Besides funny, the tongue in cheek is as subtle as a root cannel being performed by Marilyn Manson with a chain saw. Now that’s a scary picture. Actually I am not sure if “Antsy and the gang” are real people living in an Airstream Trailer in some trailer park named Pine View Heights or if they really live in some ritzy part of Beverly Hills poking fun at the real trailer folk. They stay in character so well in the music and the CD photos that you just can’t be sure. Heck they even include within the 16-page CD booklet, a trailer park map showing the location of all their friends.

I rarely laugh out loud when I hear something that catches me off guard but this CD is filled with those kinds of moments and I laughed out loud in the privacy of my car in the midst of horn honkers and drunken cell phone drivers who slam on their breaks to answer their phones. Maybe it’s the totally unexpected punch line in Nothings Gonna Stop Me Now or the pure honesty and down home gospel attitude of I Was Just Flipped Off by a Silver Haired Old Lady With a ‘Honk If You Love Jesus’ Sticker on the Bumper of Her Car but I found some of the ‘best slap’ stick humor ever recorded in the laser groves of this CD. The impeccable timing required for proper delivery of a joke is without question pure classic in Prozac Made Me Stay. Other songs that need mentioning are Cubic Zirconium in the Rough, Dora’s Dark Side, (That’s a chain saw massacre kinda song WHOA!!!) and I Married Up. What is even more shocking is this CD comes without a “Parental Advisory Sticker.” For the last decade I thought that is what comedy is, “if you don’t see that sticker, then it’s not funny”. Well, Antsy McClain and the Trailer Park Troubadours seem to have re-defined humor so that those stickers are no longer needed. Very refreshing to know that enough thought processing went into this CD to make it truly funny without resorting to the ‘cheap and sleazy’ stuff.

The closing song on this CD is a strong and touching love song that puts reality on the table and serves it up with pure honesty that leaves the taste of Mom’s apple pie in your soul. It is my favorite song, Falling in Love in America.

One final note, this CD was recorded in California and Nashville, with excellent musicians, vocals, melodies, harmonies and lyrics. Don’t try this at home… these guys are professionals. My hat is off to Antsy and the Crew and I don’t wear a hat not even in the winter. Great Stuff!!!!
Join the party. www.unhitched.com


MSP    

Big & Rich deliver a more mellow sound than their previous albums. Between Raising Hell and Amazing Grace features the no. 1 Cashbox smash "Lost In the Moment" as well as a number 1 Cashbox album. The CD is definitely mainstream featuring Country, Rock and even a little Reggae sound on "Please Man". Of all the new so called Country product released in the last six weeks, I give this one a little more credibility than the competition. Each song carries its weight and the CD has that inspirational overtones at times. Every young person or even someone older that has problems with depression and addiction should listen over and over to the track "When the Devil Gets the Best of Me". This could be the "Lean on Me" track of 2007. This one will get to you. Ole J.D.'s son has been hospitalized since June 17th. This song really touched him. Four stars
JDH    

The Broken String is one of the flagship releases from Secretly Canadian off shoot Dead Oceans, and it appropriately fits into the wide world of music that all Secretly Canadian, Jagjaguawar and Dead Oceans represent. Opening track “The Monitor” introduces the listener to the world of Bishop Allen. Justin Rice and Christian Rudder deliver twelve songs of upbeat folk infused rock on The Broken String. Part Matt Pond PA and part Neutral Milk Hotel, Bishop Allen take their unique blend of influences and fuse them with a sound all their own. Track “Click Click Click” starts of like the gentle Mark Mothersbrough score for The Royal Tennenbaums and slowly evolves into a Yankee Foxtrot Hotel era Wilco jam. “Click Click Click” is a great example of the accessibility of Bishop Allen. Here they move slowly enough and take the right logical steps to allow the listener to be ready for the changes that come. By this point in the album, the listener will be willing to go anywhere that the band wants. That trust is never misused, yet the album remains surprising throughout its entirety.
Justin Scro    

Man, do I love my alternative music. Going through stacks of cds and being objective is fun and I enjoy it, but hearing an album that I would have purchased is what makes my job great. Blood Red Sun are today’s Afghan Wigs. I don’t know what that means to anyone else, but believe me, it is a compliment. Nation Of Saviors opens with the tragic “It Gets You Nowhere”, a song that exhibits both control and chaos in even strokes. “Pray For Rain” is found dance in dark clothes in a dimly lit room. Here the band draws some easy compression to Interpol and Editors, but going back to the Afghan Wigs in the 90’s, they were there first. Well, I guess it was Joy Division, but Afghan Wigs brought the America soul into the doom and gloom tapestries of British rock and roll. The music is tight and the vocal delivery is passionate, almost even more charming when singer Jason Nadeau’s voice becomes uneven because of the power of his delivery. While the vocals shine, Blood Red Sun are a unit that’s success is based around all parts of the band working evenly together.

