Billion Dollar Babies - Die For Diamonds

Billion Dollar Babies - Die For Diamonds
2010, Esmerelda Music Group

I think I just relived my much-maligned childhood. Sweden's Billion Dollar Babies managed to capture the zeitgeist of 1980's hair-metal in 38 minutes of pure rock n roll glee on their latest album, Die For Diamonds, due out September 8, 2010. You'd guess the members of Billion Dollar Babies were raised on a regular diet of Alice Cooper, Motley Crue, Bon Jovi, Journey, Loverboy, Billy Squier, Whitesnake, The Scorpions and perhaps a bit of Ratt from the flamboyant flair and more than competent rock n roll they espouse. Just sit back and take Die For Diamonds in; you could imagine most any of these songs rolling out of the radio or showing up on MTV circa 1985.

Die For Diamonds opens with "Boy's Night Out" featuring a purely 1980's approach to hard rock complete with a horn section. Vocalist Frankie Rich is a dynamic and engaging front man even on CD, able to deliver lyric passages or work up a rasp that even David Coverdale would be proud of. "Boys Night Out" is very catchy and highly familiar although it appears to be an original track. "Highest Mountain" is a big rock tune that's deeply melodic but has enough of an edge to it to feel modern. This transitions into the big open arrangement and vocal triads of "Restless Minds", a great tune that soars. Rich sounds like something of a cross between Steve Perry and Klaus Meine here. Billy Squier fans will love "Lose It", which sounds like it might have been an outtake from one of his mid-1980's recording sessions. The song has an animalistic, urgent feel, and a melody so catchy you'll be humming it for days.

"Key To My Heart" is pure power rock love song, and would have made Billion Dollar Babies the kings of MTV at one time. "Right On Time" is all about the virtues of Friday night out with the perfect girl. There's some classic rock n roll piano work buried in the middle of this song that's worth checking out. You won't be able to help yourself from singing, tapping or even dancing along. Billion Dollar Babies show a bit heavier edge on "Stand Your Ground" and "Nineteen Ninety Four". The former is a solid album cut that would play great in a big stadium, while "Nineteen Ninety Four" is a catchy beast with one thing on its mind. The song isn't much on subtlety but certainly is entertaining. Die For Diamonds closes with "We Don't Live Forever", an energetic rocker reminding listeners that life is short and admonishing them to make the most of every moment.

Billion Dollar Babies may date themselves with their sound, but the songwriting is fresh and sharp and fun. This is a band that's having fun making music, and it shows on Die For Diamonds. If you crave 1980's hard rock/hair metal but want the sound of a band you haven't heard hundreds of times in the past twenty-five years then Billion Dollar Babies will be right up your alley. This is rock n roll at its best.

Rating: 4.5 Stars (Out of 5)

Learn more about Billion Dollar Babies at http://www.billiondollarbabies.nu/ or www.myspace.com/bdbabies.   Die For Diamonds drops on September 8, 2010.  You can order digital copies from Amazon.com.  The CD version can be order directly from Billion Dollar Babies on their website.

Review: A Clever Con - The Robot EP

A Clever Con - The Robot EP
2010, Manic In Music

A Clever Con is the best new thing on the New Jersey rock scene since Bon Jovi. While you sort that last statement out, just give a few minutes over to listening to the band’s debut, The Robot EP. Taking modern rock, punk, retro (classic) rock and a distinctive pop sensibility and wrapping it all up into one seething rock n roll core, A Clever Con will melt your face while you dance the night away.

The Robot EP opens with "Work Related Stress", a vibrant punk rocker with real commercial bite. The song is centered on a tremendous hook in the chorus and boundless energy that will inspire you to get up and dance. The incessant guitar of "60 Amp Disconnect" brings to mind the phrase 'melodic punk' as A Clever Con piles on impressive vocal harmonies without giving up their sense of edginess at all. Ripping through “Robots And Mannequins”, A Clever Con decelerates for the edgy ballad Heroine, a tune that could make big waves on Modern Rock radio as it explodes into a power ballad chorus with chutzpah. “Able Danger” is a bit unclear in its intent. The song seems to want to inflame conspiracy theories about 9/11, although it may be a veiled jibe at those who do (it's not made entirely clear). The song is well written but vague lyrically. The Robot EP closes with “Little Miss Bombshell”, an acoustic power ballad you'll have on repeat.

