Mike Bennett Capsule Reviews, December, 2003

Scroll down for capsule reviews of releases by Al Green, Various Artists -- Hi-fi Christmas Party, Dipsomaniacs, Various Artists -- Planet Of The Pop Boomerang, Mr. Encrypto, Katie The Pest/Banner Day, Denali, The Love Thugs and Ray Mason Band

Katrina And The Waves -- The Original Recordings: 1983-1984 (Bongo Beat): Purveyors of one of the ultimate summer singles, "Walking on Sunshine", Katrina And The Waves have been sadly marginalized, because that one song of is ubiquitous to this day. In some respects, the song was definitive, as it came from the classic KATW template -- meld Motown and power pop, get the band hopping and let Katrina Leskanich unleash her spectacular blue eyed soul vocals. While it's true that very few guitar pop bands ever have a massive hit, and thus, KATW already got more than similar bands ever dreamed of, it's equally true that they deserved so much more. Then again, the band came of age when many of the best power poppers could barely get the attention of the major labels -- The dB's first two albums only came out in England, for example. This context explains why the first two Katrina And The Waves albums, featured here on CD for the first time, only came out on Attic Records in Canada. They weren't even reissued after the band's success on major. That it took so long for them to come out again is a shame, as both albums are littered with fantastic songs, mostly from the pen of Kimberly Rew, who already knew undeserved obscurity from his tenure in The Soft Boys. Rew was (and still is) also an ace guitarist, as shown by the bubbling fretboard work that is evident throughout. So delight to the original versions of songs that appeared on the band's major label debut like "Sunshine", "Going Down to Liverpool", "Mexico", "Do You Want Crying", "Que Te Quiero" and "The Game of Love", which may be Rew's golden R & B songwriting moment, as it sure sounds like a Stax classic. Whether you prefer the original versions is up to you -- there's no incorrect preference. And if you only know the big hit album, well, there's plenty more tracks of that quality on here. "Spiderman" is a superb power pop song that grabs immediately, "She Loves to Groove" would have been a perfect song for Nick Lowe and Rockpile to cover, and "I Really Taught Me to Watusi" is rhumba-dumb fun. There are also some fine bonus tracks, including a live "Sunshine" and a smoking cover of "River Deep Mountain High", which, along with the Waves original "Cry for Me", serve as proof beyond a reasonable doubt that Leskanich was a top rank soul shouter. bongobeat.com

Al Green -- I Can't Stop (Blue Note): While Al Green is a household name, Willie Mitchell is revered only amongst true soul aficionados. Mitchell produced and arranged all the classic Green ‘70s soul sides. It was Mitchell, who had been a regionally successful saxophone instrumentalist in the ‘60s, who turned Green from a wannabe Otis Redding, to a modulated, silky smooth lover man. Mitchell rightfully believed that Green's soul truly came out when it was nuanced and supple. Mitchell then came up with a signature sound that everyone from Lenny Kravitz to Keith Richards has nicked over time -- it relies on a slow deep drum-and-bass rhythm, over which Green's more urbane melodies develop a sophisticated funkiness that is love and sex all rolled into one. This album marks the first time in ages that the two have collaborated on a pop release, due in part to Mitchell's advanced age. There's no time to wait. The resulting album is not a classic, primarily because Green's songs are solid, but only a few come close to his best. Wisely, the album doesn't beat the classic Green-Mitchell formula into the ground, and some of the arrangements go more into straight R & B territory, a la the Stax classics of Sam & Dave ("I've Been Waitin' On You", "Play to Win", "I've Been Thinkin' ‘Bout You"), and there's even a hint of disco ("Million to One") . So this is merely a good Al Green album -- and one that sounds like it could have been recorded 25 years ago. Two songs in particular have that Green-Mitchell magic. "You" has the loping drum beat of days gone by, augmented by horns and strings. When the Reverend finally starts singing, he is in maximum lover man mode, with that unique phrasing achieving maximum effect. This is the song to lead off any mix CD to your lovely lady or dude. On "Rainin' In My Heart", the string and horn arrangement melds with the Hammond organ to provide the proper perspective for the pathos, as Green wallows in woe. This is elegant and touching. The only missteps come at the end, as the last two tracks sound like rewrites. "I'd Write a Letter" pilfers the melody from Blood, Sweat & Tears "Spinning Wheel", but doesn't have nearly as good of a hook in the chorus, while "Too Many" is only a slight variation on Billy Preston's "Nothing From Nothing", with half the energy. So just program the first 10 tracks and revel in classic soul that was made in 2003. bluenote.com

