Scroll down for the latest releases by Atlantics, Catfish Haven, Sparklehorse, Steve Almaas, The Nice Boys, Bryan Estepa, Dog Age, Robyn Hitchcock, The Prototypes, The Adored, The Supers, The Dresden Dolls, Smart Brown Handbag, Bob Dylan, The Successful Failures, Black Watch, Bang Bang, Ruby Dee, Chris Brown and Scissor Sisters

Atlantics -- Atlantics (Something.Hot): This Boston power pop band put a out a really good debut in 1979 on ABC Records. But, as was so often the case back in those days, that was their only chance at putting out an album. Of course, it's not like they didn't have more songs. Bass player Bruce Wilkinson was particularly proficient at penning tense, hard driving tunes that gave the band a bit of a new wave edge -- these guys could rock with anyone back in the day. Thanks to the efforts of guitarist Tom Hauck, we now have the rest of the Atlantics story. While I suppose this isn't a proper follow up, being that it's collected from various recordings over a period of years, it shows the band was building on its first album and creating a true identity. It helps that they had a distinctive vocalist in Bobby Marron, who always sounded to me like a cross between Material Issue's Jim Ellison and Oingo Boingo's Danny Elfman, but more powerful than either of those two. With that voice, Marron sounded enthusiastic on the poppier numbers, and positively paranoid on dramatic songs like "Perfect Stranger". Indeed, ‘dramatic' fits a number of the songs here -- however, unlike the power pop purity of The Scruffs, who dramatized teenaged uncertainty, The Atlantics were more grown up, more confident, and more pissed off. Hence, they don't take a ‘what's wrong with me' stance when a problem with a woman comes up -- instead, Marron calls the lady out as "just a tired girl" (from, of course, "Tired Girl"). Indeed, many of the songs here are close to the ‘angry young man' sounds of Graham Parker, Joe Jackson and Elvis Costello. This is exemplified by the opening track, "Wrong Number", which ladles on tension and paranoia, augmented by the slinky bass line and spy movie guitar parts. Heck, they even cover Gary Glitter's "Rock and Roll, Parts I and II" like they were on a mission. A mission to kick your ass, I suppose. Because they rocked a lot more than a lot of their power pop contemporaries, their music has aged very well. Thus, this disc is overdue, yet right on time. something.hot@hotmail.com

Catfish Haven -- Tell Me (Secretly Canadian): The Chicago R & B trio's first full-length pretty much picks up where their 2006 EP left off, with the boys throwing in a few more stylistic wrinkles. So along with numbers that evoke Sam Cooke and Otis Redding, they also give you a taste of blues-rock a la Free. Indeed, "Grey Skies" is an impressive slab of blues-rock, that serves as an excellent showcase for George Hunter's vocal prowess and just how tight and passionate this band is. We may have finally found an American Paul Rodgers. As you may imagine, anyone with those vocal chops can handle a pleading soul ballad. Hunter makes the most of those opportunities, putting across "Down By Your Fire" and "If I Was Right" with authority. The band is also in touch with a celebratory spirit, havin' a party on "Tell Me" (which merits my earlier Sam Cooke comparison). Everything on this disc is good – yet with all of the talent here, this isn't great. I can't quite put my finger on it. Some of it might have to do with the lyrics – generally, they don't seem to stick in my head, so even though the music sounds fine and Hunter is great, the songs lack that extra something. It's also unusual to hear such relatively spare backing on Southern-style soul songs. That's easier to adapt to as a listener. I hope my criticisms don't dissuade you – Catfish Haven is a thrilling band, and they are poised for greatness. Hop on the bandwagon now. secretlycanadian.com