The Robot EP is a fine introduction to A Clever Con; full of energy and purpose and more than a little musicality. Bands like A Clever Con prove that Modern Rock & Alternative aren't dead. If these guys are any indication, the future of Rock N Roll is in good hands in the generation of bands just starting to filter up out of their basements.

Rating: 3.5 Stars (Out of 5)

You can learn more about A Clever Con at www.myspace.com/aclevercon. You can download The Robot EP from Amazon.com or iTunes.

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: Grandpa Elliott - Sugar Sweet

Grandpa Elliott - Sugar Sweet
2009, Playing For Change Records

Grandpa Elliott Small came into the national spotlight as part of the Playing For Change project. He was one of the vocalists in the project's version of Stand By Me, which has been viewed over 15 Million times on YouTube. Grandpa Elliott is a New Orleans street musician who has been playing on Jackson Square and the French Quarter's Royal Street since the 1960's. He is a local icon who at the age of 64 played for the first time in front of a crowd of 40,000 at L.A.'s Dodger Stadium. His profile has been further raised by appearances on The Tonight Show and The Colbert Report. In November of 2009, Grandpa Elliott released his full-length debut album, Sugar Sweet, on Playing For Change Records.

Part of what makes Grandpa Elliott's music work is the blend of sounds. Take the sounds of Africa, the Caribbean and New Orleans, mix them up, and add in the salty, warm voice of the man himself and you get something a bit like magic. Grandpa Elliott opens with Ain't Nothing You Can Do, a song about the inevitability of heartbreak. It's a universal song with its roots in the Blues even though it's not a Blues tune. This Little Light Of Mine (Medley) is done in a superb arrangement incorporating a Gospel Choir and touches of Dixieland sound. It's a great listen and one of the highlights of the album. Sugar Is Sweet sounds like something that might have come out of an early R&B recording session; the song is a bit cliché but well-intended and well executed. Grandpa Elliott gently nudges aside the likes of BB King on Baby, What Do You Want Me To Do. The guitar work and vocal line here are exceptional, and Elliott could take a seat with the greats of Blues without feeling a bit out of place after this performance.

Share You Love With Me goes for the old school Rockin' R&B in a stylistic and memorable performance. Up next is a cover of Cat Stevens' Another Saturday Night. The song as presented is decent, done up with a gospel choir on backing vocals, but seems to take Grandpa Elliott away from his core sound. Fannie Mae is presented in a live recording that shows the sort of panache developed from five decades playing on the streets of New Orleans. Rockin’ Rhythm N Blues is the medium, and Grandpa Elliott absolutely owns the crowd. Sugar Sweet goes out on a high note, with a cover of Charles Brown's Please Come Home For Christmas. The song was first recorded by Brown in 1960, charting several times over the next dozen years, culminating in a #1 single in 1972. Numerous artists have recorded this one over the years, including top-10 singles from The Eagles and Bon Jovi. Grandpa Elliott brings the tune back to its piano-based Blues roots. Don't be surprised if Grandpa Elliott takes this old number up the charts one more time.

Sugar Sweet is certainly a treat. Grandpa Elliott just keeps doing what he's been doing all his life, playing great music. The big difference now is the size of the audience. In one sense, there are performers like Grandpa Elliott all over the world. Street musicians and small-time performers with a world of talent and pizzazz just waiting for that break that (for most) never comes along. In Grandpa Elliott's case, it finally came along in his seventh decade. But in another sense, there's no one quite like him. Sugar Sweet might not always have the best material for Elliott to play and sing, but he makes the most of every song. It's a strong effort, and worth spending some time on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Grandpa Elliott on the Playing For Change website. You can purchase Sugar Sweet directly from Concord Music Group as either a CD or Download.