Like most rock bands, the last track is saved for that experimental “what will our next album sound like” song, Blood Red Sun deliver the album’s most atmospheric piece with “Icarus”. Matching the feel of this track alongside the raging rhythms of songs like “Love Letter” and “What Remains”, Blood Red Sun deliver the goods throughout. Something about the energy elevates the album above most even at its lowest points. Not many bands on the darker side of rock and roll can attribute sheer moxie to their credits, but for Blood Red Sun it all seems natural.


Justin Scro    

And Brad don't think you're getting off easy either. You too can do better than this. Though the CD is # 1 on our Cashbox Country albums chart, it lacks the polish and style you delivered on previous albums. Seems like you're going through a second childhood with tracks like "All I Wanted Was A Car" where you push the masculinity thing to the edge. We know you're not gay, O'K. Also included in this package is the # 1 Cashbox single "Ticks" and your new smash hit "Online". The Carrie Underwood duet is well... pass the syrup please. "Mr. Policeman" is a rare novelty tune rarely heard in today’s sophisticated world. This may not be your best CD but one thing I will compliment you on is you're not stingy, you give people their moneys worth with 16 tracks that at least have some semblance that you're having fun. Three stars
JDH    

This amazing three disc collection covers the greatest songs the summer has ever had to offer. Ranging from the classic oldies like Mungo Jerry’s “In the Summertime” to more contemporary summer songs like Dj Jazzy Jeff and The Fresh Prince’s “Summertime”. With a set that is this eclectic, Time Life and Rhino both keep with the precedent that their great releases set forth. What is nice about Chasing The Sun is that it serves no genre or time period and allows the greatest hits reside amongst the hidden gems such as “Papa-Oom-Mow-Mow” by The Rivingtons or the amazingly talented underground genius of Jonathan Richman on “That Summer Feeling.” Matching up Time Life’s ability to reach a massive audience and Rhino’s reputation for putting the music above all, Chasing The Sun is a complete success.

Included with the three disc set is an extra bonus DVD that helps match the mood of the music called Liquid Stage, an hour long documentary on surfing. Setting the tone, this DVD is the perfect companion piece to the cds in this set. The rocking rhythms of Lovin’ Spoonful’s undeniable classic “Summer in the City” are placed next to the gentle stylings of Seals and Croft’s still magical “Summer Breeze”. Broken down, the three discs are named Surf Songs, Shag Songs and Summer 1950-1990. Coming at the perfect time, Chasing The Sun will allow you to load up the cd player and relax as you won’t be needing to try to compile your own mixes or waste time hopping around radio stations to find the songs you want to hear. All the great summer tunes are right here in Chasing The Sun.


Justin Scro    

D.J. and Musician Colette has graced my presence with album Push which is due out at the end of August. Making her home in Chicago, Colette is no stranger to the world of dance. Traveling throughout the world spinning her magic, her sound is a down-tempo beat with a voice that will rock your world. A hint of techno mixed with electronic beats intertwined with and alto voice booming out soul with every word. The album consists of thirteen heart pumping tracks that will keep you dancing way in to the morning. One of my favorite tracks is "Get You Over". The pumping beats tapped into the instrumental sound whirling around Colette's lovely voice like a twister in Kansas. She has a real talent that doesn't come along too often. I'm a big fan of hardcore power dance, coming up in the San Francisco Dance scene, that I never really gave the lower down tempo a chance. Well Colette sweetheart, you have changed my mind forever!! She flows through every note of every song with ease. Track 09 "Touch & Go" gives more of a Rhythm & Blues sound.

Last but not least.. is a hit song, in my opinion "About Us" track 01 would be the regular radio edit, but track 11 will blow you away with more bass and power coming at ya. Good Luck to you Colette in all your success. :) AND I WILL Treasure my copy of your album. Take care & God Bless. 5 stars
ACE    

Wow. This album opens up like a wonderful flashback to the bygone era of uplifting contemporary R&B music of the 1970’s. The Daily News opens with the energetic “Impatient People” which could be the distant cousin to the great and overlooked “Smiling Faces Sometimes” by The Undisputed Truth. Taking a concern and turning it into an uplifting message is no easy balancing act, but Donnie pulls it off due in part to the song’s great production and excellent arrangements. Follow up track “911” keeps things moving along nicely with its laidback groove. There is something in Donnie’s music that puts in a special category of R&B that keeps it far away from the modern trend of R&B leaning towards B&oring. Donnie lets his soul soar and applies it modern topics without being topical. Again, no easy feat. With musical stylings much like Stevie Wonder and Motown’s golden gods The Funk Brothers, the instrumentation is as strong as the vocal performance. That is usually a huge problem in the genre. All lot of R&B music tries to make all the songs focus on the voice, while Donnie has the mature confidence to let the music be as good as his voice is. It is a strong and inspired move.

The wah-wah pedal groove of “Suicide” (when is the last time a song called “Suicide” sounded this good?) opens the albums middle while “Robot” gets down all the way. Tweaking the song out, Donnie plays the right card by keeping the synths sounding like 1977 and doesn’t go overboard with the limitless technology of today. “Robot” stands out as one of the best tracks on The Daily News, vocoder and all. Donnie’s The Daily News is a needed reminder why our parent’s record collection featured Led Zeppelin next to Marvin Gaye and Stevie Wonder on the same shelf as the Rolling Stones. Donnie serves as a reminder that music is without boundaries and that possibilities are endless when an artist truly knows what they are doing. This album isn’t recommended, it is necessary.