Various Artists -- Hi-fi Christmas Party (Vandalay): An excellent Christmas album featuring a slew of fine contemporary pop and power pop artists. There are plenty of good songs here, and a lot of my favorites, by total coincidence, are at the beginning of the disc. It starts with John McMullan's "(Gimme A) Kiss for Christmas", which bridges the gap between Andy Partridge at his most straightforward and good ol' mellow power pop. It moves on to The Spongetones' nifty take on the classic "Dance of the Sugarplum Fairies". Then Andrea Perry evokes memories of The Waitresses' "Christmas Wrapping" on her sly and percolating "Fat Aunt Bette". Then Bill Lloyd does a song called "The Twelve Days of Christmas" -- it's not the one you know and love, but alludes to the lyrical concept of the classic in a different musical structure (for example, Partridge Family album, instead of partridge in a pear tree). Of course, these are just some of the highlights. I also dig Phil Angotti's "Getting Home (for Christmas)", the mellow "Joy of Christmas" by The Glowfriends, and another crisp and clean Lolas effort on "The Little Drummer Boy". In addition to those folks you also have The Jellybricks, Jeremy, Lisa Mychols (taken from her excellent holiday classic disc Lost Winter's Dream, which you should buy anyway), Don Dixon, Material Issue's Ted Ansani, Dom (The Stems, DM3) Mariani and a whole lot more. You really can't go wrong with this one. (P.O. Box 473, Wadsworth, IL 60083).

Dipsomaniacs -- Freakin Eureka (Face Down/Jam): New Jersey band continues to crank out the power pop jams, showing off a mixture of influences from the mod-era Who to the latter day Replacements on this comfortable collection. Lead singer and band songwriter Mick Chorba has one of those slackerish verging-on-whiny voices that is friendly rather than irritating. Chorba's voice turns out to be a great vehicle for his sardonic lyrics. Indeed, he seems to be growing as a lyricist, as shown by "Low Level Search for God". The song manages to convey a characteristic wit while managing to seem sincere about the quest for truth. The ballsy mid-tempo track is also a showcase for what a terrific bunch of players these guys are, as the song has a lengthy instrumental break where all involved get a bit of the spotlight, without losing focus in heading to the rousing finish. On the strictly humorous level, "Prince Harry" (as in "drink, drugs..and Prince Harry") is a winner, and it has a nifty roadhouse rock gloss. In the song, Chorba protests when he writes a poem for his crush, but all she wants is sensationalism. Tabloid sensibility = no romance. On a darkly humorous level, how can you beat "when you're feeling worthless/just think about me/when you've got no self-esteem" from "Worthless". This is a fine acoustic lament that could probably be adapted well by either Cheap Trick or an alt-country act. Speaking of country, "Sleepy Joe" actually has a pedal steel, and has a country flavor, just like a couple tracks have a bit of bluesiness a la The Faces. Which is a good thing. Of course, if you just want some straight ahead power pop or rock and roll, there are songs for you. "Sun Shine Through" is premised on a foolproof riff, making the song pretty much 100 percent hook. Meanwhile, "Little One" shows that it is still O.K. to boogie, as long as you have a melody to go along with it. This disc serves notice that the Dipsomaniacs just keep getting better with each release. facedown.net

Various Artists -- Planet Of The Pop Boomerang (Popboomerang): A few years ago, there was a definite power pop boom, with oodles of terrific genre discs coming out. That supply has dwindled somewhat. No matter. Power pop is trend proof, which makes it hard for its practitioners to score on the charts, but also means that a good power pop record is not defined by its times. The virtues of good melodies married to ringing rock and roll are constantly appealing. One difference for power pop now is that there are dedicated labels who will make sure that talented artists are getting their wares out. Popboomerang may be new, but the label has already established its presence. This is the label's second compilation, and it sports an impressive collection of artists from around the globe. Even better, a fair amount of the material here is unreleased. Three songs alone make it worth having for the hardcore pop fan -- Japanese bubblegummers The Oranges doing an English language version of their Bay City Rollers-esque "All Day All Night", Michael Carpenter's terrific "Rolling Ball" (kinda in the Buddy Holly vein), and Lolas' "Don't Change a Thing", which is good enough for either of their albums. And there are plenty other swell tracks. Sweet Apple Pie is aptly named, as "She Whistles in the Tube" is jangly girl-pop that sounds good in demo form. Then there's salt water taffy's "We're Not Gonna Take It" – this Japanese band takes the Twisted Sister classic and gives it a Swedish power pop treatment, alternating sweetness with blasting guitar. Ed James is at his best on the propulsive "You and What Army". Fellow Yanks Champale do an acoustic take on their song "Motel California", and it is simply lovely – Gene should cover it. Pop Boomerang artist The Richies do a song called "Fanclubesque" that lives up to its title. The Samurai Seven show the snotty side of pop on "Flaming Hell Blake", managing to fling a melody into the buzzsaw with it coming out intact. Finn band Sugarrush make an impression with "Bootycall", with distinctive vocals (like an accented, more nasal Phil Judd) with a wobbling melody and a yearning chorus asking pretty girls to "shake your booty for me" with an intensity that is incongruous with the lyric, yet perfect for it. There also are tracks from Dom Mariani, Shy Nobleman, Kelly's Heels, Ben's Diapers, Florapop, Jeremy, Danny McDonald and a whole lot more. Aces. popboomerang.com