Review: The Nadas - Ghosts Inside These Halls

The Nadas - Ghosts Inside These Halls
2008, Authentic Records

Des Moines, Iowa road warriors The Nadas have been bringing their music to the Midwest masses for fifteen years now, touring, most recently, in Meatloaf's old tour bus (which they've affectionately dubbed "Meatloaf"). A modern success story, The Nadas live in relative anonymity in spite of independently selling more than 75,000 CDs through their own label, Authentic Records. The Ghosts Inside These Walls, their sixth album, finds The Nadas striking out on their own, bringing production duties in-house (their two previous albums were produced by Todd and Toby Pipes of Deep Blue Something). The results are sort of a musical mid-life crisis for the band, trying to blend their traditional sound with a maturing maturity in song-writing focus. As crises go, Ghosts Inside These Walls turns out pretty well. But don't let that sense of maturity frighten you; this is still the same band that finished in the final four in Bon Jovi's Have A Nice Day band competition.

Ghosts Inside These Halls opens with Loser; a down-tempo track provides album with its name in the opening line. Loser sounds like a classic teenage underdog song that would fit perfectly in that sort of movie, and it's an intriguing opening. Blue Lights might be the best musical "parking" reference this side of Paradise By The Dashboard Light. While nowhere near as enigmatic as the Meatloaf song, Blue Lights is very well written and tuneful. There's more of a Wallflowers aesthetic than bombast here. Pieces On The Ground is a great piece of Pop/Americana. Strong songwriting, good hooks and poetic lyrics drive this up-tempo number.

Something's Burning is a highly pensive song about self-sabotage in relationships. It's a reminder that all we build can be torn down by passive anger and decay. The story is well-told in song and the arrangement is great! Alaska is my favorite song on the disc; an upbeat country tune about returning to where you come from or where you belong. My favorite performance, on the other hand, is Hammer Down, a big Southern Rock/Country anthem with vibrant guitar work and a real edge. The album closes out with a hidden track that sounds like the band is messing around and vamping in Spanish. The highlight of this exercise is the inclusion of a classic Steve Martin line.

There are a couple of bland moments on Ghosts Inside These Halls, but they are the exceptions rather than the rules. The Nadas present as a young band new to their found sound; at home but still getting comfortable with their surroundings. Ghosts Inside These Halls is a promising start.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Nadas at http://www.thenadas.com/ or www.myspace.com/thenadas. You can purchase Ghosts Inside These Halls as either a CD or download from Authentic Records.

Review: Jeff Litman - Postscript

Jeff Litman - Postscript
2009, Born Enormous Music

New York City singer/songwriter Jeff Litman was born in Minneapolis, and was devouring hard rock and metal songbooks by the age of ten. Litman went from Bon Jovi and Motley Crue to Metallica, Guns N Roses and Nirvana before becoming ensnared in the melodic Pop of acts such as Elvis Costello, The Beach Boys and The Beatles. Litman's next step was into classical music, entering a doctoral program before realizing that his true love lay in Rock and Pop. Litman began writing almost immediately for his debut album. The result, Postscript, promises Indie-Pop with big hooks, infectious melodies and a classic sense that universal themes of love and heartbreak always bring. Postscript is a breakup album, and Litman's refreshing honesty places the listener not so much in the role of observer but directly into reverie.

Postscript is a story within an album, following the rise and fall of a relationship, including the aftermath. It is written at a distance from the events that perhaps allow more perspective, but the raw emotional content is very real, if tempered by time. Postscript opens with Anna, a catchy song about unrequited love that will definitely get your toes tapping. A Beatles influence is very clear here and the backing vocals are superb. This is a complete song; a classic. Complicate digs into the emotional consequences of a breakup. It's a sunny tune full of regret and melancholy. Wife is a song that could put Litman on the Popular Music map; a marriage proposal in song. The gorgeous arrangement, including strings centers on acoustic guitar and Litman's voice. Don't be surprised if Wife gets licensed and recorded by other artists down the line. Either way the song is destined to become a wedding song of choice and is also likely to be co-opted for individual proposals over time.

