Friends is in a similar vein with the addition of that delicious horn section. There's an Elvis Costello vibe here that is somewhat muted but unmistakable. She Loves You Anyway is a tasty bit of Americana that is a perfect vessel for vocalist Terry Walsh. Bike Ride of 35W has a southern/swamp rock feel to it. The song is quite catchy and certain to have you up and dancing.

Outta Bullets reflects a little more attitude and oomph from St. Dominic's Trio, dealing in a blend of Blues and Rock N Roll that is sure to please. This is what AC/DC might have sounded like if they originated in the early 1960's. Be sure also to check out Cold Dice and the effecting One Day. One Day is perhaps the finest composition on the album -- every listener will recognize this aural photograph in someone they know.

St. Dominic's Trio have made the jump from classic rock bar band to creative force. Switch is a capable album with a number of decent songs and one or two real standouts. In the current market this is not a highly commercial release, but is very listenable and should find a solid fan base for St. Dominic's Trio. One Day is a special song that could carry St. Dominic's Trio a long way (similar to how The Time Of Your Life established Green Day as a serious artistic band as opposed to a reckless punk outfit). Switch is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about St. Dominic’s Trio at http://www.belfastcowboys.com/. You can purchase a copy of Switch at www.cdbaby.com/cd/stdominicstrio.

Review: The Stone Coyotes - VIII

The Stone Coyotes - VIII
2008, Red Cat Records

The Stone Coyotes are the sort of rock and roll trio that starts parties wherever they play. The Stone Coytes' brand of unpretentious rock revs you up and allows you to let go of the world for an hour or two while they inspire you with stories that transcend music and the human experience. Barbara Keith stands in on lead vocals and guitar. Her husband Doug Tibbles bangs the drums and stepson John Tibbles slaps the bass. This is a family outfit without an ounce of Hollywood veneer. (The family/band actually moved from LA to Western Massachusetts to get away from the Hollywood hype machine). The Stone Coyotes released their eighth album in 2008, aptly entitled VIII. If there's a more pure strain of rock and roll out there anywhere right now I'd love to find it.

Barbara Keith started out performing at Cafe Wha? in Greenwich Village, where the likes of Jimi Hendrix and Bill Cosby started out. Her self-titled debut in 1972 was a success and she recorded for MGM/Verse, A&M and Warner Brothers before taking herself out of the major label game. Along the way she wrote songs that have been covered by folks such as Tanya Tucker, Streisand, Melanie, Hank Snow and Lowell George. Her song The Bramble And The Rose is a folk classic. Doug Tibbles was a Hollywood writer, contributing to shows such as The Munsters, Bewitched, Andy Griffith and Love American Style. After his first day of editing for Happy Days Tibbles quit and went DIY with his wife, Barbara. Moving out east meant recording in their basement and writing songs at their own speed in the relaxed atmosphere of the Berkshires. A series of outstanding rock and roll albums with the occasional bit of country tartness has ensued.

VIII is no exception. Tomorrow Is Another Day opens the set sounding like something right of early 1980's FM radio (I found myself thinking of Is She Really Going Out With Him? throughout this song). Barbara Keith is in fine vocal form here, and the song will keep your toes tapping. Not Right Now has an acrid Blues-Rock feel to it that sounds like a stripped down AC/DC tune. The Lights Of Home is more of a country ballad with real heart and some excellent harmony work. Be sure to check out Trouble Down In Texas, a barrelhouse country rocker full of blues and beer and country attitude.

Brand New Car shows a funky side to Barbara Keith and The Stone Coyotes that is a pleasant surprise. A Charmed Life returns to a more straightforward Rock tune. Again there is this inescapable feel that a stripped down AC/DC motif is at work here. You could hear Angus Young screaming his way through this song quite easily if he were still with us. If I Knew How To Dance has a Ramones-like energy to it, wrapped up in a tune that still hasn't decided if it's a country-rocker or a punk anthem. Make sure to also check Kern River and The Grey Robe Of The Rain. The latter is the deepest and most artful song on the album, an exclamation point on a primo performance.

The Stone Coyotes know how to make rock and roll. They know how to tell a story and wrap it in the fine coat of musical magic. VIII is a standout album that should continue to add to their credibility amongst fans and win them new ones. There are several members of the rock and roll hall of fame who would listen to this album and if, being honest, state "We're not worthy". VIII is a Wildy's World Certified Desert Island Disc, a flash of genius, and what they heck are you doing still reading this? Go buy it!

Rating: 5 Stars (Out of 5)

You can learn more about The Stone Coyotes at http://www.stonecoyotes.com/. You can purchase a copy of VIII through their website using PayPal, or you can pick it up at www.cdbaby.com/cd/stonecoyotes9.