Mr. Encrypto -- Secret Identity Crisis (Silent Bugler): Mr. Encrypto could also be called "The Artist Formerly Known as Eclipso". Apparently, DC Comics didn't take kindly to Bruce Gordon using its old character's name (or the art) for his last disc. The name isn't the only thing that's changed since Mr. Encrypto's first record. His music has shifted direction somewhat. Whereas the last album had a frothy new wavey thing going on (like he was competing against early Let's Active), this record edges towards more introspective material, mixing in some depth with the expected pop magic. Yep, Mr. Encrypto has some singer-songwriter in him. And he's quite good at it. The disc is book ended by the tune "Rock And Roll Is Killing Me". The opening version is acoustic, and has chords that seem to come from both Neil Young and Pete Townshend. The song has immediate weight, as Gordon's reedy voice is surprisingly well-suited for this dramatic personal self-examination. This song is a struggling artist's lament and affirmation, tangling with the need for self-expression and how it conflicts with the need for validation and/or success. The soft take is poignant, while the closer is a no holds barred poison laced version, that rocks in an appropriately lethal way. While not everything cuts so deep, there is an inviting urgency throughout most of the songs. This yields winning tracks like "Silence is Poison", where Gordon mixes his vocals up front, concocts a semi-rockabilly backing track and throws in a great melodic bridge that makes the chorus go down just right, and "Another Good Year", which is driven by reedy vocals and some nifty layered keyboard work, including a tinny synth line that sticks in the brainpan. Mr. Encrypto relaxes a bit on a winning early ‘80s style take (think Utopia) on The Small Faces' "I Feel Much Better". There are three other covers on the disc, with an especially strong reading of The Kinks' "Dreams", where Encrypto's engagement with the material is crystal clear. While I certainly enjoyed the debut disc, this record is a fuller experience, and backed up by strong songs throughout. I foresee further growth on the horizon. silentbugler.com.

Katie The Pest/Banner Day -- Katie The Pest/Banner Day (Toy): Nice little split EP. Katie The Pest is a saucy sarky guitar pop duo in the tradition of Holly and the Italians, Voice Of The Beehive and that dog. "I got straight As/in telling lies" sings Talia Rose with an alluring girlish arrogance on "Plaid Skirt", which has a very basic melody, dirty guitars and Mary Suzuki's drumming, which fills in the spaces the guitars miss. Yep, these are smart girls singing dumb rock, a combo I can always go for. The tunes are basic, with their SoCal sass and winning personality carrying through all four tunes. My favorite song is "Golf Course", which has a relatively wistful melody that is perfect for this tale of a gal and a guy on the wet green after hours. The song builds to a cool fuzzy guitar middle eight and the interplay between Rose and Suzuki's voices is quite affecting. Banner Day aren't quite emo pop or power pop, falling somewhere in between. "When the Summer Falls" strikes a chord close to that of the aforementioned "Golf Course", with a melody that, if sped up, probably could have made for a good Superchunk or Buzzcocks song -- instead, it's a good mid-tempo Banner Day song. The best track is "(Our Love Is) So in Style", which is happy, silly and sincere, with a classic song structure that will satisfy both fans of The Shins and Splitsville. Lead vocalist Peck has a nice tossed off attitude on this track, carrying off guitarist/songwriter Brad Lindsay's clever lyrics splendidly, with each chorus finding a bevy of rhymes with ‘style' ("don't you touch that dial", "and we'll share bootlegs of Smile", etc.). This is a strong split EP that provides sufficient VFM. toyrecords.com