Justin Scro    

Back in 1970 Frankie Cicala heard a recording of Joe Grandy playing the guitar and knew that he was destine to someday play the guitar too. Influenced by artists like George Benson, Frankie applied and was accepted into the Mannes Conservatory of Music in New York City where he was tutored by Joe Grandy, himself.

Frankie’s playing style is warm, light and breezy with lots of R&B touches and some of the strongest studio musician backing that I have not heard in quite a while. I can’t tell you how refreshing it is to hear the rich fullness that real musicians can provide a song. Frankie is more than the icing to this musical feast for the ears. He did most of the musical arrangments and when he plays his D'Angelico guitar, one of the richest sounding guitars in the business, it is pure, sweet and hot.

The first three songs, Frankie Plays, Get Hip and Be Happy, and A Song for My Dad set a comfortable jazz groove for kicking back and just relaxing. Then as you think you couldn’t enjoy a CD more, Frankie changes the mood with “Hallandale Beach” and some extra solid R&B orchestration, smooth and easy chord changes plus with Chip Huff’s bass lines and a stirring string arrangement leaving nothing to be desired. We then float into a Minor key with A Day at the Bay featuring a punchy bass line and Frankie playing flawless Wes Montgomery style octaves, followed by some heavy bottomed fullness with Wishing On A Star . Using an acoustic guitar this time Classical Gas gets a new melody makeover that is almost immediately recognizable and fits so comfortably into the overall mood. Then capping the whole mesmerizing ride is a sad crying guitar begging for ”Just One More Day” which leaves me saying, “Just one more song.” Yes, the only negative I can come up with is that eight is not enough. But then again you are supposed to leave them wanting more and Frankie accomplishes that with the finesse of a true artist.

New Age, Jazz and R&B lovers should be totally satisfied with “Frankie Plays”.


MSP    

Standing in for Superman, The Guards of Metropolis protect the masses from mediocre rock with the release of their sleek pop masterpiece Alligator. Part Garbage, part Elastica and part Republica; Guards of Metropolis take the female fronted rock band to their own comfortable place of creativity without casting their influences to the side. Tightly woven tales of love, boredom and societal woes are fit to the upbeat instrumentation throughout Alligator. Vocalist Kristin Blix does not hold back her anger on “Exhole” with lyrics such as “Hey Romeo, you hit on all my girlfriends so debonair you scared them all away. It’s time for Jerry Springer, looks like your family’s on today.” A shift in Guards of Metropolis’s sound comes on sixth track “The Way You Are”, swapping out their edgy rock sound for a polished synth-pop, the Guards show their range and talents go farther then straight forward rock and roll. “The Way You Are” seems a likely candidate to appear not only on modern radio, but also in television and film.

Postcards From Heaven welcomes Alligator’s first mid-tempo track, matching the pop quality of the previous “The Way You Are”. This mix of rock and roll with pop seems to be Guards of Metropolis’s ticket to fame. While their edgier numbers are great, it is the songs that lean more towards pop that leave a lasting impression. After the beautiful songs like “The Way You Are” and “Postcards From Heaven” the album continues its upward trajectory through its midsection. The Guards seems poised for success around every turn on Alligator, especially on the albums first slow number, “Tired”. Slowing things down, Kristin Blix brings her best vocal performance on the record. In a strange way, “Tired” could be a rock or a country song. It is so well written that it could be covered by artists of any genre and it would still ring true as a hit. Title track “Alligator” closes the album with a mix of all the parts that make Guards of Metropolis a success. The production is perfect, the arrangement is lush and the song is an apt closing to such an adventurous and compelling effort.


Justin Scro    

”Million Brilliant (You Won’t Be Disappointed)” opens Janus’s Million Brilliant with a huge promise in its title. Falling somewhere between Chevelle and The Deftones, Janus keep the promise of not disappointing. Taking their melodies more seriously than there metal edge, Janus join a small group of artists that can take heavy music and turn it on its ear, literally. “Stump” introduces a more electronic element to Janus’s sound, but somehow they miraculously avoid sounding like the have been directly influence by the ground break DJ and metal work of Linkin Park. Another key factor of appreciating what Janus is doing is there honesty. This CD was encoded as a ‘Pop’ album. Too many people link the term ‘Pop’ to a particular sound, when really all it dictates is where it will fit in now and Janus certainly do belong amongst the successful mainstream music of today. It is refreshing to hear a band that could steal the audience from Fallout Boy and Panic! At The Disco who does not sound like them. The only drawback from Million Brilliant is a lack of diversity. Even at the short length of five songs, they tend to grow together and become unidentifiable against each other. However, this should not hinder the success of these very talented young men who will surely grow in the future.


