Scroll down for capsule reviews of Various Artists -- Jam On Jeremy, Youth Group, The 101, The Go! Team, Dynamite Fraulein, Dum Dog Run. The Patsys, Parker & Lily, The Out Crowd, Loopy, Annie and Feist

Various Artists -- Jam On Jeremy (Ear Theory): Let me begin this review of a tribute album to Jeremy Morris (recording artist and label head of Jam Records) with a tribute to Jeremy Morris. Whilst gabbing with some folks, including Mr. Morris, at an International Pop Overthrow show in Chicago, we were introduced to Israeli popster Shy Nobleman, who had just arrived in town. After exchanging pleasantries, Nobleman mentioned his new album, and Morris immediately followed suit. He got out a ten spot, and after that, the rest of us talking to Nobleman bought a disc there too. He's a generous and enthusiastic supporter of power pop, and has made a lot of nice music in his own right. The affection other artists feel for Jeremy is evident from the performances presented here. Starting off with Lisa Mychols' fine take on "Pop Rules", this album radiates happy melodic vibes, with plenty of guitars. Then there's the excellent work turned in by Lolas (who are part of Jeremy's Jam Records stable), who, by law, should be required to appear on all power pop tribute albums. The riff-a-riffic "I'm Flying" is tailor made for the ebullient sound of Tim Boykin and crew. Phil Angotti is another Jam Records artist who scores, as the gentle "Love is Alive" is in the vein of Badfinger...or for that matter, Angotti. Kat Parsons gives Jeremy the piano chanteuse treatment on "You're Not Alone", which is an anthem of empathy that provides strong insight into Morris as a person. Pretty sentiments, lovingly rendered. But Jeremy is a rocker, and The Shambles provide proof with "It's Getting Better", infusing some Who doing "Summertime Blues" into the proceedings. While I would not put Jeremy Morris at the top of the heap of contemporary power pop songwriters, this collection shows that he has penned a number of gems that are adaptable to quite a few pop styles. In fact, this is about as good an introduction to his songs as anything else out there. jamrecordings.com

Youth Group -- Skeleton Jar (Epitaph): Not only has this Australian band been compared to Death Cab For Cutie, one of the non-Gibbard members of the band has a blurb on the sticker on the shrinkwrap. And I certainly can hear where the comparison comes from. But one would not have to know Death Cab For Cutie's music to not hear some familiar antecedents in the inviting indie-pop on display here. For example, a major melodic section of "Last Quarter" is nearly identical to the Pixies' "I Bleed". However, Pixies would not couch a song in such a winsome yet punchy bed of acoustic guitars, with such sweet vocalizing. Speaking of vocals, lead singer Toby Martin is a real strength. There seems to be an inexhaustible supply of honey voiced Aussie pop-rock singers, voices oozing sensitivity and empathy, without sounding wussy. Meanwhile, the band does an excellent job of sprinkling light melodies on glistening mid-tempo guitar rock, pushing things to a higher level of intensity during the choruses. On "Baby Body", the Group premises a tune on a repeating sequence of lightly plucked guitar notes, sounding like Belle and Sebastian without the high twee factor. Then a crash of harder guitar chords gets the song moving, while never deviating from the guitar figure that is the song's foundation. A special mention must be made of Danny Allen's exceptional crisp drumming which guides the band through the song. The band even comes close to power pop on "Someone Else's Dream", which is a summer song of the highest order. This could unite fans of Cosmic Rough Riders with fans of British Sea Power, if that gives you an idea of the vibe. To a certain extent, Youth Group remind me of fellow countrymen The Living End – both bands might be following in the footsteps of others, but they do so with such skill and passion, that they are truly inspired. epitaph.com

The 101 -- Green Street (Limekiln): Whether or not the members of the 101 are familiar with ‘80s college radio staples like Full Fathom Five, The Hollow Men or the early work of R.E.M. is unimportant. That they make music that stands up to the greater and lesser (but still good) lights of that era is what matters to me. This is rock music that is in no way pop, that doesn't just rely on dynamics and guitar power (and the 101 traffics in both), but also can write simple melodies and craft some hooks. This is an exceptionally well recorded album (take a bow, Steve Revitte) which places the guitars in just the right place in the mix, and captures some crackling performances by the entire band. There is a measured intensity that is inviting, exemplified by Eric Richter's vocals. He's not a worldbeater of a singer, with a somewhat thin high range voice, but he doesn't strain and keys every song with his focus. The songwriting may not be consistently strong, but when a song (like "Left On") seems to be drifting, the band explodes with twin guitars in the forefront, exuding passion and energy, and everything is fine. The band's powerful attack is a constant, best exemplified on the closing track "Regret", which breaks down into a simple guitar figure and steady and insistent rhythm section driving things home. The 101 is great at creating a guitar racket that sounds like a swarm of bees, and then pulling a bit of melody out of the din for a compelling chorus. It's even better when the compelling chorus is "getting fucked up on the job" (from "Fucked Up Job"). Fans of The Contrast might find something to like here. Terrific debut album. limekinrecords.com