Sparklehorse – Dreamt For Light Years In The Belly Of A Mountain (Astralwerks): Probably the most notable difference on this album from the past couple of Sparklehorse efforts is the paucity of dynamics and upbeat poppy numbers. In some respects, this album seems like a slightly more accessible take on the quiet music on their first album. Mark Linkous has a way with a melody and creating a very specific atmosphere. Many of his songs sound like he's confiding in you – and only you. It's a welcome intimacy. This is due in part to his fantastic production skills -- on "Getting it Wrong", he knows where to put everything in the mix, from the up front twang guitar that starts the song to the placement of his quiet vocals (overmodulated in the recording) on top of a mellotron part and picked guitar. The album is full of special quiet moments, with Linkous exuding vulnerability over delicate performances, such as "Return to Me". There are a few more energetic numbers -- the big guitars come out on "It's Not So Hard" and "Ghost in the Sky", and "Some Sweet Day" is a chugging Velvet Underground inspired piece of pop. But most of the album is the soundtrack to a sweet and sad overcast day. The title track concludes the journey, and it's a lengthy instrumental, suffused in atmosphere. This lengthy track (over 10 minutes long) is a great achievement and an appropriate note on which to end this album. astralwerks.com

Steve Almaas & Ali Smith -- You Showed Me (Parasol): Almaas (ex- Suicide Commandos and Beat Rodeo) and Smith (ex-Speedball Baby) sure sound like they enjoyed making this top notch roots-pop record. They start it off with the title cut, a fine rendition of the indelible Byrds classic. But wait...there's more! If you thought that only Nick Lowe could write clever songs which sound like The Everly Brothers, you thought wrong. "The Winner" is a commentary on the 2000 presidential election that has that perfect Everlys Kentucky pop feel. Great song. Equally good is "Thy Will Be Done", which blends pedal steel with some R & B feel, as Almaas, backed by Smith, sings about class differences. This twang-meets-Mayfield approach is akin to some of Steve Dawson's work, both solo and with Dolly Varden. It's hard not to like such comfortable catchy music, particularly when the lyrics are so good. Smith takes the lead on "Absolutely Free". Musically, the song overlays pedal steel on a ‘60s psych-rock take-off on The Beatles' "Rain". Smith sings about an overpowering love, even analogizing her experience with that of Samson and Delilah: "So I picked myself up and I walked back home/he called me Delilah when I kept his comb/y'know I'd have gone to any lengths/to run my fingers through his hair and still keep my strength." Smith also shines on the pretty cover of The Beach Boys' "The Lonely Sea". This is a real winner of an album, where strong material is done justice by superb performances. parasol.com.

The Nice Boys – The Nice Boys (Birdman): Former members of The Riffs and The Exploding Hearts (the excellent pop-punk band whose career was cut short by a fatal van accident) have a glam jones, and this disc is a fun homage to T. Rex, Gary Glitter, and other denizens of the'70s Brit mascara and stack boots set. I don't know if this is a one-off or if they plan to carry on, but this album is a killer cut or two away from being great. They really have a good feel for the genre and play with verve. They also don't feel the need to make everything a glam pasitche – "Ain't That Beat" is more of a reflective jangle rocker that shows a Mott The Hoople influence (yes, Mott is lumped in with the glam movement, but that's because of their work with David Bowie – the Mott sound is not really a glam sound). That being said, it's fun to hear a variation on Sweet's "Wig Wam Bam" riff ringing in the album on the giddy "Teenage Nights". The song then comes across as a glittery variation on the teencentric power pop of that great cult fave, The Scruffs. The band also has tons of fun on the syncopated T. Rex rhythms of "Dugong Along". The only other weakness of the band is that Terry Six is a game but limited vocalist. Still, that has little effect on the good times here. thebirdmangroup.com

Bryan Estepa – All The Bells And Whistles (Popboomerang): It sounds like I heard this before. Of course, you could say that about a lot of melodic pop records steeped in influences from the ‘60s and the original power pop era of the early-‘70s. It's not always a compliment. A better way to put it in the case of Estepa is that I wish I had heard this before – like for the past 30 years or so. The first two or three songs on this album are nearly perfect. Shimmery, summery, warm and pleasing. "By the Window" is happy and Beatle-y, but with that certain feel that defines Australian power pop -- maybe it's the friendly, effortless vocals. Then "Your Best Night" is an endearing mid-tempo number, with Estepa sounding especially soulful. This definitely has a ‘70s vibe, maybe because there's a subtle R & B undercurrent. Three other songs are also knocked out of the ballpark. "Cards & AM Radio" takes power pop to the honky tonk, as McCartney meets Uncle Tupelo, or it least it sounds that way. Meanwhile, "Falling Through" gets started with a horn part that could have been played by Herb Alpert. This is a tender song in the Nilsson/Bacharach tradition. And "Western Tale" is an ambitious track that pays off, with a bit of Jeff Lynne vibe in the chorus. Maybe it's yet another slight trace of R & B underpinning this melodic pop (like the way Electric Light Orchestra and the Bee Gees did it back in the mid-‘70s). The song moves into a extended instrumental section, then moves to a slower gait, heading into Hall & Oates territory. This is a six minute song that totally captivates. Estepa is a significant talent, and this record is a keeper. popboomerang.com

