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Mike
Bennett
Capsule
Reviews:
April, 2004
Scroll
down for capsule reviews of releases by The Smugglers, Sodajerk,
The Casual Dots, Van Hunt, X, Anton Barbeau, Magnus, From
Bubblegum to Sky, Leatherface, Rocket From the Tombs, Herb
Eimmerman and The Gurus
The Smugglers -- Mutiny
In Stereo (Mint/Lookout): This
lovable Vancouver band has been mixing a love for classic
R & B party rock (which makes them spiritual descendants
of great Pacific Northwest bands like Paul Revere and the
Raiders, The Wailers and The Sonics) with a bratty, jokey
punk rock vim for years. This is only their third proper studio
LP, following 2001's Rosie, which was a career highpoint
for a band that rarely, if ever, releases a duff track. This
album offers a few change ups amongst the expected frivolity.
Two tracks near the end of the disc find the band verging
on basic ‘70s hard rock (more AC/DC than pure boogie).
These songs, "Shock the Shanker"
and "Haunt Me" are well done, but I'm not sure if
they play to the band's strengths. While singer Grant Lawrence,
whose nasal vocals for some reason remind me a bit of Bob
Geldof at his giddiest (I wonder if The Smugs have ever covered
The Boomtown Rats' "She's So Modern" -- it would
be a natural), they are a bit thin, and wither somewhat while
competing with the David Carswell/Nicholas Thomas twin-axe
assault. It could be that I just have to get used to this.
Of course, it's not that The Smugglers aren't capable of extreme
rock -- it's just that the rock tends to manifest itself in
a more danceable fashion, like on the terrific "Billy
Billy". Indeed, the first three songs, "Pirate Ships",
"Billy Billy" and "Larry" are quintessential
Smugglers. There are also a pair of tunes that would have
been at home at a ‘60s frat party.
"Get Up Syndrome" is a simple
R & B stomp -- for some reason this makes me think of
The Royal Crescent Mob. Even better is the hyper-goofy "Don't
Mess With Beez", a tribute to the band's bass player,
which crunches like The Fleshtones and is laden with lyrical
gems like: "Deprive him of sleep and prepare to die/but
fresh from a nap, he's a fabulous guy." There's even
an acoustic number, "Mach 1", which is pretty nice.
I don't think this is quite as good as Rosie or Sell
The Sizzle, but it's still a fun rocking record from one
of the most fun bands around. mintrecs.com
Sodajerk -- Brand New
Low (self-released) Midway through
my first spin of this Pennsylvania band's disc, I was hooked.
This is Americana, mixing a few parts of Uncle Tupelo, a bit
of Neil Young and a few kindred influences. These guys play
it like they mean it, managing to sound relaxed while always
maintaining total focus. They even manage to have a little
fun while doing it. Heck, if Paul Westerberg went the twang
route, he'd be proud to compose a nice little ditty like "Breakup
of the Year", a song that rocks in a nicely subdued way,
with Chad "Cha-Cha" Sipes's mandolin part really
adding to the track. The band swings a little on the acoustic
"Bad Luck, Bad Liver", one of a number of songs
where lead guitarist Lucky impresses with his excellent lead
and steel guitar playing -- Lucky is the man of one thousand
licks. Meanwhile, singer Bucky Goldstien effectively delivers
his country clever lyrics, passing off gem after gem, like
"if you were walking backwards/you'd be walking back
to me."
Indeed, "Bad Luck, Bad Liver"
could be the slogan of this band that sings a lot about busted
relationships and empty bottles. "Over Again" is
a mid-tempo track that begins with the line "you only
like it when I'm drunk" and logically proceeds from there.
