Gary
Glauber
Reviews:
December,
2004

Dogs Die In Hot Cars
Please Describe Yourself

(V2 International)

U.K. Release Date: July 12, 2004
U.S. Release Date: October 26, 2004

www.V2records.com

Along with Franz Ferdinand, the arrival of Dogs Die In Hot Cars and their debut album heralds what some have termed a mini-musical invasion of "Scotpop." Straight from Glasgow, Please Describe Yourself is chock-full of infectious, musical fun that recalls a number of other bands, including Talking Heads, Madness, XTC, Blur, Dexy's Midnight Runners and more.

Despite the rather unsavory band name, Dogs Die In Hot Cars are an energetic and intriguing quintet with a host of diverse songs, written for the most part by lead singer/guitarist Craig Macintosh, though some are co-written with bandmates Gary Smith (guitar), Lee Worrall (bass) and Laurence Davey(drums). These lads met in school whilst in their mid-teens, formed a band, played covers and, as the years moved on, eventually recruited keyboardist Ruth Quigley.

It hasn't always been easy. They've overcome a few obstacles, like the time Macintosh got electrocuted onstage (sustaining burns on his hands), or when Smith was run over by a car (breaking his ankle). But none of that has affected their musical talents, and thanks to the smooth production work of hitmakers Clive Langer and Alan Winstanley, Please Describe Yourself is a superb collection of eleven quirky and memorable tracks.

The CD leads off with the ska-accented and uber-catchy first single "I Love You 'Cause I Have To." There's a sense of obligation for this particular love, to "make everything okay," from green eyes that bear witness to so much compassion (a term Macintosh uses often). It's all good fun.

"Modern Woman" examines the threatening ascendancy of women over men in this new century: "Modern woman's modern man, they're showing us how / We're losing control and it's over now." Macintosh's quirky vocal stylings (which most often approximate the verbal tics of Andy Partridge and/or David Byrne, circa late 1970s-early 1980s) often obscure the actual words (thankfully, a lyric booklet is included).

There's a real XTC-edge to "Celebrity Sanctum," wherein Lucy Liu, Angelina Jolie and Catherine Zeta-Jones are name checked by one who not only fantasizes, but is willing to compromise, ultimately declaring: "I just want someone that would come home."

School dreams unrealized in the face of workaday reality are the lyrical fodder of "Somewhat Off The Way," an almost Polyphonic Spree-like anthem of guitars and tuneful "whoa-ing." "Apples & Oranges" shows a real Talking Heads musical influence, though one could argue that the lyrics "stop making sense," cataloging options that exist in this wide universe, where "there's room for everyone."

The second single off the CD is the sharply manic rhythmic-jaunt of "Godhopping," featuring some fine synth, piano and background vocal work from Ms. Quigley. The harmonies are infectious, and the lyrics display a goofy earnestness in their global pursuit of fun: "So we go to all the traffic and children / live far away / on the back of a big bus all the way to Bombay / When they go I am with them / but it won't be long / Godhopping for good times / when everything starts to go wrong."

The enhanced CD comes with three videos, my current favorite being that for the song "Lounger." Here is a musical exploration of the power of sloth, the life of leisure, questioning the need to know languages that won't be used or remembering bits and pieces of history once learned long ago. He's the czar now, and able to lounge about as he pleases: "I get up when I like / Wear anything I like / Don't keep up with the cool / I make up my own rules / Don't have to eat my greens / Or keep my bedroom extra tidy 'cause nobody is around to tell me off."

Perhaps the catchiest song here (and they're all relatively quirky numbers that ingrain themselves on your subconscious) is "Paul Newman's Eyes." The song opens in a capella alt-country mode, then ramps up to a ska-beat with sharp bass-lines and impressive piano accents. It's more wistful wishful-ness, a nothing viewing those who have more, setting trends, acting confident, hoping for freedom from his current boring life: "I wish I had Paul Newman's eyes / and every day came with some surprise / I wish I had Paul Newman's eyes / that would be nice."