Dog Age – Reefy Seadragon (Rainbow Quartz): Yet another fine Scandinavian psychedelic act. Dog Age isn't quite as splendid as Dipsomaniacs, but they prove that they can hold their own on with the many like minded artists on Rainbow Quartz. There are two cover tunes that show that they are worthy. I like the version of Donovan's "Cosmic Wheels", which is respectful to the folk-rock roots, adding some harder guitar – not too much, just enough. They also do well by "Blue Jay Way", producing the song as if it were recorded deep in a cavern, with the band standing 10 feet away from any microphone. Their own material is up to snuff too. "God Lives Under the River" is a lush psych-pop gem, with faux strings, real piano, and a bit of a Bee Gees feel. Meanwhile, "Mystical George" is a cross between Herman's Hermits and The Smoke – chirpy, but still...mystical? Good pop. The band is downright motivational on "Get Out, the Sun Is Shining", probably the best original on the album. Dog Age has earned its paisley merit badge. rainbowquartz.com

Robyn Hitchcock & The Venus 3 – Ole! Tarantula (Yep Roc): For about 10 years or so, Robyn Hitchcock has put out a wonderful bunch of records, some good, a few great. Most of them have been solo affairs, with little instrumentation augmenting his songs. When you play guitar as well as Hitchcock does, not much else is needed. While maintaining his oddball lyrics, a lot of his material has taken on an added emotional dimension. His only misstep was the relatively ordinary *Spooked* album, where he tried to graft a bit of a country feel to his weakest batch of tunes in years. For the follow up, Hitchcock enlists the aid of some of Minus 5 buddies, including Peter (R.E.M.) Buck and that Young Fresh Fellow Scott McCaughey. The result is an easygoing album that breaks no new ground, but is enjoyable as a breezy bunch of typical Hitchcock mischief. Basically, the Venus 3 is a faux Egyptians, and this pretty much sounds like what you'd expect if the Robyn and the Egyptians had carried on past the mid-point of the 21st Century. So you get Dylan-ish mischief, like the light-hearted "Belltown Ramble", with Hitchcock rambling, of course, in an endearing manner. The lead cut "Adventure Rocket Ship" is classic Hitchcock jangle rock, in the vein of "If You Were a Priest" and "So You Think You're in Love". There is a playfulness to his singing, that comes across on this track and many others on the disc. He often sounds like he's simply in wonderment, which is probably pretty tough for a guy who's been around for almost 30 years. This also characterizes "‘Cause It's Love (Saint Parallelogram)", which is co-written by XTC's Andy Partridge, but sounds like a typical Hitchcock number. Of course, there is more Syd Barrett-styled whimsy, like the pretty "Red Locust Frenzy". And the disc closes with a tribute to Arthur Kane, "N.Y. Doll". It is a very sweet and heartfelt song. This album is like running into an old friend you haven't seen in a number of years, though you've kept in touch -- there are no revelations, but it's just good to hang out again after all that time had passed. yeproc.com

Prototypes – Prototypes (Minty Fresh): This French band's new wave-y pop album (a compilation from two French albums) couldn't be much more fun if they dragged Plastic Bertrand out of mothballs and conjured up an electro-pop remake of PB's "Ca Plan Por Moi". Sassy Isabel Le Doussal is kind of bratty and kind of underplayed and is likely shooting down guy after guy on these hypercatchy ditties. Bubbling keyboards, flashy guitars and bouncy rhythms are the order of the day, and heck, if you're not careful, you just might dance. A few the tracks might remind some people of the silly songs of Junior Senior. This is a clever trio. The best song here is "Sexy", which thrusts the Bo Diddley beat into the digital age, adding deep bass effects to shave-and-a-haircut, two bits. Very cool. "Danse Sur La Merde" is a typical cut, with an insistent dance beat setting up a big hook. At times, they sound like The Waitresses backed by Book Of Love, in French. I think that's a good thing. In a similar vein, the back and forth rhythms of "Je Ne Te Connais Pas" make it a swell album opener. The bass dominates "Who's Gonna Sing", an exercise in simplistic silliness that makes Annie sound like a doctoral candidate -- and that's not a put down. It's irresistible. That's true of a lot of this disc. mintyfresh.com