The Go! Team -- Thunder, Lightning, Strike (Memphis Industries): Every year I get one of these records -- some type of DJ or sound collage thing. As a critic, I'm kind of at a loss to adequately describe the music. What I've found in the past, with artists such as Cornelius, Fatboy Slim and others, is that I appreciate the inventiveness, but there's not enough to grab me, so the discs sit in my collection as a testament to my catholic tastes, and not much else. This year's entry is The Go! Team. They might meet a similar fate, but I must say, if I have a party, I could do much worse than to throw this on my multi-disc changer. They get compared a lot to The Avalanches, which certainly makes sense. I also hear some of the giddy pop vibe of Pizzicato Five, though The Go! Team is a lot less song oriented. What they do effectively is thread through their breezy instrumentals (and a few tracks with vocals) an array of short hooky parts that make the songs irresistible. The finale, "Everyone's A V.I.P. to Someone" is a textbook example of this working method. It is a great finale track, sounding like the coda to some lost ‘70s movie -- a movie that probably told an inspiring story of two long lost friends finding each other, or something in that vein. It starts off with a banjo (!) and then some keyboards and faux strings, with a wistful melody. Then the Herb Alpert horns kick in...and the flute. Finally, some harder drums kick in, keeping this from being pure kitsch. If you want to dance, the Team has plenty to make you move. Their first single, "Ladyflash", is here, and it samples an array of sounds – there's scratching, a variety of light funk guitars, big fat beats, some twang guitar, twinky electronic sounds, synthesized strings and the vocals of a woman named Ninja. There's even little bits of melody. The second single "The Power Is On" is a mix of jump rope chant and a variation on The Theme From Rocky if played by George Duke or Herbie Hancock. Another favorite is "Junior Kickstart" which is built around a wistful guitar part, accompanied by horns that both enhance and overwhelm the initial musical theme. Although there are vocals elsewhere, this is primarily instrumental and what I find most intriguing is that this really pushes emotional buttons. It just shows how certain notes and melodies can strike something in the listener's head. As a result, this is giddy party music that manages to resonate. memphis-industries.com

Dum Dog Run -- Dum Dog Run (Fuseic): I don't know if the members of Dum Dog Run are tree hugging environmentalists, but I know they love to recycle. Recycle riffs, that is. And they do so with gleeful impunity, creating a clever concoction that is teenage music for adults weaned on classic rock and AM Radio. Right out of the gate, the band cops a variation on Thin Lizzy's "Jailbreak" riff, and melds it into power pop on gold on "I Can't Stop it Now". The theft isn't just confined to riffs, as the lyrics of "Power Ballad" are laden with references to classic power ballads of the past. If someone could weave this into a medley with Fountains Of Wayne's "Prom Theme", they'd either have come up with something genius or should be exiled. This is all giddy larceny, as Dum Dog Run celebrates the fun of the best ‘70s and ‘80s power pop and hard rock (with pop dominating the proceedings). It helps that Rick Altizer (who put out an album on Not Lame a couple of years ago) has a friendly and enthusiastic voice that perfectly expresses the spirit of this project. It's hard not to get caught up in songs like "Firecracker", which sounds like Redd Kross or The Shazam if they were shooting just a bit more for the arenas. The analogy has been overused, but if any band can get away with it, it's these guys, particularly when that big lead guitar hook takes you out of the chorus. There are a couple points where Dum's dumbness is just a bit too much -- "Rock the World" beats a tired riff into the ground, and if I wanted to hear that, I'd become a Loverboy fan. But that's one of the few missteps on this party-riffic disc. More often, you get automatic sing-a-long material like "Bachelorette". This is one of those discs that if listen to a sound clip online and like it, then just buy this -- you'll like the whole thing. dumdogrun.com