What really hits home is the strong melody that takes the
bridge into the chorus -- it's worthy of Fountains of Wayne
(think "Leave the Biker"). This is a cut-above your
garden variety alt-country. While many of these numbers are
somewhat light hearted, the band is just as effective when
they take a more sober (pun intended) approach -- "Step
Into the Light" is one of the songs that particularly
merits a positive comparison to Uncle Tupelo, on the Jay Farrar
side. This is a really enjoyable record that actually surprised
me by how it got better play after play. sodajerkcountry.com
Van Hunt -- Van Hunt
(Capitol): One of the most promising neo-soul artists of the
past five years or so. Hunt has a wonderfully supple tenor
voice (that has a little Smokey Robinson in it) and all the
right inspirations -- Stevie, Sly and Curtis, just to name
three. Hunt has made a fine debut record that has only one
real problem -- for all the good songs on it, there aren't
any real killers. This is a collection of good album tracks
in need of two or three hit singles. Imagine Stevie Wonder's
Talking Book without "Superstition" and "You
Are the Sunshine of My Life". Still quite an album, but
missing those cornerstones, not classic. That's what I'm talking
about. That being said, the lead cut "Dust" is a
perfect mid-tempo summer wonderful groove, with a solid hook.
And the swirling "Her December" is a memorable track,
that allows me to allude to Stevie Wonder for the third time,
mainly for the rising chorus, while Hunt shows off some personality
in his sing-speak vocals in the verses. Yet these are just
a cut below classic, as if Hunt is just holding back a little
bit.
Perhaps the most resonant he gets is on the
piano ballad "What Can I Say (for Millicent)", which
sounds like an mix of four or five different soul standards,
without sounding exactly like any of them. Hunt's voice just
glides, caressing the words, his phrasing simply impeccable.
With this song, more than any other, you get the sense of
the amazing potential he has. Throw in a fine Memphis R &
B smolder ("Seconds of Pleasure") and a percolating
"Family Affair"-ish track ("Highlights",
where Hunt finds that he's not part of his lady's long term
plans, though he'll probably make Plays of the Week) -- this
is good, no doubt. Two primary virtues throughout are Hunt's
mellow subtle treatment of his tunes and his avoidance of
working grooves to death, like many other neo-soul artists.
Still, he might benefit from occasionally upping the intensity
and selling his songs, and he also might want to tighten up
a tune or two once in a while (do any R & B artists wax
three minute tunes anymore?). For all of these constructive
criticisms, this album holds up so well and is a joy to listen
to. hollywoodandvine.com
The Casual Dots -- The
Casual Dots (Kill Rock Stars):
The latest vehicle for the smoky voiced Christina Billotte,
formerly of Slant 6 and Autoclave. Billotte still digs basic
rock and roll, adding some blues into her arsenal of surf
rock and Cramps-inspired licks, joined by guitarist Kathi
(ex-Bikini Kill) Wilcox and drummer Steve Dore. Billotte scores
heavily on two covers. Her version of Lavern Baker's "Bumblebee"
retains the dichotomy of cuteness and sexiness from the original,
adding a fun punkabilly buzz to the mix. Even better is the
band's take on "I'll Dry My Tears", an Etta James
chestnut. The band plays it straight up, and while Billotte
will never match James in so many ways, she still grabs the
torchy essence of the tune, singing with a measured passion
that is very affecting. The band original "Mama's Gonna
Bake Us a Cake" is a ringer in this context -- it sure
sounds like an update of some obscure ‘50s blues song.
Dore plays a swinging minimalist drum part, while Wilcox and
Billotte engage in some great guitar playing, mixing thick
rhythm playing with loads of lead guitar fills. You'll have
to see them live to figure out who's playing what.
On "Clocks", the band seems to
have found an intersection between light ‘60s guitar
pop and Wire -- the song has a minimalist structure and just
enough melody, and then the band brings it to life with guitars,
drums and well-arranged backing vocals. Sublime. Fans of Slant
6 will dig "Evil Operations Classified" and "E.S.P.