The Adored -- The Adored (V2): This L.A. band plays old school (class of ‘77 style) punk rock, mixed with some mod dexterity (a la The Jam) and a bit of power pop streamlining. If done wrong, this might sound like a compromise. Instead, this band makes a jumpy and propulsive rock and roll record that fans of bands like The One And Only Typicals and bygone acts like The Interpreters should check out. The title cut is an impressive statement, combining shout along anthem backing vocals with a danceable rhythm (Max on the rubbery bass) and ample melodic smarts. I'm also high on "Ethical Drug" (high, get it?). This song has a slight reggae-rock vibe, that reminds me a bit of the post-punk sounds of The Ruts, accompanying a strong anti-drug message. It's great to hear a song that's actually about something, particularly when it is played with such passion. There are even a couple of songs that sound like singles -- the lead cut, "Tell Me Tell Me" is instant excitement, and "Not Having It" has ringing chords that harken back to the early days of The Last, though the song hits more like a Mick Jones Clash tune. To top it all off, producer David Trumfio manages to capture live energy, without sacrificing a trace of fidelity. Fine debut LP. www.v2records.com

The Supers -- Re: Arrange (self-released): This Canadian quartet comes back after a lengthy lay off with an album of mature melodic pop that ranks up there with similar efforts from The Grays and Gigolo Aunts. There's a quite confidence and a sense of purpose on this recording, as the band clearly spent a lot of time honing these songs to maximize their effect. The musical tools they use are ever so familiar to fans of jangly power pop, but when it's done as well as The Supers do it, you can only tip your hat and press the play button. The most striking track is "Any Idiot", a slow tempo exercise in self-loathing. The song combines a rhythmic pattern on a guitar (augmented by the rhythm section) and a Squeeze-worthy melody that fits with the pattern hand-in-glove, adding perfect pop loser lyrics: "guess it took someone as dumb as me/to figure out what love's supposed to be/but any idiot would know that by now." Of course, you know that a pop album is special when the slower tracks aren't just coffee breaks. Yes, The Supers deliver a quintessential power pop track on "Something", and craft a killer hook on "Tin Man". But the songs that really stick are the slower ones, which are infused with emotion. "If You Don't Need Me" is a spot on song about being one on the wrong end of a break up. The song is one of many that has a distinctive lead guitar figure. Even better is how the song starts out purely sad, and then picks up in intensity, as the protagonist becomes defiant, and perhaps even angry. And "The Lowest, The Least and the Last" is a tour de force, with a string section accompanying this moody piece with a vocal that captures what it feels like to be beaten down. This is a stellar effort and one of the best pop albums to come out this year. thesupers.com

