The Blisterz - Rebels Without Applause

The Blisterz - Rebels Without Applause
2011, Chickenstock Records

Albany, NY power-punk trio The Blisterz look to unleash their blend of chaos, charisma and power chords in the key of G on an unsuspecting world with their sophomore effort, Rebels Without Applause. Davey Blister (vocals/guitar); Drew "Blood" Blister (bass) and Vinny Blister (drums) smash and bash their way through fourteen dynamic punk-rockers on the follow-up to their 2007 debut, Who's Laughing Now? With a penchant for three chord anthems and moderate socio-political commentary, The Blisterz follow in the sonic footsteps of bands such as The Ramones and the New York Dolls.

Rebels Without Applause shows flashes of this musical charisma, but also spends a fair amount of time muddling around without a message. "BOTB (We Should Have Listened To Our Friend Gus)" borrows a bit from The Ramones but is a solid start. "Friday Night Girls" is a classic band complaint about young bar-goes who only want to hear songs currently on top-40 radio. It's a catchy number full of brash humor. "Your Girlfriend Wants Me" opens with a chord progression that could have been lifted from "Baba O'Riley" (The Who). The song is a fun bit of trash-talking bravado. The Blisterz get in a catchy kiss-off song with real pop sensibility in the form of "Hear U Cry"; this could be a breakout hit for the band, particularly if it were picked for a movie or television soundtrack.

Kvetching is the word of the day on "Yellow Flag", a WTF song about the state of the world that is likely to reverberate with anyone confused about the direction of the world. Likewise, "The DJ Let Us Down Again" could be a socio-political commentary, or might just be what it sounds like. Either way, it's an enjoyable listen that shows a bit more depth from The Blisterz than you might expect at first glance. "Wrecking Ball" is a catchy-mid tempo number that's a lot of fun and well-played. The Blisterz explore the ultimate workplace diversion on "Paper Jam", putting copy rooms to their proper (alternative) use. Rebels Without Applause closes with "Over And Out", a somewhat weak ending for a generally solid to above average effort.

The Blisterz have the same energy and ability to surprise that could be found in early Green Day recordings, although without the apparent, pervasive drug cloud. In spite of the uncut approach to music, The Blisterz show a surprising pop sensibility and complexity on Rebels Without Applause. It's easy to imagine The Blisterz growing up beyond their three-chord punk anthems into a band of real substance over time. For now, they're a fun diversion with great things afoot.

Rating: 3 Stars (Out of 5)

Learn more about The Blisterz at www.facebook.com/theblisterz or www.myspace.com/theblisterz.  Rebels Without Applause is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Roaming Royalty - Audio Bacon

Roaming Royalty - Audio Bacon
2010, Roaming Royalty

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

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

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

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

Rating: 2.5 Stars (Out of 5)

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

Review: The Len Price 3 - Pictures

The Len Price 3 - Pictures
2010, Wicked Cool Records

Little Steven Van Zandt's Wicked Cool Records dropped a musical love bomb on the western hemisphere with the release of The Len Price 3's third album, Pictures, in January of this year. Using analogue equipment and roots that run to bands like The Who, The Beatles, The Kinks and The Prisoners, The Len Price 3 have created their most sonically challenging and pleasing work to date. Pictures shows the melodic brilliance of Brit Pop with the edgy darkness and humor that characterized early Who recordings. Pictures was produced in committee by The Len Price 3 with the help of Jim Riley, Graham Day, Kris Harris and Little Steven.

Pictures opens with the title track, a crisp instant classic with nods to British Punk but a real pop sensibility. “Keep Your Eyes On Me” has a tremendous melody and pacing, sounding a bit like They Might Be Giants working as a Beatles tribute band. This song will definitely get stuck in your noggin. It’s a song about the lack of perspective that follows stardom, particularly when the lights aren’t quite so bright anymore. “The Girl Who Became A Machine” is a delightful punk/pop blend with a chorus reminiscent of something between The Who and The Kinks; it’s a brilliant tune that runs exceedingly short at 2:19. The Beatles references will continue on “After You’ve Gone”, where The Len Price 3 stick with the same style of quirky melodicism but also a modern touch.