"Pastimes & Lifestyles" is a driving post-punk rocker, with some great jangly guitar amidst lyrics expressing boredom with the modern world. The singer is looking to learn the direction to take to get out, seeking "pastimes and lifestyles to keep my attention at bay."

"Glimpse At The Good Life" is an acid view on our busy, trendy modern society: "We're watching our weight and watching our hairline / Burning it off and spraying it on / Five portions of fruit and veg and flotation tanks / Are keeping us balanced and keeping us strong / So where would we be without pilates / Feng shui and breathing and organic bread / Manic attacks and panic depression / Missing the point as it goes over our heads."

The CD closes with the upbeat "Who Shot The Baby?" wherein Macintosh's stuttering urgent vocal quirks are truly reminiscent of David Byrne (at his best). Here, and throughout the album, there's a sense of breezy disregard, as if the group doesn't take its music too seriously. As such, the results are refreshing and well…good pop fun.

Please Describe Yourself is an impressive debut, with smart, fun music that is heavily influenced by others, yet manages to come across as truly original and quirky, particularly as compared to what's out there now. Macintosh and his mates in Dogs Die In Hot Cars, with their sweet melodic hooks that rise above the current musical fray, are indeed a pleasant musical surprise.

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Adam Marsland
You Don't Know Me

(Karma Frog Records)

Release Date: October 12, 2004

www.adammarsland.com

What happens when an angry young man gets a bit older? Well, if it'sAdam Marsland, he manages to retain that anger and use it to fuel his creative talents. The talented former front man for Cockeyed Ghost has given up the front (after four studio albums) and decided to put out music under his own name now (though backed by a very impressive collective of musician friends, including some former band members).

Additionally, he's given sway to an eclectic range of personal musical tastes, reflected in a dozen wonderful songs that largely convey a 1970s feel. More musically complex than any previous Marsland collection, You Don't Know Me serves up an intriguing mix of largely piano-driven compositions with acerbic lyrics that challenge while reflecting on life in these troubled times.

The title track leads things off in a big melodic way, lyrics in full vitriol, with the surrounding music in well-arranged layers. Our narrator refuses to be pigeonholed into some lame category: "Take back your straight jacket / take back your skinny tie, you may have got The Knack, but baby, I'm not that guy, I'll tell you why, 'cause you don't know me." The song morphs into a rich, full-blown coda, featuring fine cello from Sandra Beane, violin from Jacqueline Grad and trumpet from Probyn Gregory.

The next track is another gem. "Love X 10 (How Dare You)" is a symphonic rocker, featuring great shared lead vocals between Adam and Evie Sands, and a superb rhythm section courtesy of former Cockeyed Ghost members Severo and Kurt Medlin. Marsland is big on irony, and this situation finds tables turned from years hence, wherein one person now dares to fall in love with the other, yet ultimately, it's not to be: "You ask if I still love you, and if yours is a vain pursuit / well that's a question I once longed to hear, but now my dear, it's too much, it's too late, and it's too moot."

"The Big Bear" is a poignant track, featuring more fine cello from Beane, along with nice guitar accompaniment to Marsland's vocal gyrations, hitting impressively high register notes on the chorus in a way that might make Brian Wilson proud. More high notes are to be found on "Other Than Me," a funky upbeat number full of modern cultural reference points caught up in the acid of the lyrics (e.g., Aimee Mann, Liz Phair and Buffy).

Marsland switches into quiet folk-rock gear with the alt-country tribute to making love in the desert, "A Moment Of Clarity," which features great vocal performances from Heidi Rodewald and Stew (The Negro Problem) and some superb accent flavors from Paul Lacques on steel guitar and Michael Whitmore on mandolin.

It's no secret that one of Adam's musical mentors is Elton John. This is most evident in the piano on "What The Hell," which is pure Elton (in the best of ways). I like the way the chorus switches rhythmic gears, and again, Marsland's bitter lyrics are divine: "It's a simple pastime we both enjoy / you're a neurotic girl and I'm an empty boy / When in Rome, when in doubt / we're in a dark corner making out / Better judgment in the way? Merlot, Cabernet / Opposites attract and then repel / oh well, what the hell."