Justin Scro    

Jessica Johnson is only 19 years of age, but has a voice that is smooth, soulful, and seasoned well beyond where most 19-year-old vocalists find themselves. Johnson has an incredible voice, and there is really no way to argue this. Her silky voice combined with an impeccable range makes her a joy to listen to. Her debut album, “Till it Happens to You” is produced well and showcases her unique talent as a vocalist. As a vocalist she is very accomplished, but as a “jazz singer” I believe she still has some work to do.

When listening to the album, the first thing I noticed it was lacking was improvised solo’s from other instruments with the exception of a piano solo. It’s all Jessica, all the time. The greats such as Billie Holiday and Sarah Vaughn surrounded themselves with the best, and showcased there supporting cast as much as they possibly could. Johnson’s vocals are great, but 12 tracks of the same thing just gets monotonous. The beauty of jazz is variety and this album lacks that.

Even though the album’s tracks seem to bleed together, there are a few tracks that I really enjoyed. Johnson’s rendition of “Summertime” was very tasteful. She did a great job of recreating what so many incredible musicians have done while still adding her own flair. Another plus on this album is when she scats. It’s very apparent she’s done her homework in the land of “oos”, “ahhhs”, and “boop de boops.”

Overall Jessica Johnson has an amazing voice, and is a rare talent in that regard. As a jazz musician she needs to continue delving deep into the art of jazz vocals and she needs to find a supporting cast of people that can compliment her unique talent. With the right musicians behind her this artist could really become a heavy hitter in today’s jazz market. I give her debut album 3.5 stars and wish her the best of luck in her future projects!
David Warren    

Crooner John Vance brings his A game on his latest release. Working with material ranging from the legendary Duke Ellington to the avant-garde stylings of Kurt Weil, Vance keeps on top of the material in a casual yet charming way. Part of Vance’s appeal is that is does not force his voice nor does he step on the music, something that many contemporary vocalist can’t help but doing. Vance’s delicate voice saunters around the classy jazz arrangements with ease and total control, drifting in and out like a day dream. On Ellington’s “I’m Beginning To See The Light” Vance seems most at home with the source material and the listener can almost imagine Vance standing on a dimly lit stage delivering his lines under the spotlight. Another great quality on Dreamsville is that Vance is not afraid to share that spotlight with the musicians on the album. The piano playing by co-producer Jeff Colella creates the atmosphere that showcases the vocal talents of John Vance, but also makes the entire experience more authentic to the time period of music being performed. John Vance’s Dreamsville is prime time easy listening. While is does not bring anything new to the picture, it is an easy reminder of American music’s golden age.
Justin Scro    

This live production takes nothing away from the studio release and Josh is in fine form performing at the great Ryman Auditorium in Nashville. Includes his early hits from a few years ago including "Long Black Train", "Way Down South", "Lord Have Mercy On A Country Boy", and the Hank Williams classic, "I'll Never Get Out of This World Alive".

Of the new crop of Country artist this is J.D.'s favorite of the new breed. He has a way of handling a song that none of the others can grasp and the songwriting is much better than on other major releases. If Josh will stick to his roots and not listen to label wannabees he'll be around many years from now.
JDH    

Lighting Dust’s Amber Weber and Joshua Wells create ten songs of beauty together on their latest release for Jagjaguwar. Opening with the acoustic guitar the melodic drawl of Weber’s voice on “Listened On”, the tiny universe of the song unfolds neatly with reverb soaked backing vocals hanging in the background like the ghost of past worries. Mr. Well’s introduces himself on the eerily enchanted duet “Jump In”. The interplay here exposes the chemistry between the two, not only vocally, but with the rigid piano and the graceful guitar that dances around the entire arrangement. Lightning Dust do not sound much like anything else out there right now, yet they will fit perfectly on your shelf in between the Arcade Fire and Rufus Wainwright. Lighting Dust grows more enchanting with each listen. Clocking in a little above a half an hour, the album is willing to be played all day on repeat.


Justin Scro    

Recorded exclusively for the Cracker Barrell, one of the greatest Country singers of all time has produced a legendary album that will not disappoint fans. I noticed that the CD was recorded at Tally studio. Don't know if it has any connection to Merle's early Tally recordings but the production is pure country. Merle certainly acquired some of the best musicians and songwriters to make this CD with absolute perfection.

Even though these are not the original recordings Merle is in fine form with some of his past hits including "Rainbow Stew", "Are the Good Times Really Over", "Kern River", "Workin' Man Blues", and "If We Can Make It Through December" plus seven other great tracks. The Cracker Barrell chain should not complain over the sales of this CD, it's a winner.
JDH    

This group of extraordinary musicians has created a true masterpiece of 21st Century Jazz. The Mitch Marcus Quintet truly encompasses all things Jazz in their recording, “The Special.” They have all the classic jazz roots, the new age jazz flair, and their own uniqueness that makes them tantalizing to absorb. Listening to this album was like an ongoing journey. Every song, chord change, and improvised solo gave the players more validity as jazz students, performers, and innovative composers.