The Dresden Dolls -- Yes, Virginia... (Roadrunner): On the final track, "Sing", Amanda Palmer sings "life is no cabaret" and falser words were never sung before. As Homer Simpson would say, "[s]he's lying in song!" The standard description of The Dresden Dolls inevitably refers to cabaret, and with good reason. These piano based songs allow Palmer to caterwaul in decadent style over decadent subjects like "My Alcoholic Friends", "Sex Changes" and "First Orgasm". Palmer (who handles the keys along with the vocals) and Brian Viglione (drums and most everything else) pretty much avoid restraint at every turn, yet never go too far over the top...which might not always be a good thing. Listening to this disc established a connection for me -- on Siouxsie and the Banshees' all covers album, they took a crack at Sparks' "This Town Ain't Big Enough For the Both of Us". The Dolls connect the dots between the two acts, creating goth cabaret baroque pop, with a hint of glam (which could only be unleashed with some lead guitar, methinks). The sound has a certain appeal, but the songs are generally only pleasant -- nothing bad, but not enough really stands out. This is primarily due to the lack of variety in textures, timbres and songwriting approaches. The Dresden Dolls template for many songs -- a heavily percussive sound, dominated by the piano and drums with rolling rhythms and clipped melodies, all the better to fit Palmer's vocal style -- gets old quickly. When they deviate from that format, real talent is revealed. "Delilah" is a more traditional composition, a ballad that builds to a rousing chorus. The band's sound prevents this from sounding too conventional. Then there's "Backstabber", which really isn't that far away from some of Tori Amos's material. Lyrically, this is on par with Queen's "Death on Two Legs", full of put-downs and declamations. And a declaration of independence: "so don't tell me what to write/and don't tell me that I'm wrong/and don't tell me not to reference my songs within my songs." Yes, lyrics are also a strength. Here's another example: "I'm taking back the number of the beast/cause 6 is not a pretty number/8 or 3 are definitely better" (from "My Alcoholic Friends"). I obviously have mixed feeling about this record - there's lot to like about it, but getting through the whole thing is a bit of a chore. I think they'd benefit from a more varied approach, as the Dolls are very talented. roadrunnerrecords.com

Smart Brown Handbag -- Harry Larry (Stonegarden): David Steinhart is back with more literate pop for timeless people (or is it timeless pop for literate people – I get the two confused). Ever since his days fronting Pop Art with his brothers, it's hard to find too many more reliable songwriters. As per usual, Steinhart embodies sensitivity, so much that even on occasions where he is bitter or angry, you figure that he was pushed into it. Much like contemporaries such as Ron Sexsmith and label mates The Black Watch, it's tough for SBH to make a bad record, as the talent here is too good. However, the only negative is that it may be hard to distinguish why one should pick up one disc over another if one is not a completist. I would say that this is a representative effort, though there isn't quite enough here to make it stand out in the catalog. Certainly, it serves as a fine introduction to the band. As is often the case with a veteran unit, it's the little things that I appreciate the most, as the subtle variations are enough to keep me coming back. For example, the light, distant piano part on "Coming On" casts its spell over the whole song, setting the mood. The warmer chorus that flows out of the more serious verses sounds all the better for the extreme contrast. "Sour Grapes" has a jaunty, slightly Brit-pop feel, with a up-and-down rhythm and a melody to match. Steinhart sings like a really articulate guy just thinking out loud. I should mention that his voice is an acquired taste -- he doesn't have lots of range and has very precise enunciation -- yet it works because his egghead singing fits his smart guy words so well. Hey, Morrissey doesn't always stay in key either. Oddly enough, he sounds great in the highest parts of his range. Listen to "Will Not Anymore", as the song moves up in key, he moves with it and gets really intense. It's the most gripping track on the album, a well constructed song, and a perfect performance from all involved. Probably worth the price of admission just for that. stonegarden.com

Bob Dylan -- Modern Times (Columbia): This album is somewhat of a mid-point between the languid, contemplative, mid-tempo groove of *Time Out Of Mind* and the more playful, slightly jazzy sound of *Love And Theft*. Dylan ruminates and jokes and mumbles, and the band sounds real good behind him, even if the songs sometimes just start off in one place and barely move from there for the next six minutes. This seems like it would make for a less than compelling album, but Dylan is again thoroughly engaged in the material. I also think that Dylan composes his music in a way that acknowledges that his vocal range is more limited than ever. Yet his phrasing is brilliant, and while he may not be penning any "Master of War" or "Blowin' in the Wind" type songs anymore, every tune reveals some nuggets (which, from recent press reports, may be borrowed, for all we know). Which isn't to say Dylan isn't penning some swell tunes, as shown by "Workingman's Blues #2". The song has a classic melody, Dylan initially accompanied by only a piano and light backing from the band. This song comes from the same place as songs like "Just Like a Woman", "Lay Lady Lay" and "Sweetheart Like You". Yes, it's a heartfelt ballad. This song is followed by one of Dylan's forays into music that evokes ‘40s-era pop, more Hoagy Carmichael than Howlin' Wolf. "Beyond the Horizon" shows off more of Zimmy's whimsical side, as he is positively crooning in the chorus. A very sore throated croon, to be sure, but perfect for the simple and elegant lyrics: "beyond the horizon/the sky is so blue/I've got more than a lifetime/to live lovin' you." The genius of the current Dylan approach is that it strips the music to basic elements. "Rollin' and Tumblin'" is just a simple blues vamp, with Dylan musing and cracking wise: "I'm flat out bent/this woman she been drivin' me to tears/this woman's so crazy/I swear I ain't gonna touch another one for years." Just Bob sharing wisdom with all of us. It was not immediately apparent to me, but this is another great Dylan album. columbiarecords.com