Another Elton circa Tumbleweed Connection-like opening is "I Can't Do This Anymore." Marsland's piano chops have never been better, and the song is a bitter pill of momentary questioning about confessing his soul to a roomful of strangers, perhaps a reflection on some of the bleaker nights encountered while touring relentlessly these past three years, doing solo performances night after night: "This isn't commerce and you've made it clear it's not art / it's just some jackass pouring out his heart - what the hell is up with that? / I've got nothing to say to you, it was my decision to play to you / so c'est la vie and c'etait adieu, I can't do this anymore."

Reflecting back to similar musical territory from Marsland's last studio release, the exceptional Ludlow 6:18, "Have A Nice Day" tells the tale of a young stranger's disarming compliments and comments affecting a cynical woman. Take note: this is a rare optimistic note, without irony whatsoever.

One of the strongest aspects of the previous studio album was the way Marsland would tell great stories in song ("Ginna Ling," "Burning Me Out"). Marsland continues that tradition here with "My Kickass Life," handling all vocals and instruments (though Evie Sands lends some electric guitar). Here Marsland again takes an optimistic stance, being grateful for his kickass life to date and the choices he's made: "And if it ended tomorrow, I couldn't complain / I had my share of sex and glory, had an open heart and a pretty good brain / there'd be some things that I never got to do / yeah, but only a few."

Guilt, recrimination and somber regret are the feelings laid bare in the dulcet piano, pedal-steel and vocal near-lover's reminisce that is "Stranger On The Street."

Marsland takes on America's global mess and self-serving attitudes in the punk-rant "What The World Needs Now Is A Good Deus Ex Machina." Remember, disregard the facts and don't accept the blame.

The CD ends on a pleasant note with the slow-building "Thanks For Everything," a farewell with good wishes and a call for change, featuring spoken words by poet/writer Gwynne Garfinkle over a crescendo of music. Stay tuned in beyond the final song for a brief, but funky quality jam as truly final coda.

There are hints of things from Steely Dan to Elton John to Brian Wilson, but Marsland is an eclectic, intelligent original. My only minor misgiving here is that lyrics weren't included (they're available on his website, though). This is one that demands repeated listenings for the full effect, and is well worth that effort.

With fine backup players including Evie Sands, Darian Sahanaja, John Perry, Robbie Rist and a host of others, Adam Marsland and co-producer Steve Refling have assembled another winner. You Don't Know Me probably is an apt title for now, but if this level of confident, high-quality music can be sustained by Marsland, chances are that one eventual day, everyone will know him.

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Eytan Mirsky
Everyone's Having Fun Tonight!

(M-Squared Records)

Release Date: November 15, 2004

www.eytanmirsky.home.att.net

If the third time's the charm, what is the fourth? If you're Eytan Mirsky, and we're talking about his fourth studio release, then it's even more charm. Everyone's Having Fun Tonight! continues in the fine tradition of 2001's Was It Something I Said? and serves up 16 fine tracks of the sort of instantly accessible charm-pop that Mirsky is known for.

On this new collection, the songs remain bouncy and infectious, the delivery comfortable and confident, as Mirsky has grown in stature through having his music placed in films. An alumnus of NYU's Graduate Film School (and an excellent film editor in his own right), singer/songwriter Mirsky placed two songs in Jeniphr Goodman's The Tao of Steve. Todd Solondz' Happiness featured Michael Stipe singing Mirsky's song of the same name (the Mirsky version appears on this new CD).

More recently, Mirsky appeared in and sang the title song in the critically acclaimed Harvey Pekar biopic American Splendor(that song is here as well). Mirsky's streak of song placement will continue in Robert Altman's The Company, as well as in Todd Solondz' Palindromes (scheduled for theatrical release in 2005).