First and foremost, Mitch Marcus is a tenor sax virtuoso! His solos go from Rollins, Coltrane, and Shorter to some of the most experimental psychedelic sax playing I’ve heard. His ability to impress me with his be-bop chops and then turn around and play some of the most mind-boggling passages was truly amazing. Along with Marcus, the rest of the group plays over a wide-range of styles. With all five musicians at work the quintet produces a completely original sound that twists and turns like a great story.

Each song is completely different and offers something new for the listener. Whether it’s the guitarist playing through several electronics in a psychedelic fashion and then suddenly throwing down the cleanest Methany jazz patterns you would expect to hear, or if it’s Marcus going from one extreme of his horn to the other, you really never know what’s going to come next. The only guarantee is that when you’re done listening, you realize that these are five of the finest musicians you’ve heard in awhile.

I think that Steve Silberman from Wired Magazine summed this group up the best, “Adventurous music that swings with all the muscularity and verve of pioneers like Mingus, Monk, and Rollins, but pays tribute to that glorious past by daring to advance the sweet science of collective improvisation into the future.” Steve, I couldn’t agree more!

This is a must listen for anyone who loves and respects the classics, but dares to venture forward for the betterment of our musical future. I thoroughly enjoyed this review and would recommend this recording to almost anyone who delves into improvised music. I give “The Special” 5 stars because it’s absolutely incredible!


DSW    

Like a psychedelic trip back to the marmalade skies of “Lucy In The Sky With Diamonds” opens Monster In The Machine’s Butterfly Pinned. This lofty moment passes to quickly before morphing into a straight up rock song. Unlike many misleading album intros, “Fear Of The Mind” unfolds into a piece that is much more than what first seems. Sounding more like an experimental Porcupine Tree than most of today’s metal/rock/emo bands, Monster In The Machine offer up a great melody without putting a strain on the vocalist. After an impressive opening track, Butterfly Pinned moves on to “Helicopter”. Relaxing into the skin with an even more melodic track, “Helicopter” sound like what it would have been like if John Lennon and George Martin produced a James album. Opting for large changes rather than repetitive cycles, “Helicopter” enjoys brief stopovers in big band, psychedelic and pop music. Settling into a sixties groove with “Perfect”, Monster In The Machine establish themselves as one of the great acts of up and coming music with the three first songs off of Butterfly Pinned. “Dot On My Soul” takes a beat that Michael Jackson would die for and mixes it with a great and sincere eighties vocal style that could call anyplace on a Mr. Mister album home.

Mixing this eighties influence in with a sixties outlook on music is a total success and not entirely uncommon with acts like Lansing-Dreiden doing the same with seventies rock and new wave. At a brief two minutes, “Dot On My Soul” is a catchy and repetitive song that could easily makes its way onto a mix tape (or CD if you please). Bring the strings over the eerie synth work, “Shut The Door” becomes one of the more approachable songs on Butterfly Pinned. With each song taking MIM to a place, it is surprising how well Butterfly Pinned plays out as one piece of music. The album is well played, perfectly produced and one of the most creative listens of 2007.


Justin Scro    

New Sense’s EP NewSense is a refreshing burst of electronic pop. One of the first releases by Brilliante Records, New Sense are a new breed of musician. At times they recall later era Scritti Politti and other times they capture a sound that would become signature to the Go! Team. And this is all in the first track “Going For Broke”. Second track “Outside Chance” sounds like it was made in a world that treats Tears For Fears with the respect they deserve. Each track on NewSense is packed with personality. “Everyone’s A Target” musically calls from a more hip hop sound while the vocals are delivered in a smooth and relaxed pop fashion. “The World Is My Oyster” comes to NewSense with a jazzy approach. Again, it is the delivery of the vocals that cement the song as being something that is both approachable and different. Going straight for the dance floor, “Caution Is Regret” takes NewSense to the place that it had being hinting on the entire EP. The catchy beat and tight programming work take the music to a higher level of euphoria, making “Caution Is Regret” one of the more memorable tracks on of the EP.

Closing out the twenty-six minutes of great tunes on NewSense is the sweetly melancholy “Same Vacation”, rounding out the mix of genres New Sense have enjoyed toying with on a track that teases both elements of jazz with the rhythm work and modern deejay music with the programming and scratch work. This eclectic tune is the perfect ending to an enjoyable and well paced effort by New Sense.
Justin Scro    