From that emotional high Litman dips down to the emotional low of Everything You're Not; an upbeat, Beatles-inspired song of hopeful spite. Litman then shifts gears into full-on Rock N Roll in Detroit Layover. If you've ever been stuck someplace out of your control and just wanted to get home then this song will speak to you. It's very upbeat and danceable and has a classic sound that will appeal across genre lines. Postscript is one of those albums where it becomes difficult to pick a favorite song, but one of the contenders has to be Maine. Litman sings a duet with Kelly Jones on another song about going home. This is one of those songs that simply sounds perfect in presentation, and Jones has an amazing voice that complements Litman's perfectly.

Knock Me Down will get you up and moving. This active-rock song is presented in a brilliant arrangement with amazing vocal harmonies and a melody that won't quit on you. Postscript is another candidate for favorite song; it's a theatrical tune about the end and aftermath of a relationship. Postscript is stark and melancholy without being whiny, and is one of the better Pop songs written/released in 2009. Open Arms represents the bargaining phase of grief. He's willing to take her back temporarily for the joy of it even it means she'll rip his world apart all over again. Litman never begs during Open Arms but that's only a semantic justification. Open Arms shows a tremendous balance of lyrics, melody and arrangement in a wonderful pop tune that isn't far behind Postscript. Let You Go chronicles the Acceptance phase of loss with a song that sounds like it was heavily influenced by Elvis Costello. Litman closes out with It Wasn't Me. This epilogue is stark and honest and unfettered by sorrow. Litman sees everything from the distance and perspective of time with his healing mostly done; it's a fitting close.

There are albums you see coming from a mile away; the artist reputation, the cover art, the buzz all combine to create an understanding of what you're getting into. But every once in a while an album takes you by surprise. Jeff Litman's Postscript is in this latter category. Postscript is a brilliant display of songwriting and performance. The songs are subtle, nuanced and intelligently written and the album is an absolute pleasure from beginning to end. There isn't a poor song on the album, and Litman delivers each with an aplomb that grows from the intersection of artfulness and grace. Postscript is brilliant; a Wildy's World Certified Desert Island Disc. Make the time.

Rating: 5 Stars (Out of 5)

You can learn more about Jeff Litman at http://www.jefflitmanmusic.com/ or www.myspace.com/jefflitman. You can purchase Postscript as either a CD or download from CDBaby.com.

Review: Blackberry Smoke - Little Piece Of Dixie

Blackberry Smoke - Little Piece Of Dixie
2009, BamaJam Records

It's now the end of September, 2009, and I have been waiting all year for a truly kick-a$$ rock album to cross my desk. We've had some decent efforts; albums with strong songs but nothing that really melts your face from the opening chord to the last faded rhythm. Until now. Atlanta's Blackberry Smoke releases their sophomore album on September 29, 2009. Little Piece Of Dixie rocks hard with country and blues riffs and a southern fervor that hasn't been seen on the rock scene in close to twenty years. This is outlaw country, Rock N Roll style, and if you get in their way you'll be swept up in the musical powerhouse that is Blackberry Smoke.

Little Piece Of Dixie opens with Good One Comin' On, the ultimate Rock N Roll weekend party song. If you pine away all week for that first beer on Friday night then this one is for you. Charlie Starr's voice fits perfectly into the band's sound, and the energy never wavers. Like I Am is a classic theme with a twist. Can you love me like I am? It's very well written with Country and Blues informing the heavy rock sound. Bottom Of This is dark and virulently catchy; a guy's tune, to be sure, but it might just help rekindle a lost genre, Hard Country. Up In Smoke sounds like a song you just need to hear live. It's incredibly catchy with thrilling guitar work, and very danceable.