For the latest disc, Mirsky again teams up with guitarists Jon Gordon (former lead guitarist and arranger for Suzanne Vega) and Larry Saltzman (who was seen and heard playing guitar and other instruments in the 2003-2004 Simon and Garfunkel Reunion tour band). Most of the tracks feature drums by Warren Odze (or by Vin Scialla otherwise). Gordon produced, mixed and mastered the CD as well, keeping the sounds masterfully clean.

The opening track (sounding vaguely reminiscent of the old new wave band The Jagz' song "Back of My Hand") is called "She's Looking Better," and features a rip-roaring harmonica solo by Jason Rosen. The lyrics tell a variant of the "grass is always greener" tale, about a girl who is prettier than anything he's ever seen now that she's no longer his, a most believable irony.

"Why Does It Have To Be That Way?" is a cute ditty about a self-absorbed someone who manages to not get too involved with religion or politics, per se, yet gets philosophical over a more personal issue: "I never stop to question the pain the world lives under / but when I see you out with him I cannot help but wonder / Why does it have to be that way?"

Mirsky also explores the converse situation in the uber-catchy "If You Wanna Save The World" (written for, but not included in, another film). Here's a guy who doesn't have time to play, but he's ready to join up if you're fixing to save the world: "Hey, if you wanna waste your time / well, that's just fine with me / but I feel like saving humanity."

The title track has sort of a retro, Sam Cooke standard feel to it. There's the buzz of a party about the chorus, reflecting the global celebration that seems to include everyone except poor Eytan. This lovable outsider stance is familiar from past songs, and has almost become the Mirsky trademark.

It's in evidence here in the winsome song "Bad Bad Luck," wherein the hapless pursuer of a date is sincerely given every excuse in the book and then some. A look of rejection is the topic matter of "Don't Gimme That Look," portrayed as the "cruelest form of punishment that the world has ever known" in a song that's a distant musical relative of The Monkees' "Last Train To Clarksville."

Used to this constant rejection, what would happen to a guy who suddenly finds himself accepted? Mirsky gives us the answer with "What's Wrong With You?" believing there must be something wrong with this woman, for her to fall for him.

When you hear the soundtrack songs, there's no denying their catchiness. "Happiness" is spilling over with pop ebullience, a musical search for that elusive quality. "American Splendor" is more of a quiet affair, the kind of simple vocal and guitar performance you'd get in a coffeehouse, which serves its subject well, a man born to "live, suffer and die" who struggles on, fighting the good fight.

Another song written for a film (but not used ultimately) is "Hairy Situation," about a woman who suffers from hirsutism. It's another catchy tune (though I'll avoid saying it grows on you).

Mirsky switches into retro Cars-mode with "This Song," an infectious admission of the limits to what a song can achieve: "This song is just an empty melody / this song at any speed, in any key / this song is useless as a thing can be / 'cause this song can't make you fall in love with me."

Romantics will be able to identify with "A Hundred Times A Day," about someone who falls in love at least a hundred times each day (but who's counting?). Sure, there are those who would scoff at the sheer volume of it, but Mirsky answers his critics: "You can tell me that it's not real, what I'm feeling inside / This kind of love may not be too deep / but it sure as hell is wide."

Now and again we do get romance or a straight love song - for example "Make You Feel Good" is a musical feel-good promise of making one feel even better.

Mirsky's smart and cynical at times. Witness the tongue firmly in cheek in "Let's Just Start With Goodbye," a countrified rocker in the style of Nick Lowe or Dave Edmunds that proposes to save time and trouble in a relationship: "Let's just start with goodbye and say we've had enough / let's just start with goodbye and leave out all the painful stuff."

For those of you in search of a good stocking stuffer, the CD also features a timely holiday song, "The Only Present I Want This Year," dismissing material needs in favor of emotional ones: "The only present I want this year is to have you close and to hold you near / yeah, the only present I want this year is you."

Mirsky covers a lot of bases, ending the CD with "Reciproco," another power pop ballad, yet this one sung in Spanish.