Racine Wisconsin five piece North South East West bring their subtle charms out for all to hear on The Islands Are Still Sinking. Opening with the tried and true form of the ‘under a minute’ intro NSEW commonly follow up a great intro with a song that sounds nothing like what is to come nor has anything to do with the band’s theme or attitude. I am sorry for it to fall on an up and coming act like NSEW, but this shit has to stop. So many bands cook up an intro that sounds great, but then the next songs burst out like someone switched over to lowest common denominator radio. I can not fault NSEW for trying to make a living out of a sound that might afford them one. The shame that is linked to this intro rage is that the bands show that they have talent and then ignore it! As if the intro is all the personality they are allowed to show and that is their way of telling the world that they could be making more interesting music. As far as the emo monster goes, NSEW are better than most of the up and coming bands. The singer can sing when he is not over emoting with over long vocal runs. The band is tight and the songs are concise. I never had too big a problem with emo. I am glad that Creed is gone and rap rock and boy bands have disappeared, but emo will go down as the hair metal of this decade. Like comedy clubs in the eighties, emo bands are popping up everywhere and it seems like there is room for all of them. For NSEW it is just a matter of luck. If the machine is kind enough to pick them, they will be granted everything they need. If NSEW is granted the chance to make it, they will be one of the few bands to lookout for when the well runs dry and these musically talented bands are forced to look further back into music than Blink 182 and the All American Rejects. I mean this as a good thing. There are too many talented kids out there playing this kind of music. Once they pick up and move on we will have new forms of music to look forward to. Being hard on the genres shouldn’t reflect on the band here and I will be totally honest, if you like this kind of music you should stop wasting your time and pick up NSEW’s The Island Is Sinking. There is no posturing here and the songs are delivered with totally conviction and dedication. These five young men deserve the chance to get what all their peers are granted, success and the chance to live out their dreams. Think critical standout Say Anything as opposed to commercial monster Fallout Boy.
Justin Scro    

Six years ago, in 2001 the best Weezer bootleg was a fast paced lightening fest of a song called “Iceland”. I spent so much time listening to this downloaded track that it was on every cd I made for months. I saw Weezer in concert and they didn’t play it and I was so disappointed as it was easily the best song they had made since “Surf Wax America” when I was thirteen years old. All of a sudden I was made aware of a fact that signified the passing of a torch; “Iceland” was not nor was it ever recorded by Weezer. The epic “Iceland was my introduction to a wonderful new band called Ozma. Even Rivers Cuomo of Weezer himself once stated that Weezer fans were better of listening to Ozma. Well, he was right (at least post Green Album, it wasn’t great but at the time it was the most exciting thing ever). After taking a break from the road, Ozma have released Pasadena an eleven song journey into music that signifies the bands growth and maturity.

“No One Needs To Know” takes Ozma onto a playing field that can allow them the success that was awarded to the hard work of The Fountains Of Wayne with their breakthrough “Stacy’s Mom”. The biggest difference between the two is that Ozma lets the songs run its own course without beating the pop right out of it. “Lunch Break”’ is a clever little love song that mixes a Supergrass mentality with a stellar keyboard arrangement and builds it into a hand clap laden frenzy. As the album draws to a close, “Under My Tree” delivers the albums greatest track. Following in the footsteps of their above mentioned musical brother Weezer, Ozma know how to build an epic out of the pop structure. Proving that there best work is still ahead of them, Ozma’s Pasadena is a well balanced blend of pop rock and sincere alternative music.


Justin Scro    

Being a Beatles fan means many things. Besides the music, there is one question a Beatles fan must always face; who is your favorite Beatles. George was my dark horse, but it usually fell on the rebellious John Lennon. Growing up he seemed to embody everything that I wanted to be. For some reason I had Paul pegged as a square, but things changed as I grew older and wiser. Finding out that it was McCartney who pushed for experimentation in the studio and with the song writing opened my eyes. Then, learning that after the Beatles dissolved and the other three had high end albums released, Paul was making records in his home. What ultimately changed Paul to being my favorite Beatle was finding out that when he formed Wings he bought a van and the played college pubs for fifty cents a person without doing any advertisement. Paul wanted to start over, and how ever hard it may have been, he succeeded.

After 2005’s wonderful Chaos And Creation In The Backyard, McCartney returns with Memory Almost Full. When dealing with an artist as great as Paul McCartney, there are a few ways to look at the music. 1) Is it for the money? 2) Is his best work behind him? and 3) Does it hinge too much on nostalgia. It is hard to answer those questions because they are not relevant to Paul any more. His best work will always be behind him, but if you have ever connected to his music in the past, finding joy in Memory Almost Full is an easy feat. Just hearing his voice is like spending time with an old friend or relative. Even at his worst, you are still glad he is around and that you can spend time in his company. And yes, the album is great.

Quaint opener “Dance Tonight” brings a light feeling of fun and whimsy to the album. There are not many lyrics as they are repeated over, creating a sense of fun. The next track “Ever Present Past” proves to this critic that if this were released under any name it would still be a hit song. Perfectly crafted choruses lift the song and the spirits of the listener without being cheesy or opting for the easy route. Being a fan of his music, hearing McCartney say his life has gone by in a flash makes us recall just how fast our own lives have gone by, no matter the age. Again, McCartney is here to comfort us along our journey. The best part of “Ever Present Past” is that Paul makes us feel that he has been with us this whole time.

Going soft on “See Your Sunshine”, McCartney combines his patented wit with a Maroon 5 style sexiness. Not that it is one of his better tracks, but it is nice to hear Sir Paul come out of his comfort zone and confront sex in place of love. (While defending the Beatles to a friend who preferred the Rolling Stones I came up with an analogy I stick by: The Rolling Stones are sex and The Beatles are love, it’s just a question of what you want out of life) Things start rocking out again with “Only Mama Knows”. McCartney never, ever fails to deliver to catchy chorus. Even during the moments the album shifts towards predictable, it still holds together well. There is no better place to know you are going than into the world of the man who wrote “Yesterday”. Maybe I am too soft on him, or not rewarding enough, but Paul McCartney is a spiritual grandfather to any creative person of my generation. Even though I wanted to be really hard on him, I can not find any reasons on Memory Almost Full to get upset or feel letdown about. Each song follows through on its promise and sometimes it even exceeds it. I am 27 and the Beatles made their last album together eleven years before I was born , but I know I am not alone in my coveting of McCartney and his work.