For Now", while "She's the Real Thing" with
its repeating chord progression (which sounds so rock and
roll -- The Velvet Underground could have played it, as well
as Wire, Pixies or The Drifters, for that matter) and subdued
yet focused performance could have been done by the 6, but
would have come off differently. I was a big fan of Slant
6, and this record just has me salivating for more, as it
takes all of the good ideas of that band and adds a bunch
more. Yet, this record isn't quite great. Ten tunes aren't
enough, particularly when one is an instrumental ("Derailing",
which ain't too shabby, I'll admit). killrockstars.com
X -- Evil Rumours
(Laughing Outlaw): This Australian band sprang up around the
same time as the Los Angeles punk legends. They were classified
as punk, back in the day. They mixed a strong R & B base
(a la fellow countrymen The Saints) with some edgier ideas
that gave their music the same appeal as contemporaries like
Wire, Mission Of Burma and The Wipers. This two-disc set captures
a 25th anniversary performance from December 9, 2002. Original
members Ian Rilen (bass) and Steve Lucas (vocals/guitar) are
joined by Cath Synnerdahl on drums and horns and strings on
some songs. And this was an inspired night, as the band goes
through a rich back catalog, throwing in some terrific covers.
Some of the songs reflect what made their music different
-- like the edgy "TV Glue", with its razor sharp
guitar, taut bassline and honking sax, which still sounds
sleek and modern, or their foreboding drone-swirly cover of
Roy Orbison's "Dream Baby". And I betcha Midnight
Oil might have been taking notes back in the day when X would
whip out the snaking, rumbling "The Feel". But a
lot of what's on here is more traditional rock and roll --
the edge comes from the sheer intensity of the performances.
"Oxford Street Nick" is slam-and-bash
rock and roll number that may never be in vogue again, yet
never goes out of style. Better yet, listen to Steve Lucas's
impassioned vocal on the band's version of John Lennon's "Mother"
-- it melds the soulfulness of Joe Cocker with the anger of
Kurt Cobain, and it's hard to imagine a better cover of this
song. Then there's the winding "El Salvador" (with
Synnerdahl keeping everything together) with Zombies-like
organ and some impressive instrumental breakdowns. At other
moments, the band's bluesy rock isn't too far away from what
Graham Parker was doing early in his career. It's hard to
believe that a 25-year reunion CD could be cited as a good
starting point to learn about a band, but when the band doesn't
concede an iota to age and still burns, well -- I believe.
A crowning achievement for an underrated band. laughingoutlaw.com.au
Anton Barbeau – Guladong
(Pink Hedgehog): Listening to Anton Barbeau's music is like
going into a parallel universe. Not a parallel universe where
things are radically different. Instead, it's a parallel universe
where things are just a little bit off. Because, if you just
concentrate on the music, Barbeau pens melodic guitar rock
songs that often have a strummy folk rock type base. From
that standpoint, there ain't nothing unusual going on. However,
what's off is Barbeau's lyrics. His loopy wordsmithing is
somewhere between James Joyce and Beck on the Confuso-meter.
On Barbeau's good songs, this is great -- the words are worth
a smile or a chuckle. Moreover, when he's on his game, he
comes up with memorable nonsensical phrases that reinforce
his basic hooks.