“Mr. Grey” is a powerful observation on society; a song about getting all you want only to realize it’s not what you wanted at all. On “If You Live Round Here”, The Len Price 3 head for a different approach, with a more rhythm ‘n blues based sound. “Man Who Used To Be” is a catchy, vibrant rocker about being past your prime. The Len Price 3 get back to the punk aesthetic on “Under The Thumb”, perhaps the best all-around rock tune on the album. Pictures winds down awkwardly with “The Great Omani”. It’s a decent enough song, but very much out of place in this collection.

The Len Price 3 offer up a varied and dynamic approach to songwriting on Pictures, a well-rounded rock album with punk roots that run deep, but also a serious pop sensibility you won’t be able to ignore. There are a few bumps along the road, but Pictures seems likely to expand the reach of The Len Price 3.

Rating: 3 Stars (Out of 5)

Learn more about The Len Price 3 at http://www.thelenprice3.com/ or www.myspace.com/thelenprice3. Pictures is available from Amazon.com as a CD, Download or Vinyl LP.

Review: The New Fidelity - All Here Now

The New Fidelity - All Here Now
2009, Square Tire Music

Modern Mod Rockers The New Fidelity bring their light-inflected Pop Rock regularly to stages on the west Coast of the US and Canada. Regularly featured on KROQ, KXLU and KCRW, The New Fidelity have found their music featured in films and on television shows on ABC, NBC, the CW and FuelTV. Their live shows are a mix of originals and covers of 1960's British Invasion and Motown songs, and The New Fidelity never leave a crowd dissatisfied. The New Fidelity's latest album, All Here Now, features the band at their musical height, rocking in retro love fueled by The Beatles, The Who and The Small Faces but with a modern Pop economy that's sure to expand their brand well beyond the West Coast.

All Here Now opens with the ebullient "Simple Things", a song taking big joy from small measures in a relationship. The New Fidelity rock out to Pop-radio hooks in a catchy tune that could easily be a big thing. The New Fidelity seem to have a gift for making Rock N Roll that sounds just a bit messy but is full of glorious melody lines you can't help but sing or hum along to. "Setting Sun" is a perfect example; having an almost 1960's garage sound pared with an irresistible melody and bounce. The good time Rock N Roll continues on "Best Time To Say Goodbye" in spite of the perhaps not so happy intent of the song. The New Fidelity slows the pace a tad on "Dark Eyes", a gentle light rock love song that plays like a classic. The vocals/harmonies here are picture perfect, and the lyrics will land this song on scores of mix tapes. There's also a very cinematic air to this tune, so don't be surprised if it shows up in a romantic comedy in the not too distant future. The band takes a Motown swing on "All My Soul", a catchy love song with a classic sound that would play well in any decade from the 1970's on. All Here Now makes last call with "Native Son", a funk-driven Alt-Rocker you won't be able to get out of your head. It's a love song to Los Angeles from someone who didn't originate in L.A. but now calls it home. Rather than the gritty adoration you hear in songs about New York or Chicago, All Here Now combines a Midwestern retro rock sound (ala Woodward) with a vibrant California song that traces its roots back to groups such as the Beach Boys.

Somewhere between Woodward and The Beatles, with a bit of Beach Boys thrown in, you'll find The New Fidelity. It's a wide open space to be sure, but The New Fidelity fill it amply. This is a band that's going somewhere, with virulently catchy songs and a sound that's familiar-yet-new all at once. All Here Now at another time would have been scooped up by a major label before you could blink. As it is, the EP should allow The New Fidelity to open the ears of a lot of new fans. Make sure you're one of them.

Rating: 4 Stars (Out of 5)

You can learn more about The New Fidelity at www.myspace.com/thenewfidelity or http://www.newfidelity.com/, where you can download All Here Now for absolutely free!