Who Invented The Wheel is a classic. The narrator here is looking for anyone to blame for the downfall of his relationship. Anyone but himself, that is. This one will play well to commercial radio because we've all been there at one time or another; the theme is universal and the arrangement is flawless. I'd Be Lyin' takes Like I Am a few steps further in a highly entertaining bit of Outlaw Country-Rock. Here the narrator tells you not only what he's like, but also things that he's done, thought or said. Blackberry Smoke has a great populist theme for troubled times in Prayer For The Little Man. The sound here is toned down more to the country side, and would likely play well on Country radio. Never ones to rest, Blackberry Smoke jump right back into the heavy rock sound with Restless. This is a tune about a guy whose appetites are out of control, and is well captured in song. Shake Your Magnolia is a catchy Country-Rock tune that could cross over genres and would be a strong commercial candidate for Country Radio. Blackberry Jam closes out with Freedom Song, a fun extended jam with a little bit of Grateful Dead (on steroids) in its ancestry.

Blackberry Smoke knows how to rock. What's more, producer Dan Huff (Megadeth, Bon Jovi, Keith Urban, Rascal Flatts) has managed to capture the raw energy that fills Blackberry Smoke's live shows on Little Piece Of Dixie. This might just be the best pure Rock N Roll album of the year, and it should be in the conversation on the country side. Expect Blackberry Smoke to be all over the radio this fall.

Rating: 4 Stars (Out of 5)

You can learn more about Blackberry Smoke at http://www.blackberrysmoke.com/ or www.myspace.com/blackberrysmoke. Little Piece Of Dixie drops September 29, 2009. You can pre-order the CD through Amazon.com. Expect wide availability in both digital and traditional formats.

Review: Carmine Appice's Guitar Zeus: Conquering Heroes

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: megaphone - Exit Silent Mode

megaphone - Exit Silent Mode
2009, megaphone

megaphone are the reigning princes of Orlando, Florida's Hard Rock scene, regularly outdrawing other local bands and even gaining opening spots for artists such as Ace Frehley, Paul Stanley, Everclear, Seven Mary Three and Edwin McCain. Their debut album, 2005's For Crying Out Loud had several tracks featured on MTV's Made and garnered radio play across Florida. While For Crying Out Loud was representative of the band, their latest album, Exit Silent Mode more accurately captures megaphone's live sound across 12 songs and a number of searing guitar solos.

Exit Silent Mode opens with Write It Down, sounding like a cross between 1980's Pop-Metal bands like Ratt and Poison mixed up with a bit of Modern Rock ala Three Doors Down. Big Hooks and a fat guitar sound over a driving beat make this a treat for the ears. Gravitate is manna for hard rock fans, kicking serious axe while holding tight to big Pop hooks that will send you spinning. This has become megaphone's biggest song live and is worth the price of admission. The Sin has a Jersey feel, reminiscent of Glen Burtnik's writing with Plinky. My Favorite Disaster finds megaphone reaching for the commercial lynchpin; this is Modern and Pop Rock radio fodder. It's not as dynamic as some of the heavier material, but proves megaphone can play on the big stage. What If is a big rock anthem with a chorus you won't be able to shake that challenges listeners to let go of petty concerns and grab on to what's real.

Whisper and Uncelebrated continue the migration to a more Pop sounding Hard Rock that enters the Bon Jovi of the late 1980's territory. We Were Young sticks with the mellow Hard Rock ethic before megaphone amps things up a bit with Making Sense, which may be the best tune on the CD. It's not a complicated tune, straightforward in composition with big hooks, good harmonies and a fast-driving rhythm that would play well to radio (Modern Rock and Pop). Exit Silent Mode closes out with The Last One, a dark and mildly ominous tune sketched in minor keys that reminds listeners that no matter how much time you think you might have the end could be right around the corner. The song challenges you to step up and "go for broke". It's an interesting composition, not really typical of the sound presented by megaphone thus far on Exit Silent Mode but not out of character with it either.

megaphone is an interesting band. Walking the line between 1980's glam and the current trend in Modern Rock isn't all that unusual, but megaphone has the panache of the former and the clean lines of the latter, which is the reverse of what many bands do today. The material on Exit Silent Mode is mixed with a lot of ups and downs, but megaphone has the personality and panache to carry the weaker songs. When everything is working, megaphone approaches greatness. How this plays out over time is anyone's guess, but suffice it to say you can't go wrong with megaphone or Exit Silent Mode.