So I end up singing the phrase "grapes
on a plate" over and over (from, logically, the song
"Grapes on a Plate"), because it sure sounds good
with intent music underneath it. On this disc, Barbeau is
definitely on. Yeah, his voice is still nasal and limited,
but he works with it quite well. And there are some great
songs on this album. "It Won't Be Long Till the Banjo
Patrol Comes Along" is a bouncy acoustic number that
reminds a little bit of Roy (The Move) Wood's solo work. This
song illustrates how the prolific Barbeau has advanced as
a producer and arranger, from the distant backing vocals at
the end of the track to the cool compressed sound on the rollicking
piano solo in the middle. He maximizes his resources to make
things sonically interesting. Barbeau also shows that he can
carry a more atmospheric track on "Keep My Face Clean",
with a very strong lead vocal and a dramatic intensity on
the mid-tempo strum (with a nice keyboard line accompanying
the guitar) that makes for a great change of pace. Meanwhile,
fizzy tracks like "I'm Just a Country Girl" and
"King of Missouri 2" are instantly memorable and
rank with Barbeau's best. He also scores bonus points for
the guitar stomp "Stewart Mason", presumably referencing
the columnist for Amplifier magazine -- more songs
about tall rock critics, please! pinkhedgehog.com
Magnus -- Sleepwalker
(Nefarious): This Chicago band is not lacking for ideas, and
their debut album illustrates a guiding sensibility and a
sense of exploration on a batch of memorable, well-executed
songs that are tailor made for quality college radio stations.
This five piece band is not afraid to layer on copious amounts
of guitars. However, they have mastered dynamics and subtlety,
so that the explosions, like the cacophonous finale to "Next
to Nothing", are fully felt. The midpoint of the album,
"Inside Out", is a testimony to the sophistication
of the band's approach. The song starts off with some mellow
acoustic guitar and some jazzy accents on electric piano,
sounding like a cross between Pink Floyd and The Zombies.
As the lead vocal comes in and the melody is established,
the song builds in intensity. More guitars pile into the mix,
as the melody bends into a slightly different direction, leading
into the refrain and then culminating in a maelstrom of guitar
noise...fading back into the verse.
A quiet interlude, another refrain and then
a blistering guitar solo that sends chills up the spine. Excellent,
as some old school psychedelic influences are transformed
into powerful modern rock. The band's big guitar sounds at
times merit comparisons to shoegazers and My Bloody Valentine
acolytes, while their consistent songwriting brings to mind
a host of college radio friendly rockers like The Lassie Foundation,
Tiara and New Radiant Storm King. So the band is equally at
home with a warm enveloping epic like the title cut, or more
intimate pieces like "Awake". An impressive opening
effort. magnusmusic.net.
From Bubblegum To Sky --
Nothing Sadder Than Lonely Queen
(Eenie Meenie): The second album from the band fronted by
Mario Hernandez, formerly of Ciao Bella, offers more sugary
pop in a style somewhat akin to bands like Apples In Stereo
and Bikeride. Recorded intermittently over a two-year period,
this disc sounds unfocused and unfinished, with a few gems
scattered amidst a bunch of pleasant and unremarkable songs.
The problem here is certainly not the basic sound -- there
is a strong T. Rex vibe on a lot of these songs, with the
glam replaced by more of a loose acoustic indie pop backing.
It's just that many of the songs rumble along, offering a
modicum of catchiness, but missing either a strong musical
hook or lyrics that will pull me in. The second track, "Sign
the Air", typifies what's lacking on this album. Marrying
a wispy melody to an extra-light synth-funk track, Hernandez's
high-pitched voice (just a tick more mature than Michael Quercio,
to provide a reference point), the song is initially appealing,
but goes nowhere. And neither the melody nor the groove is
enough here. This song simply meanders.
There are quite a few other songs where there are fine pop
elements in place, but there's no payoff. Hernandez and his
partners in crime exercise too much restraint on this record.
Which isn't to say that there aren't a few payoffs. "Vampire"
is a nice neo-glam stab, sounding like a slowed down Gary
Glitter. The relatively energetic "The Gurls & Shoo
Be Doo Wop" actually reminds me a bit of Prince during
his new wave phase (think "When You Were Mine"),
adding some disembodied female backing vocals to make for
a trippin' track. And there are a few other songs that work
alright, like "24 Hours in Your Deep Blue Jeans"
and "Catherine Was my June". This is a frustrating
album, because it entices but never really grabs hold. It
makes a good companion to the similarly disappointing Lilys
album from last year. Hernandez needs to hone his songs more.