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: Jazz Punks - Jazz Punks

Jazz Punks - Jazz Punks
2009, Jazz Punks

Los Angeles-based neo-Jazz outfit Jazz Punks sound a bit like a super group. Drummer Hugh Elliott has played such luminaries as Angela Bofill, Herbie Hancock, Grover Washington, Joan Osborne, Robert Lamm and Laura Branigan. Guitarist Sal Polcino is an alumnus of Tower Of Power Rhythm Section. Bass man Mike Polcino is a longtime symphony and jazz musician who has toured with members of Fishbone and also serves as a director on Fox' The Simpsons. Pianist Danny Kastner is an award-winning composer who owns his own media company and had the pleasure of being fired by Donald Trump on The Apprentice. Saxaphone player Robby Elfman is a session player in LA when not composing music for television and film. Together, this talented bunch travels and play under the name Jazz Punks, and have released a self-titled EP.

Jazz Punks opens with Led Gillespie, an occasionally muddy but generally workable mash up of Dizzy Gillespie and Led Zeppelin. The marriage is a rocky one but entertaining. Another Hue is highly inventive and melodic jazz, featuring some sweet guitar work from Sal Polcino. Polcino carries over his sweet sound into Heavy Footprints, with some wild piano work from Danny Kastner, but it’s the rhythm section that makes this one tick. Hugh Elliott (drums) is a rock, and Mike Polcino's plaintive, nearly haunting bass line is the soul of the song. The combination of The Beatles and Miles Davis is quite unique and works very well. Four finds Jazz Punks in full swing on the sort of classic fare that's filled supper clubs for generations. Jazz Punks close with I Can See Miles, a hybrid of Miles Davis and The Who that's intriguing. Running out over eight-and-a-half minutes, Jazz Punks dissect and bisect Davis and The Who in ways both coldly logical and serene.

Jazz Punks take listener expectations and turn them on their collective ears. Not out to kowtow to tradition, but rather intent on marrying sometimes disparate arts and artists, Jazz Punks take risks on a big scale. When they don't work out it's almost expected; when they do the songs seems like brilliant surprises. The creation here isn't so much about making something new, but helping you hear songs you might already know intimately in new and exciting ways. This is one mark of a seasoned musician/entertainer. Jazz Punks come highly recommended, particularly if you can see them live on stage. The Jazz Punks EP is a great introduction!

Rating: 4 Stars (Out of 5)

You can learn more about Jazz Punks at http://www.jazzpunks.com/. You can purchase Jazz Punks on CD from Amazon.com, or as a download through iTunes or Rhapsody.com.

Review: Michael Bellar/The As-Is Ensemble - Turned On Turned Up

Michael Bellar/The As-Is Ensemble - Turned On Turned Up
2009, Left Three Lanes Music

Michael Bellar and The As-Is Ensemble were, at one time, the house band at New York City's Blue Note jazz club. They have played Lincoln Center (NYC), The Kennedy Center (Washington, D.C.) and the JVC and Bell Atlantic Jazz Festivals. Their latest album, Turned On, Turned Up, displays the band's penchant for high-energy jazz and sense of mischief, as if anything might happen at any time. Featured performers on Turned On, Turned Up include bassist Rob Jost (Imogen Heap, Bjork); drummer Brand Wentworth (Aretha Franklin) and percussionist Robert Di Pietro (Norah Jones, Jessie Harris). Michael Bellar himself has toured/recorded with Art Garfunkel, Amos Lee, Howie Day, Wheatus, Jump Little Children and Giorgia

Turned On Turned Up opens with Squashing Pollyanas; serious Funk with an incredibly infectious bass line and high quality organ work over the top. This highly creative and danceable instrumental gets The As-Is Ensemble off on the right foot. The choice of Ben Folds' Fred Jones Part 2 as a cover is interesting. The instrumental version offered up here reminds us that Folds isn't just bombast and keys but a pretty mean songwriter as well. Bellar plays around the edges a bit but leaves the melody line essentially intact while burying it in reverb on the synth. All Things Rabbit is a high-energy jazz/rock instrumental featuring keyboard work vaguely reminiscent of The Who.