Rating: 3 Stars (Out of 5)

You can learn more about megaphone at http://www.megaphonemusic.net/, where you can purchase a copy of Exit Silent Mode. You can download the album through iTunes.

Review: SPiN – h-Factor EP

SPiN – h-Factor EP
2009, SPiN

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: Redfish - De Profundis

Redfish – De Profundis
2008, Redfish/SOCAN

Based in Okanagan, British Columbia, Canada, Redfish are expanding their reach far beyond their home base. With album sales stretching as far across the globe as China, folks are starting to catch on to this dynamic band in a big way. With the soaring musical ideals of U2 and the quirky grit of The Tragically Hip, Redfish brings a unique sound to the table that is guaranteed to catch your ear. Redfish’s latest release, De Profundis, mixes commercial flavor with the sort of heady and interesting rock sound that is a sure recipe for success.

De Profundis gets off to a mixed start on Look On. This is a great guitar rock song, but the vocal effects on the song make it impossible to understand Edward Hagman, turning a great song into a good song. Breanna is one of the highlights of the disc. Co-written with Grammy winning producer Randy Cantor (Ricky Martin, Fugees, Bon Jovi) and Dennis Matkosky (who previously wrote Maniac for Michael Sembello), Breanna is the sort of dynamic rock song that gets eaten up on commercial radio. Big harmonies and a little flare for glam come across in a song that sounds like it might have come from a collaboration between The Tragically Hip and 54-40. Citizen is a call to action song (“We al came awake in a state of disgrace”) that is poignant and powerful.

Redfish take an ironic turn with the cover of Eric Burden & The Animals’ Sky Pilot; a song that could easily have been written regarding a recent U.S. President. Be sure to check out Anteroom, a big guitar rocker with blues in its heritage and some really funky guitar work. Also on the menu is All Your Life; opening with a Hendrix style guitar soliloquy, All Your Life is the song on De Profundis with the greatest commercial punch. Other highlights include At The End, Talk To Me and Lonestar.

Redfish have created a sound that is both stridently independent of commercial trends and yet with significant commercial potential. De Profundis has significant breakout potential with the right push or breaks. British Columbia has become a hotbed for dynamic and original sounding rock music, and Redfish is at or near the head of that movement. De Profundis is a must-own CD.

Rating: 4.5 Stars (Out of 5)

You can learn more about Redfish at http://www.redfishmusic.ca/ or www.myspace.com/redfish. You can purchase a copy of De Profundis at www.cdbaby.com/cd/redfish2.

Review: Peel - Die In June

Peel - Die In June E.P.
2008, Pellgrim Records

Oslo, Norway's Peel is back with an exciting four-song E.P. entitled Die In June. Peel has become well known and respected for their highly personal and emotionally bare songwriting; incorporating styles that run the gamut from industrial to metal to pop. Pim (lead vox/guitar); Bertzkii (drums); Dan (guitar/vox); Bjorn (keys/guitar) and Frikk (bass/vocals) continue to enthrall music fans from all walks of live in Scandinavia and abroad.

Die In June opens with Falling From Grace, a song inspired by a documentary on childhood abuse and how the abused come to feel their treatment is normal. The song is very powerful and written in a style reminiscent of early Bon Jovi material. It has a strong pop sensibility while retaining a distinct edge. The title track, Die In June examines romance through the eyes of one who has burned. The hope the narrator feels is tempered by the fear of hurting again. The chorus is full of big guitars that serve as a sonic metaphor for being buffeted by insecurities and fear. The song is very memorable with a strong melody and a great, heavy sound.
Second Man On The Moon examines the superficial nature of society in devaluing accomplishments just because they've been accomplished before. This is a great pop tune with rock embellishments that sounds like something that should have a lot of licensing potential. My favorite track on the disc is Unheard. It's a heavy tune that is reminiscent of the better of early Live material. The unseen/unheard outsider is the anti-hero hero, falling through the cracks before our very ears.