eeniemeenie.com
Leatherface – Dog
Disco (BYO):
Ever since their 1992 album Mush, where everything
came together for this British punk band, it's been nothing
but good stuff. This is the second Leatherface full length
since the band reformed, and while nothing has changed much,
that really isn't such a bad thing. The thick guitar chords
that manage to play some of saddest (yet loudest) melodies
in rock are accompanied by the ultra-gruff vocals of Frankie
Stubbs, who makes Lemmy sound like Aaron Neville. Much like
Tom Waits, the limitations of Stubbs's voice actually make
it better. Maybe he can't hit a lot of notes, but he reeks
of empathy and concern. It seems like his voice has settled
into a slightly lower key, which doesn't make too much of
a difference, except for the fact that it tends to bury his
voice a bit in the mix.
I think they should have move his voice up in the mix just
a bit. Beyond that, this is simply a good album by a band
that knows its style and executes it very well, using it as
a platform for things they want to say and stories they want
to tell. Stubbs has increasingly become a stream-of-consciousness
lyricist, evocative of the great Scottish writer James Kelman.
This comes through on the thrashy "Red Diesel",
which sounds like the rantings of a drunkard: "Have you
seen your dog?/It's a lasse rapso (sic)/it was on the back
seat of that Fiat Uno you stole/it was an injection though/that's
alright I suppose." The song manages to tuck in two hooks
-- one a melodic semi-chorus, the other a nifty little bass
lead by Davey Burdon (give some love to the bass player!).
On "You", the band adds a little shimmer to the
sludge, with Stubbs growling how "they like you, and
I like you".
Stubbs accents the song with bright lead playing, and while
the lyrics are vague, the performance suggests that this is
intensely personal. Equally rousing are tracks like the album
opener, "Hoodlum", a derelict friendship anthem,
and "Bakelite", which is kind of along the same
lines. Those left behind must stick together. Burdon and drummer
Andrew Laing each get a turn at the mike (on "Rabbit
Pie Alibi" and "Raga", respectively) and both
acquit themselves well and maintain the essential Leatherface
sensibility. There's also a slower number that has an Irish
folk ballad feel ("Plastic Surgery") that really
captures the pathos Stubbs is capable of. As Jack Rabid, who
has championed this band for years, would say, this is music
with heart. A very big heart. byorecords.com
Rocket From The Tombs --
Rocket Redux (Smog Veil): Not
often does a band record its first proper studio album 30
years after their formation (I suppose The Flatlanders are
another example). The unexpected and highly praised reformation
of this Cleveland legend, a band that was a precursor to punk
and spawned Pere Ubu and The Dead Boys, has culminated in
proper studio recordings of their songs. Television's Richard
Lloyd has taken over for the late Peter Laughner (talk about
your quality pinch hitters) and Pere Ubu's current drummer
Steve Mehlman augment the three original members, Dave Thomas,
Cheetah Chrome and Craig Bell. Though the original band has
been chronicled through a collection of live recordings, that
album was more of a curio than a compelling document. This
collection really states the case for Rocket From The Tombs
as a band both ahead of its time and timeless. While Thomas
coined the phrase "avant-garage" to describe Pere
Ubu, it applies very well to some of RFTT's material. Of course,
two Ubu classics were taken from this band, and "Final
Solution" and "30 Seconds Over Tokyo" are included
here. Quite a few songs on this collection combine a love
for primal rock (inspired by garage rock and the Velvets,
without aping either specifically), with arty touches and
a sense of menace that was unique then, and still is now.
While bands like Blue Oyster Cult and Black Sabbath, for example,
were in touch with the dark side, here, the eerie was part
of the commonplace.