The As-Is Ensemble turns expectations on their heads with Fur Turban, carrying a Middle Eastern Flavor and Latin Rhythms. The song is highly energetic in presentation and is very entertaining. The Damage Done captures a European sound that verges on melancholy before busting out into a bass-driven, accordion-led chorus. Unravel is an introspective rainy-day peace, with a melancholy-yet-hopeful feel that's more intriguing with each listen. The As-Is Ensemble takes on Led Zeppelin with their instrumental version of Misty Mountain Hop, which turns out to be a big treat. Turned On Turned Up closes out with Yoga For Prison Girls, a questionable selection as the arrangement is mellow and frankly, it's likely the weakest track on the disc.

Michael Bellar/The As Is Ensemble are a highly original and intriguing bunch. Turned On Turned Up a bit uneven at times, but overall is a very strong release.

Rating: 3.5 Stars (Out of 5)

You can learn more about Michael Bellar/The As-Is Ensemble at http://www.michaelbellar.com/. You can purchase Turned On Turned Up as either a CD or download from Amazon.com. You can also download the album from iTunes.

Review: Road - Long Player

Road - Long Player
2009, Brown Elephant Records

Road combines the edge of Modern Rock, the crunchy grit of a 1960's Garage Band and a bass player with Funk running in his veins. The Doylestown, Pennsylvania trio rock for all they're worth in their third album, Long Player. Paul Waters (vox, keys, guitar) sounds a bit like John Lennon at times, with J.D. "Jed" Schumann holding the line on drums, percussion and vox. Ben Cleal makes it all work in the middle with electrifying bass work. Long Player was mixed and mastered by Ted Richardson and Shelly Yakus (John Lennon, Tom Petty, U2) at Cedar Street Studios in Philadelphia, PA.

Road opens with Long Player (Jackie's Ruse), sounding a bit like the Beatles jamming with the Knickerbockers. The song itself is very catchy, and Cleal adds an incredible amount of texture to the song with a bass line that erupts all over the place. Come Back Home has a sounds like early Who. If this song were released 40 years ago it would have been the biggest thing on radio. Little Guatemala takes on a heavier sound, digging into a serious garage realm with a fun tune about a relationship gone sour told from the third person. This is all done with a deft storytellers touch, big rock hooks and a melody that sticks around once the song is done. Don't Know Why is the song that will put Road on the map; a catchy, funky rocker with real potential for college radio and beyond. This is great pop songwriting all around.

There's a definite Beatles vibe on Count The Stars, right down to the "perfect pop song" style arrangement. You'll want to dance and sing along. The same goes for Even Real, with its funk-laden bass line and energetic interplay between the three members of Road. For pure dance-ability this the primo pick of the litter. The Sunday Song (Jackie's Demise) is a strong mix of modern sound with a 1960's Garage aesthetic. Cleal and Schumann provide a funky backbeat and bass line to drive Walters' smooth to smiteful vocal line. This is yet another great tune that would have ruled the airwaves had it been released in the late 60's or early 70's. Road closes out with Six Bottles Of Beer, a paean to the weekend and what it takes to find companionship sometimes. This one is very tongue-in-cheek and provides a good chuckle to say goodnight.

Road is one highly entertaining band; they certainly haven't forgotten the roots of Rock N Roll on Long Player. Boomers will think they've found a fountain of musical youth here, but Road keeps things fresh enough to interest younger rock fans. These are guys I'd definitely go see live, as the show would be a hoot. There's an inherent sense of humor running deep below the melody, like the band is sharing a joke that's passed back and forth between the instruments. The humor breaks loose on the final song, but that spark of mischievous wit is always there. Long Player might not be gourmet music; it's more like comfort food. You'll keep coming back.

Rating: 3.5 Stars (Out of 5)

You can learn more about Road at www.myspace.com/roadstuff or http://www.brownelephantrecords.com/. You can purchase Long Player through CDBaby.com or as a download via iTunes. If you're the brick and mortar type, Long Player is being distributed through Independent Record Stores across the US.

Review: Zydecosis - Zydeco All Night

Zydecosis - Zydeco All Night
2009, Vinyl Records

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

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

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

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

Rating: 3.5 Stars (Out of 5)

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

Review: 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.

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

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

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

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

Rating: 3.5 Stars (Out of 5)

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