The Successful Failures -- The Successful Failures (FDR/Jam): The ever prolific Mick Chorba takes a break from his powerful power poppin' Dipsomaniacs to lead this trio. Chorba's songs are about what you'd expect, with a slightly different musical leaning, as the playing is a bit more rootsy. Arguably, this might be an even better setting for his witty lyrics. What type of guy is Chorba? The type of guy who tells his girl that if she breaks up with him, she's "letting the terrorists win" (which is the title of the song). Chorba litters this mid-tempo gem with great one liners, including a nifty Pink Floyd reference, that I'll leave it you to spot. The band plays a simple mid-tempo blues-rock ballad on "Sewer Water". This is song about a guy in a downward spiral, and but for the melodic middle-eight that is pretty poppy, this song comes across as Faces-inspired, with a hint of country, as well. The title song (or perhaps, the theme song) is so simple -- lyrically and musically, and it's undeniably catchy. It sounds like a lost Tommy Tutone song, especially with Chorba's vocals in the verses. The band throws in a nice cover of Simon & Garfunkel's "I Am a Rock" as a bonus. This is just a likeable rock and roll record, that might appeal to fans of Ray Mason and early Wilco. facedown.net

The Black Watch -- Tatterdemalion (Stonegarden): Black Watch front man John Anthony Fredrick continues his campaign for literacy, as he produces another quality album, with shimmering updates on ‘80s British indie-pop supporting his erudite, poetic lyrics. There is a point on the musical map where The Black Watch nearly intersects with Pernice Brothers, who share an affinity for making music that would blend in well with classic Smiths and Echo & The Bunnymen. More than the last Black Watch effort, Fredrick has overcome the loss of violinist J'Anna Jacoby, whose sound really put a stamp on the band. This album is characterized by effective guitar textures that embellish the melodies and infuse the songs with emotion. A good example of this is the historical song "The Lost Colony of Roanoake". This is a mid-tempo song that enrobes the vocal melody in a variety of guitar sounds. The warmth is palpable. Like the best Black Watch songs, no matter how wordy Fredrick gets, he finds a pithy phrase for the hook: "don't you know your history/from the 16th Century?" A cool phrase, but a horrible pick up line. This song comes from a place that yielded great material for Psychedelic Furs and The Cure. "Williamsburg" comes from a similar place, musically and geographically. Throughout the album, Fredrick shows off his lyrical acumen. At times, he's poetic. Other times he's mordant and witty. "Her Jet Black Hair" is an ode to the unattainable, Tim Bolland playing some jazzy licks over the shuffling drums of Gary Sullivan. The first verse gives the impression that the object of the protagonist's attention is out of his league. But then Fredrick gets all motivational: "Why stand pat/just give it your best shot/she might not be as stuck up/as you thought." This album ranks up with the band's best. I think that Fredrick and his bandmates have really up the ante musically, as there are so many memorable riffs and guitar parts -- if the intro to "The Angels Just" doesn't get your pulse going, as it instantly builds up drama, then maybe you just won't get it. Too bad. stonegarden.com