Peel wields a heavy pen; capturing strongly poignant ideas in song in a fashion that is neither condescending nor preachy. The arrangements are compelling and keep the listener interested and involved. This is intellectual heavy rock at it's finest. The only complaint you might have is that it's only four songs long. The Die In June E.P. will leave you wanting more of Peel.

Rating: 4 Stars (Out of 5)

You can learn more about Peel from http://www.peeltheband.com/. You can purchase a copy of Die In June at www.cdbaby.com/cd/peelmusic.

Review: Alvin & The Chipmunks - Undeniable

Alvin & The Chipmunks - Undeniable
2008, Chipmunk Records

It's hard to know what Ross Bagdasarian, Sr. would think of the continued evolution of his Chipmunks. Since the re-emergence of The Chipmunks on television in 1983, the brand (and sound) has been continually updated to match the musical mood of the moment. Whether it was Urban Chipmunk (country); Club Chipmunk (dance mixes); the soundtrack to the 2007 motion picture or their latest release Undeniable, the Chipmunks have stayed almost-current with current musical trends.

One of the charms of the original Chipmunk recordings was the way in which they were created. Bagdasarian did all of the vocals himself, of his unaltered voice, and then replayed the recordings at differing speeds to create the Chipmunks' voices. Despite the manipulation there has always been something vaguely organic about the voices, allowing for at least partial suspension of disbelief. Somewhere in the last decade or so the process has gone entirely digital, using computers and vocal effects to try to recreate the original magic. As vinyl LP fans will attest, new technology isn't always an improvement. Such it is with The Chipmunks.

Undeniable definitely hits the flavor of the moment musically, but the Chipmunks voices sound like they've been digitally altered with electronic effects. For longtime listers/fans of The Chipmunks this may wreck the experience of Undeniable. I know I personally had a hard time squaring this recording with the past recordings of The Chipmunks. The album opens with the DeeTown remix of the theme song from the 1983 television series, including raps. This may go over well with new fans, but probably won't appeal as much to older fans. Shake Your Groove Thing highlights the electronic voice effect sound that I mentioned earlier. Additionally, the Chipmunks are singing background here. Generally if you're buying a Chipmunks album you're not doing so to hear someone else sing.

Livin' On A Prayer is actually an interesting vocal arrangement, but again suffers from the ultra-modernization of a classic sound. Thank You is a hip-hop/R&B radio anthem that again sounds like a computer is singing lead (and background) vocals. All The Small Things suffers from the same fate. The first song to really capture the original spirit of The Chipmunks is Ho Ho Ho. The Chipmunks (and David Seville) are now voiced by Ross Bagdasarian, Jr., and the repartee between the characters returns here somewhat, although Seville is more darkly grumpy than in the old days. The original version of We're The Chipmunks is more familiar, but still suffers from the vocal manipulation that abounds through the rest of the album. I will admit I was charmed by the cover of Time Warp, but would have preferred to hear this recording done before the era of computer based recording.

In the end, Undeniable is a decent effort that falls short of its potential on the basis of over-production and technology. While its certainly more time consuming, I have to think that a better overall product could be had by returning to the old way of recording the Chipmunks albums. Perhaps it lowers the profit margin a bit based on the time put in, but perhaps a better, more believable recording outsells the current version. As someone who grew up with the Chipmunks, I find myself disappointed.

Rating: 2 Stars (Out of 5)

You can learn more about Alvin & The Chipmunks at http://www.chipmunks.com/. You can purchase a copy of Undeniable at Amazon.com or wherever music is sold.