Dynamite Fraulein -- Dynamite Fraulein (self-released): Five-song EP of wonderful California sun-drenched power pop. Tawni Freeland and John Creegan share lead vocal duties, and when Freeland is at the forefront, I think of melodic guitar rock from the likes of The Muffs, that dog's Anna Waronker and Voice Of The Beehive. The lead cut "I Never Knew" has big hooks and back in days of yore, would have been a well-deserving A-side. When Cregan takes over, Freeman is there in the background, and bands like Sparklejets U.K. and The Like Young come to mind. "What's Left of My Car" is a slinky number with a slight T. Rex vibe and Cregan and Freeman both putting on good performances. "She's So Groovy" also showcases Cregan, and it's got active bass guitar, a big riff, and a snarky Cali-chorus. On "Always", the band slows things down a bit, which shows that Freeland has a touch of ‘50s rock ‘n' roll chick in her. This song is a simple declaration of love with a loveable melody, until it takes a turn to darker territory. "I Want You" has a nice new wavey bounce that can slot between some Josie Cotton and Nick Gilder. Give this band it's associate's degree in EPs and move them on for a B.A. in full length albums. dynamitefraulein.com

The Patsys -- On The Thirteenth Kick (Anyway): A compilation of single sides from an Ohio quartet that likes basic rock and roll. You can find songs that touch on ‘50s style basic rock, ‘60s garage and ‘70s punk, and the band plays them with lots of spirit and skill. It helps that they have a great frontwoman in Tutti Jackson. Jackson has a tough chick voice -- mix in parts of Exene Cervenka, Debbie Harry and Wendy (The Paybacks) Case, and that'll give you an idea of her sound. While many of the songs are in an R & B or blues based vein (like "You're Gonna Pay!"), and it's their bread-and-butter, two of the best songs are more melodic. Of course, when you cover The Undertones, you will have scads of melody, especially when it's a version of the standard bearing "Teenage Kicks". The Patsys certainly do right by the classic. Meanwhile, they invoke another classic on "In and Out With You", which comes pretty darn close to being a re-write of The Only Ones' "Another Girl Another Planet". Close enough to be really fun, but not so close that it bothers me too much. In a couple of other spots, The Patsys gravitate to slinky territory also traversed by the Detroit Cobras, with Jackson's vocal on "Third Finger, Left Hand" being particularly inspired. With the exception of the aforementioned "Kicks", all of these songs are Patsys originals, and they write swell tunes. They even throw in something in the vein of Neil Young and Green On Red, on "Gone", where John Stickley's lead guitar work and ragged lead vocal are both exceptional. This is a lot of fun, and I can't help but like a band that titles a song "Never Kill a Boy on the First Date", and you should like them too.

Parker & Lily -- The Low Lows (Warm): The duo of Parker Noon and Lily Wolfe are no longer a real life couple, and the songs on this disc are inspired by their break up. These slow quiet songs are often sung by Noon one word at a time, in the manner of a man trying to work out what...the...fuck...went...wrong. A cloud hangs over this album, as flickers of resignation, remorse and bitterness surface, sometimes within the same song. Still, there's a black sense of humor that makes these dirges a little bit easier to take -- for example, "bar light/bar bright/first bar I see tonight" (from "June Gloom"). The instrumentation is delicately arranged, as very few notes are played, with Noon's vocals wafting through some guitar notes and quite keyboards. The melody is usually carried by the vocal and maybe one instrument, while the other instruments coalesce just enough. This stark environment is tailor made for the sad observations throughout. On "I Am a Gun", Noon's twangy western guitar and Wolfe's downcast organ chill while Noon dons his hairshirt, apologizing for his temper. This is a very affecting song that had to be very hard to sing, and at the end, he's howling as the guitars get louder and the drums kick in. This is a great track. All is not doom and gloom -- "Suit of Fire" is a sweet pop song, with Wolfe's organ and keyboards leading the way. Granted, Noon's vocal is still in resigned mode, but this song has a really nice melody. While not an album for all occasions, Parker & Lily effectively sustain a mood throughout the disc that is compelling. And although I'm sorry about their break up, in the end it's for the best. If they had stayed together and started a family, I'm not sure that I could have handled a Parker & Lily children's album. thewarmsupercomputer.com

The Out Crowd -- Then I Saw The Holy City (The Kora): Former Brian Jonestown Massacre member Matt Hollywood (the snarky crowdpleaser in the documentary Dig!) continues in a psychedelic vein with this quintet. I hear the influence of Syd Barrett and Love, among others, on the stretched out acoustic guitar driven numbers that dominate the disc. The disc is about the length of a vinyl double album, and although I'm not sure that there are enough good tunes here to justify this, the laid back vibe of the album makes the ride pleasant. Hollywood has a limited range as a singer, but his fey sub-Ray Davies intonations are fine for stately songs like "Your Highness", which has a feel similar to The Church. The fuzz comes out for "Concentrate", a blues-psych shuffle that manages to cloak itself in heaviness, even though there's not a whole lot of bottom here. So the song is light and heavy at the same time, and is all the better for it. Inevitably, the band takes off on some longer instrumental flights. "Sports" is a nine minute journey that is full of repeated riffs, which becomes hypnotic. As the central riff keeps going, bursts of squalling guitar ebb and flow. It really sounds cool. I also like how Hollywood sings of "sex, drugs and rock...and roll". This is a good, but not great, slab of psych. thekorarecords.com