Bang! Bang! -- Decked Out (Morphius): Excitable modern new wave from Chicago. The adrenalized punkish music here is in the vein of Bis, the obscure British band Cardiacs, and the equally obscure Pink Grease. And some have mentioned The B-52's, and the excellent "Falling, Falling" compares favorable to some of their material, with a strong lead guitar part moving the song along and a fine vocal performance from Gretta Fine. The bridge into the chorus is much more rocking than the old Athens gang -- it's like some OK Go was mixed in. And back to the guitar playing -- Jack Flash is an ace on the fret board, mixing crunchy textured chords with dexterious leads. It greatly expands the songwriting possibilities when a guitarist can cover so much territory. Thus, Bang! Bang! establishes a distinctive sound, but doesn't just rewrite the same song over and over. They even do a good job on a cover tune that doesn't make sense until you hear it -- a great version of The Gun Club's "Sex Beat" with Fine's sex-kitten vocals. Mike Wednesday's spot on drumming deserves mention here. Other highlights include "A Love So Fine", with its spy movie surf guitar atmosphere and "Nervous Tic", with a cool circular bass part from Fine and Flash's Lux Interior-ish vocal that sounds... nervous, of course. Good stuff here. morphius.com

Various Artists -- Easy To Be Free The Songs Of Rick Nelson (Planting Seeds): Nelson was the first true television created pop star. And arguably, the best. His first album was competent, but on the second album, he unleashed a darned good rock and roll singer. And as time went on, Nelson developed into a good country rock singer-songwriter. He certainly left a terrific catalog behind and this is a very well done tribute. Most of the artists don't mess around too much with the arrangements, though a few of them add a bit more country rock styling to Nelson's early hits. This is typified by Denny Sarokin's Eagle-ish rendering of "One Night Stand", which Denny wrote (note: Denny was the lead guitarist for Rick's Stone Canyon Band, under the name Denny Larden). Something about the loping melody of this excellent song reminds me of Jim Croce. Right before that, Astropop 3 are spot on with one of Nelson's own compositions, "Life", which falls somewhere between Lovin' Spoonful and Harry Nilsson. A good place to be. One performer captures the ‘50s balladeer sound that made Nelson a star, as John Beland's measured performance of "Young World" sheds light on some of the inspiration, I suspect, for Nick Lowe's recent work (and Beland's performance is very Nick-like). There are some name performers on here, such as Marshall Crenshaw ("Don't Leave Me This Way") and John McCuen of The Nitty Gritty Dirt Band, who twangs up the great mid-tempo chugger "Believe What You Say". Other highlights include Allen Clapp of The Orange Peels creatively adapting "Lonesome Town" to his style, making the song stately and dramatic, and Jeffrey Foskett's "Young Emotions", which spotlights his sterling voice. Really the only songs that don't fully work for me are two of Nelson's best known songs -- Jeff Mellin ("Garden Party") and Aaron Booth ("Hello Mary Lou") are game, but can't quite measure up to those classics. Still, this is a pretty darned good album. plantingseedsrecords.com

Various -- Songs From the Movie Fortunes (Pravda): Tobin Sprout (ex-Guided By Voices) contributes 12 of the 17 songs on this very listenable soundtrack. Sprout's songs are in keeping with his ‘60s-loving roots -- not that they are intentionally retro, but they are rooted in classic songs structures. "Catch the Sun" is a sublime slice of psychedelia (and is arguably, retro) with alternative sparkling and foreboding guitar jangle, and an overall haunting quality. The wah-wah pedal gets a work out, accompanying a metronomic drum pattern on "Little Bit of Dread", which is the song that most resembles his old band (I can imagine Robert Pollard tearing into this one). "Toaster" is solid singer-songwriter stuff, punctuated by a country-ish slide guitar part. Sprout also contributes a pretty ballad in the form of "Slow Flanges", a delicate concotion. Other highlights include Chris Day's "Within Us All", which reminds me of latter day Crowded House and the Beatle/Lennon-ish "Hide Away" by Ronald Raskin. I hope the movie is as good as the soundtrack. pravdamusic.com