With 16 tracks in all, Everyone's Having Fun Tonight! is a solid package of beguiling and bewitching pop. Mirsky's well-structured songs display a strong kinship with the classic pop sensibilities of Nick Lowe, Buddy Holly, early Elvis Costello, and Marshall Crenshaw (and more recently, Walter Clevenger and Eugene Edwards). So treat yourself to some musical charm this holiday season courtesy of Eytan Mirsky, and get this extra bonus - you won't have to wait around for the credits to roll to know who's singing that catchy song.

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The Walnut Dash
Titbits

(Vinyl Japan)

U.K. Release Date: April 19, 2004

www.thewalnutdash.co.uk

Sometimes you just get a hankering for that sweet retro sound - that kind of guitar-driven melodic rock with harmonies and strong beats that comprised the steady fare on the radio decades ago. These days that sound is in demand mostly in the clubs of Japan, where The Walnut Dash has had three big hits. If tight mod-influenced power pop nuggets are your thing, then you need to hear Titbits, the band's mini-CD debut.

The Walnut Dash are a trio of tall chums out of Essex and London, featuring Tom Braham (vocals/guitar), Malcolm Moore (bass/vocals) and Daryl Keys (drums/vocals). Together since 2001, the band had to take a slight break while Moore toured as a session bassist with Westlife this past year. In actuality, they may well be Britain's tallest band, with an average height of 6'3".

This eight-song collection never overstays its welcome. In fact, most of the songs are only two minutes and change, leaving the listener wanting more. At less than 18 minutes, this music goes by far too quickly.

The mini-CD opens with "Going Straight," a song with traded vocals reminiscent of Squeeze's Tilbrook and Difford, circa Cool for Cats. Great drumming propels this upbeat track, a musical proclamation of changing one's ways moving forward: "I've had a quick one / I've had a few / I've had a giggle / I once had you."

"Sarah H. is a pretty mid-tempo ballad of one whose heart gets broken by an ill-suited and uncaring acquaintance: "I'm on the ground floor / She's on the third / love between the two has never been heard / but Sarah doesn't care at all / All outside the charts, she's top three / I'm old rags, she's contemporary / but Sarah doesn't care at all."

"Your Mum" is another catchy winner, with a bit of mid-1960s era Rolling Stones about it. The daughter's lewd, the mother's uninformed: "Does your mother know what goes on under her roof? / Does your mother know the deck is wet and your cannon's loose? / Does your mother just how many people you have screwed? / Does your mother know you're sending photos of you nude? / I know more than I ever wanted to about you /
There'd be murders if your mother only knew."

Cute and catchy tracks seem to come effortlessly for The Walnut Dash. "Just Feel" is an infectious little ditty about a May-December romance: "She won't believe it's not another bum deal / if she can't see that my love is real / she should just feel."

Fans of The Buzzcocks will enjoy the brief, but harmony-laden "I'm In Love." The lyrics capture the feeling succinctly: "The stalking, the swearing / I'm in love / the sulking in silence / I'm in love / the stopping, the shouting / I'm in love."

"Top Drawer" is another top-drawer pop winner, about a returning warrior ("You know the score, we are the law") coming for a word, for a go. "Stupid O'Clock" (in the morning) builds slowly, a la Tommy James' "I Think We're Alone Now," relating the tale of an early hour tryst that shakes things up a bit.

This short collection ends with the celebratory "Cheers To Yer," a delightful little toast from the band to its faithful listeners: "Knock it back and have another / don't mind if I do / hats off, cheers to you / one more, then I'm through / Cheers to me, cheers to us, cheers to you."

The Walnut Dash have a bit of the old magic in their brief melodic snippets of songs, from The Hollies to The Buzzcocks, the Stones, Herman's Hermits, Squeeze and more recently, Farrah. These songs tease you, grabbing your interest and then quickly taking their leave, like some masked crusader (the lone arranger?). "Who was that mysterious mod trio?" you might ask. I don't know, but they were melodic in a retro way and they sure were tall. Here's hoping Titbits is just the start of bigger things for The Walnut Dash.

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