Loopy -- Smile Back Home (Zip): Last month I reviewed the Finnish band Flannelmouth, and raved about their modern take on British guitar pop of the ‘80s and ‘90s. This Danish band is just about as good at mining from similar sources. Moreover, they seem to have thrown a modern gloss on the music, so it's big and arena friendly, all the better for those into Travis, Stereophonics and the like. One band whose influence comes through loud in clear is James. After hearing the first song, "Smile Back Home", a warm acoustic number, you may want to hear them take a crack at "Born in Frustration". Loopy relies upon sharp guitar work to fuel many of their hooks, and Martin Norgreen is up to the task. His leads provide an invitation into "Campari Chaser". The song is really four pieces -- Norgreen's lead guitar line, an urgent mid-tempo verse and a pulsing chorus with singer Leiv Aasen singing "Hello, hello/I have to go/I'm sorry." The instrumental break on this song is a nice release from the brilliant tension. While I don't think these guys will ever play roadhouses, they rock righteously on "Never Loud". All is not loud hear, since dynamics is integral to the song, but the opening riffing is great and the contrast with the romantic swoony verses is resolved perfectly in the refrain. This is a song an Idlewild fan might enjoy. The band saves the best for last, closing with an eight-minute epic, "Coming Back for More". The song begins as a delicate piano piece, oozing poignance (if poignance can be oozed), and slowly building to a guitar filled finale. It's always nice to be blown away on the last cut. ziprecords.com

Annie - Anniemal (Big Beat): This is a couple (or maybe a couple hundred) cuts above the usual teen pop, as Annie, whose breathy vocals remind me a lot of Tina Weymouth's singing in Tom Tom Club, sings over terrific old school dance music tracks. Indeed, the lead single "Chewing Gum" has a beat very reminiscent of Tom Tom Club's "Genius of Love" and a wispy melody and a gigantic hook. If this song doesn't break big in America, then I pray for America's soul. Nothing quite matches the giddy fun of "Chewing Gum", but there are some excellent nods to disco and other great dance music of the past. The music of "My Heartbeat" has the feel of the early Pet Shop Boys, which is a really good thing (and Annie got great production assistance from Royksopp). As is the easy, breezy Chic-a-licious groove of "No Easy Love". This album includes Ms. Bergen's first single, the 1999 track "My Greatest Hit" -- and this album almost plays like a greatest hits collection. This is featherweight lite, but Annie's songwriting is remarkably consistent. Her vocal abilities do not match her compositional prowess, but they are integrated well into the dance music atmosphere that dominates almost every track. Excellent stuff. anniemusic.co.uk

Feist -- Let It Die (Cherrytree/Interscope): Canadian Leslie Feist mixes some torch, lounge and jazz vibes with a little ‘70s singer-songwriter feel, and does so in a way that magnifies her obvious vocal talent. This is an album that defies genres and rejects trends in favor of sensuality and warmth. At times, she even comes off like a hipper variation on Sade or Norah Jones. She burnishes those hip credentials with excellent taste in outside material. She does a lovely cover of Ron Sexsmith's "Secret Heart" that sounds like Annie Lennox on a Brazilian vacation. Then, she creatively arranges The Bee Gees' "Love You Inside and Out", changing the originals light R & B disco feel, to something with a bit more of a jazz or bossa nova slant. Yet, that light R & B feel is not lost. Moreover, her vocal is so insinuating and reveals what an exceptional interpretive singer she is -- she feels the words she's singing. Heck, she's a confident enough singer to take on a number from the catalog of the incomparable Blossom Dearie ("Now at Last"). I'm not a qualified Dearie expert, so I can't state whether Feist holds a candle to the original, but I will say that this lovely piano ballad would go down well in any smoky romantic bar. If any song will get you acquainted with her voice, it's the slinky "Mushaboom", where she shows off the layers and nuances in her voice without ever showing off. Feist's original material is of a uniformly high quality, with a bit more playfulness than on her covers. In addition to Ms. Jones cited above, Ms. Feist and Nellie McKay are evidence that there is an exciting crop of new vocal talent out there, bringing traditional styles into the 21st Century. Feist may be the best of all of them. interscoperecords.com

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