Ruby Dee And The Snakehandlers -- North Of Bakersfield (Dionysus): Y'know, the honky-tonk from north of Bakersfield (Seattle, actually -- pretty far north!) sounds a lot like...the great Bakersfield sound. From Buck Owens to Dwight Yoakam to The Derailers, there's a rock bounce to Bakersfield-style honky-tonk, and Dee and her band mates are well schooled in the style. Dee is an enjoyable singer, somewhat in the vein of Rosie Flores and Carolyn Mark. This is simply a good album, marred only by the lack of that one defining song, one of those ‘would have been a hit in a better universe' type songs. A few songs come close. "So Lonely" is a vibrant sunny country tune, something that I could imagine Lone Justice tackling back in the day, or The Mavericks, for that matter. Drummer Lewis Warren keeps it snappy and Jorge Harada has a field day on guitar, keying the song with a nice riff and busting out a great solo during the instrumental break. That same rockin' fever infects the shuffling "Walkin' Lie", where Harada's lead guitar plays in lockstep with Dee's vocal melody. And they save the strongest chorus for last, with the biggest hook on the record. There's even a fantastic instrumental break, with a slinky guitar part and Dee wailing in the distance -- an inspired touch. Dee is not a powerhouse, but she sounds great - it's all about phrasing and tone, and she's consistently fine. She gets to showcase her voice on the ballad "Now I Want You (Out of My Head)", and with a touch of vibrato, she sells the song. A swell second LP from this band -- hopefully they'll come to a town near you. dionysusrecords.com

Chris Brown -- Now That You're Fed (self-released): This has been in my review pile for a few months and I apologize for not getting to it sooner. Brown has created a sumptuous collection of orch-pop that conjures comparisons to everyone from The Hollies to Elliot Smith. 2006 is a great year for kiss off pop songs -- first, there were a bunch on Jon Auer's solo debut and Brown leads his album with "Right on Time", a bitter take on dealing with divorce. Brown's razor sharp observations are 180 degrees from the beautiful music: "And this is where the kidding ends/we never said that we'd be friends/I'm not the kind to make amends." And it gets even more bitter later. Wow. This is just a prelude for the spectacular second track, "I Won't Ask Why", an epic journey through a man's life, with crafty wordplay, a melody akin to prime Harry Nilsson and/or Kevin Tihista, and a stately arrangement and performance worthy of Eric Matthews. Yes, it's that good. After this track, Brown has more to say, and there are quite a few chill-bump inducing moments strewn through out. Then there's simply sweet pop, like "April", which melds parts of The Posies, Jellyfish and The Association into a remarkable soft-rock treat. Brown even switches gears into beatnik jazz, bopping in a hep manner on "In the Kitchen", whisper-singing conspiratorially, which, considering the insidious subject matter, is the only way he could do so. There is a nifty bit of music-concrete thrown into the closing instrumental break, adding to the cool weirdness of the track. Brown is a major talent and don't be a fool like me -- find this without delay. chrisbrowntunes.com

Scissor Sisters -- Ta-Dah (Universal Motown): The brilliant Scissor Sisters debut mixed pop tunes worthy of Elton John in his heyday, ‘70s and ‘80s disco, along with some balladry lessons from Pet Shop Boys. On their second effort, they focus primarily on their Elton John side. Heck, Elton co-wrote two tracks, playing piano on the lead single, "I Don't Feel Like Dancing". As much as I love this style, the second Sisters album is vaguely disappointing, in part because it's not as varied, and in part because the songwriting isn't as consistently excellent. Which doesn't mean there aren't some gems on this disc. The second track, "She's My Man", is a bit of a rewrite of Sir Elton's "I'm Still Standing" -- a very good one, sporting a great lead guitar part and a memorable chorus. It's just different enough. "Land of a Thousand Words" is a ‘70s FM radio style ballad, a more retro variation on the last albums "Return to Oz". Moving to the AM band, "I Can't Decide" is sugary, marzipan sweet piano pop. Ana Matronic gets the spotlight on the discofied "Kiss You Off", with Matronic declaring, "Well I think I'm going to buy me/a brand new shade of man." This album doesn't scream sophomore slump so much as it shows how terrific the band's first album was. This is a good effort. Still, the decreased emphasis on the pure dance side of this band may be a mistake, particularly since that's the side that dominates when they play live. Of course, if this album breaks them in America, then I'm sure they won't change this new formula very much. umrg.com

________________________________________________

To reach any other page contained in this month's update on Fufkin.com, read the home page for the appropriate link and click on it. You can also search the site from any page using the search box located at the top of each page. Merely type in the word, phrase, name of the band, recording, name of the Fufkin writer that you are looking for or Whatever in the search box, and then click on "Search". If you would like to e-mail us, go to the About Us page for a list of e-mail addresses.

Go back to the home page by clicking here

________________________________________________________________