However, some of RFTT's material was just plain old barnburning
rock and roll. The Dead Boys adopted "Sonic Reducer"
as their own (and it's cool to hear it with Thomas on vocals
-- R.I.P. Stiv) and there are other smokers like "What
Love Is". Indeed, for every off-kilter track there's
a more conventional track -- conventional not meaning bland,
by the way. Meaning that this is simply a good slab of rock,
some innovative, all interesting. For example, "Muckraker"
just a silly boogie tune about having a spy for a girlfriend,
but it's really fun, with some great lead guitar duels between
Lloyd and Chrome. Then there's the slow burner "Ain't
It Fun", with Craig Bell's sandpapery tough guy vocal.
Nothing fancy here -- heck, the song isn't too far away musically
from Lynyrd Skynyrd's "Simple Man". The lyrics are
suitably hard-boiled. The disc closes with Laughner's "Life
Stinks", which may take on a different meaning in light
of his death from liver failure at the age of 25. This steamroller
shows that Rocket From The Tombs deserves a place alongside
the MC5, The Stooges and The New York Dolls as a vital precursor
to punk. And one that still sounds vital in 2004. smogveil.com
Herb Eimmerman – &
I you (Jam/UnderthedomE): The Nerk
Twin with a moustache is about as consistent as an artist
can be. Eimmerman takes twelve jaunts into the land of melodic
light power pop. Eimmerman has a friendly voice (a bit akin
to Dave Edmunds) and writes songs that follow in the path
of The Beatles and their inspirations like Buddy Holly and
The Everly Brothers. If music were food, this would be meringue
-- there may not be much in the way of nutrition, but it's
sweet and fulfilling. The songs are well crafted, and Eimmerman's
lead guitar playing is a real strength. The only knock I have
on the performances is that it sounds like he's using a drum
machine, and at times it sounds a bit too drum machine-y --
that is, I notice the drums in a way I shouldn't. Fans of
Shoes (for those who don't know, Eimmerman's Nerk Twin partner
was Jeff Murphy of Shoes) will slobber over "All I've
Gotta Say", which has a great chorus, where the melody
descends in a floating manner, while Herb sings in a whispery
voice, "Cross my heart and hope to die..". The pithy
lead guitar figure that he drops in periodically is a bonus
hook. He revs up the guitar on "If We're Quiet",
which has a nice dramatic feel to it. My favorite song is
"Big Dark Secret", which sounds like a power pop
number that would have sounded great right next to The Cars
and Tom Petty in 1978, sporting a persistent rhythm. More
nice music for nice people. Fans of Jam Records honcho Jeremy
should snap this up. jamrecordings.com
The Gurus -- The Gurus
(Rainbow Quartz): This is solid second tier psych-revival
music from a Barcelona band (not to be confused with the ‘60s
outfit of the same name). By second tier, I mean that The
Gurus don't quite transcend their influences the way, for
instance, their labelmates RockFour or The Lackloves do. The
Gurus aren't quite that distinct. But they aren't just trying
to rewrite specific Beatles songs. Still, the inspiration
is clear. However, when you can make a pretty little ditty
like "My Beautiful Home", which sounds like a Revolver
outtake that is innocent and grin inducing, you have something
good going on. Throughout the album, Emili Ramirez (guitar)
and Sergio Bartel (bass) combine for some superb harmony vocals,
that are also good enough that worrying about whether the
Gurus are derivative is overcome by the blissful sounds coming
out of the speakers. One of the best songs on the album would
definitely appeal to fans of the aforementioned Lackloves.
"Feeling Afraid" has three terrific musical ideas
-- the primary melody has a reaching yearning quality, like
the Lackloves. The band segues this into an inventive mix
of crunchy guitar riff (a la Off Broadway/Cheap Trick) and
adds a great middle eight. The band channels more innocent
Merseybeat on the jangly "It's Only Love", which
is sweet. And did I mention those great harmonies? The band
also excels on moodier tracks like "Gerdundula",
which is 100% psych, and "Let's Have a Change",
which is similar to modern psychmasters The Pillbugs. This
is an enjoyable lark of an album. parasol.com
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