Denali -- The Instinct (Jade Tree): The star of the show is Maura Davis, who has a pretty voice yet sings with a dramatic conviction worthy of Polly Harvey. At their best, Denali's creates musical soundscapes that play to Maura's strengths. Before buying this album, I had heard comparisons to Portishead, and there are certainly some similarities. Heck, not only Beth Gibbons would be comfortable singing the torchy "Nullaby" (great title, buy the way), Shirley Bassey would probably give it a go, too. If the soaring melody and Maura's heartbreaking wail weren't enough, the lovely instrumental section that sends the song into its final liftoff is powerful, lovely and haunting. Which could certainly describe some other tracks on this disc. Indeed, one could quibble that this album is lacking in tonal variety. However, dating back to those classic Sinatra albums with Nelson Riddle back in the ‘50s, there's something about sad romantic tales that makes them well-suited not to be broken up by the stray happy tune. And it's really something to hear it from a true rock band, giving this style an uncharacteristic muscle. Moreover, it's a chance for the guitarists (Ms. Davis and Cam Dununzio) to grab into their bag of guitar licks -- bits of spy movie theme and spaghetti western twang mix in with some fine rock playing (like the wicked fuzzy solo on "Hold Your Breath", a terrific opener). The top songs are the stunning title track, where the band balances the torch and rock perfectly, while Maura shows off her range while lamenting (or celebrating) a dangerous attraction, and "Surface", where the band holds back, promising an explosion, promising an explosion, promising an explosion -- yes, the tension builds. The song maintains a delicious edge, finally providing a bit of release in the end. And let me point out the crucial role played by the rhythm section of Keeley Davis (bass) and Jonathan Fuller (drums). Denali has certainly carved out a distinctive niche in the indie rock world, and this album is quite the achievement. jadetree.com

The Love Thugs -- Playground Instructors (Rainbow Quartz): Norwegian band that may appeal to fans of artists like Robyn Hitchcock, Syd Barrett, Martin Newell and A House. The band strums and jangles, creating loopy melodies that stretch, twist and turn, turning the conventional into the winningly offbeat. My favorite track is "Nice Out Here", which seems to blend a few eras of The Kinks into one song, with a Preservation Society-era melody, some Muswell Hillbillies-type playing and a jazzy element that I'm sure I could pin on another Ray Davies project. Cool tune. Then there's "You Are My Bird". This songs melody skitters and scampers with a playfulness that is strongly reminiscent of early James, which, in my mind, is a very good thing. This song typifies the winning nature of these songs, that mix a cheery presentation with a skewed lyrical sensibility. By skewed, I mean both in terms of what they are expressing and their less-than-perfect command of English, which leads to some archaic constructions. Which can add to the charm – or the mystery. One of the best examples of this is "Know Where to Go", which features some nifty psych guitar soloing, while making observations like: "in the city/people clinging to one another/but no need that it be true." As oblong as all this is, the slight eccentricity does not trump the accessibility. Heck, "A Little Bit of Something", beneath the wandering lead guitar and quirky cadence, is a mid-tempo Motown vibe that comes out from the underbrush in the chorus. Not bad at all. parasol.com

Ray Mason Band -- Idiot Wisdom (Captivating Music): I'm now really on to this prolific Massachusetts bandleader. Mason is an ace guitarist and a whimsical songwriter, who appears to be utterly devoid of pretension. His albums blend rock with bits of rock, blues, jazz and country, depending on his mood. He's never going to win any best vocalist of the year awards, but darned if he doesn't have one of the friendliest voices you could imagine. And that voice is well suited for his sardonic observational lyrics. He has a fine band, and together, they are probably incapable of producing a disc that fails to entertain. One song alone might justify it. "Digging From the Same Dirt" is grounded in a jazz motif, with the band vamping in a mellow style, while Mason unveils some slick licks and drummer Frank Marsh gets to show off some of his chops. This has to be a popular live tune for the band. The album starts with a foray into laid back Rascals territory on "Ring-A-Ling". While this really highlights Mason's vocal limitations, the groove is real and wins the day. Mason's vocals, however, are perfect for the sympathetic "Didn't Want to Have to Do It", a tender break up song. If you're having a hard time ending it with that (formerly) special someone, you could just send them this song, though I know you, dear reader, have more class than that. (Of course, desperate times call for desperate measures...). While I generally like the eclectic approach, I wish there was just a bit more straight forward rock. The closest the band comes to that is on "When the Ceiling Shakes Hands With the Floor", a speedy shuffle that scoots along quite well -- it's kind of power roots pop. I don't think this is as strong as last year's Three Dollar Man album, but, that being said, I am impressed by the new dimensions that Mason reveals on each new disc. raymason.com

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