Someday, like all of us, Paul will no longer be. As he says and “The End Of The End, “On the day that I die I want jokes to be told”. Maybe I am just being naively sentimental, but I choose to enjoy Paul McCartney while he is still around with new songs to offer.
Justin Scro    

As one of the most interesting bands on the Chicago independent music scene gear up to release their masterpiece I See Love In The Future, I take a look back at Plane’s 2005 release Hello More. Hello More is a clever EP disguised as a full release by using many great and creative segues to go from one song to the next. The electro-clash opener “Western Avenue” is a tightly woven piece that lets the melody evolve from melancholy to pure pop greatness. “Western Avenue” is a perfect representation of what Plane does best; they take a song and let its direction change without forsaking the tunes core. It is a tricky balancing act, but Plane pulls it off in spades. Edgars Legsdin’s vocal approach and lyrics take the Plane experience one step further by offering both a gentle side hidden by reverb and another side that lets him step in front of the music. Segue “Party Train” has a great vocal sample of a man reading in German looped over himself. With this Plane takes something that could have been just funny and turns it into a nice piece of break beat hip hop by turning the German voice into the beat for the drums to work around. I have been playing this track so much that my father actually said “What the f#%k is going on down there?”. He’s a funny guy.

Roping themselves back into electro pop heaven with “Please Save My Body” has Legzdin pleading with the listener to “please save my body from the modern world” in a voice that is both sincere and self aware. This self awareness is not only part of Legzdin’s charm, but it is also a grander part of Plane’s appeal all together. With a brief stop over at two segues (one in which the police call “Mr. Edgars” and tell him that they have his car and a seventeen second ditty called “It’s What I Like Dear”), Plane delivers another great track of calculated pop madness with “Rope”. Cutting back to the lo-fi message machine recordings on “Adams”, the explosive Richter Scale Madness of “The Sound Of Everything”, and the delayed suicidal madness of “Broken Woods”, Plane settle down with the amazing album closer “Hello More”. On “Hello More” Plane are at their most vulnerable and entertaining. Allowing himself to sound small, Legzdin ropes the listener with his delicate approach that starts the song. With the creativity and artistry put into “Hello More”, it is a down right shame that there are not Plane posters hanging in every dorm room in America. Easily one of the best unsigned acts of today.


Justin Scro    

While being a music journalist may keep you in the line for food stamps, it has many perks and benefits. I am always getting new music in the mail, I have the chance to meet artists I love and most importantly I get to warn the world of new bands approaching genius such as Portugal, The Man. This band seems ready to take the indie music scene by storm. There songs are smart and tight, their look is great and the name Church Mouth is cool enough to put on a tee-shirt with out even knowing the band. Sounding like a mix between the vocal end of The Mars Volta and the instrumental musings of of Montreal, the album opens with the title track “Church Mouth”. This song is a gospel in its own right, creating a “stand up and be counted” atmosphere and intense feel of energy without pushing its power and just letting is flow naturally. “Sugar Cinnamon” keeps the feel moving in the right direction, this time opting for a more controlled rhythmic approach and restraint on the vocals. When the chorus arrives it is apparent that Portugal, The Man have honed their craft to a high level of musicianship. Like a mix between Nick Drake and The MC5 (yeah, I went there), “Telling Tellers Tell Me” runs with Church Mouth’s theme of a church unrelated to religion, but directly to the soul.

At a brief forty-four minutes, Church Mouth flies by quickly enough to leave on repeat and not get bored listening to it over the course of a day. Key tracks such as the sawdust epic “Children” and “Church Mouth” make Portugal, The Man a true standout in the vein of early White Stripes and mid era Black Rebel Motorcycle Club.


Justin Scro    

Tackling the folk rock genre is no easy feat; however Time Life pulls it off effortlessly. Setting the tone for this four disc set, Time Life chose to open Return of the Mystery Tramp with one of the first folk rock songs ever, Bob Dylan’s “Like a Rolling Stone”. Choosing this turning point in Dylan’s career as the launch pad for the set, Time Life sets the bar high for the choices that will be put into this four disc set. Ranging from 1960 to the present day, Four Decades of Folk Rock raises the questions; what is folk rock? The set has no problem answering that question by allowing their own interpretations of the genre to appear. In doing this, Time Life records actually tie things together that most listeners might not think of. David Grey’s hit song “Babylon” appears on the last disc as does Mazzy Star’s “Fade Into You”. While I myself wouldn’t have thought of these as folk rock, they make perfect sense along side their past counterparts like The Youngbloods “Get Together” and Donovan’s “Season of the Witch”.

This set evolves gracefully from on disc to the next. With each disc in the set representing a decade (the fourth disc is 90’s and Beyond), there is enough room to include all the major players in the mid folk movement as well as the amazing obscurities such as Nick Drake with his “One of These Things First” and Tim Buckley’s “I Never Asked To Be Your Mountain”. Another amazing standout is the classic Harry Nilson song “Everybody’s Talkin’” from the film Midnight Cowboy. Being a huge fan of the short lived, but ‘best show ever’ Freaks and Geeks, I will forever have a spot in my heart for The Grateful Dead’s American Beauty album opening “Box of Rain” that plays over the shows final moments as Lindsay Weir leaves to follow the Dead on tour for the summer. This set is a must have for any lover of music and it is sure to contain songs you love already and songs you will discover and grow to love.


Justin Scro    

A lot of people wrote off Silverchair as a novelty act because of their age when the first hit the American music scene in 1995. Well, they were wrong then and those who have lost track of Silverchair best track them down again. From the second Young Modern starts with “Young Modern Station”, the talent of Silverchair is present. Let me go off and be a rock critic for a moment and say that it is my theory that the opener is called “Young Modern Station” in ode to U2’s Achtung Baby’s opener “Zoo Station”. First, U2 were 17 when they started recording albums, very close to 15. U2 was another band that changed their song on their mid career albums and more importantly to Silverchair, Young Modern is their Achtung Baby. Okay, I got that out of my system. The music here is very good. Even the songs that aren’t pushing the envelope are catchy and enjoyable. The sheer fact that this band didn’t implode should be noted and that they still make good music is shocking. I remember losing track of them myself and then hearing “Anna’s Song”. I couldn’t believe I had let go of them, but I was glad to have them back. I went to Lollapalooza ’95 (back when it used to tour) and it was a watershed moment of my life. On the way home I heard “Tomorrow” for the first time and then when I was home I sat by the radio for three hours until they played it again and I recorded it onto a tape so I could play it over and over. Man, I miss those days! It is way too easy now to download music, but maybe that’s good.

Maybe I jumped the gun on the U2 comparison because on “If You Keep Losing Sleep” the band sounds like the great overlooked album by Tears For Fears called Everybody Loves A Happy Ending and The Beach Boys, which is not surprise because of their very special contributor on the album. The man who helped write the lyrics and arrangements for the Beach Boys opus Pet Sounds arranged three tracks on this album. That man is the legendary van Dyke Parks. Maturing with each album Silverchair are in this for the long haul. As long as they keep making albums I will listen and enjoy them.


Justin Scro    

When I was fifteen years old I saw the Sex Pistols on their reunion tour in Chicago. When my parents came to pick me and my friends up they pointed to another venue across the street and said “We were afraid those people were at the show you went to”. Those people my parents were talking about were coming out of a Slayer concert and I immediately knew that I had to track down their music based on the look of terror in my mother’s eyes. The dark lords take to the road this summer with the David Bowie of Goth Marilyn Manson for an unlikely but sensible co-headlining venture. American Recordings have rereleased Slayer’s 2006 The Christ Illusion with a bonus DVD and sweet new cover art (think Sportflix baseball cards crossed with A Nightmare On Elm Street). The DVD includes a look at Slayer on tour earlier this year, a music video for “Eyes of the Insane” as well as a snippet from their upcoming Unholy Alliance DVD.

The album itself sounds as good as ever. Produced by Josh Abraham and executive produced by industry legend Rick Rubin, The Christ Illusion displays a band that is still pushing towards new heights. This special edition also offers an alternate version of “Black Serenade” from the original. Each track represents the best elements of Slayer. The wall of guitars, the pound rhythms, the sick solos and the vocal attack of Tom Araya. After sampling many bands in my youth, I was constantly looking for the show that would take me somewhere new, even scary and Slayer were that band. It has been a few years since I got my ass kicked at the Riv in Chicago, but I am looking forward to it all happening again at the Allstate Arena this August.


Justin Scro    

The splashy jazz stylings of Sol’Jibe are combined with pop flavorings and rock and roll ambitions on New Day. Opener “New Day” welcomes the listener to the interesting world of Sol’Jibe, sounding like a more serious take on 90’s cult favorites G. Love and The Special Sauce. The playing on the album stands out with the Spanish guitar and twisting bass lines. The vocal approach of Tim Snider is smooth, yet he is not afraid to let his emotions get the best of him as he unleashes his anger towards the end of the opening track. Taking things up a few full steps on “Para Hermosa”, Sol’Jibe show another talented side of the band as they drive listeners out of their seats and onto the dance floors. The tight rhythms and flowing percussion make “Para” a standout track on New Day. This EP’s momentum continues on “La Infinita” with Snider singing in Spanish, adding to the atmosphere of the record. While Sol’Jibe might not make radio airwaves, their music is sure to reach an audience that will enjoy it. Offering two versions of the closing track “Marinero”, the band take the first version to allow them breathing room and jam out a seven minutes take. Here Sol’Jibe sound most comfortable and confident in their craft, giving a hint at what a live performance from the band might sound like.


Justin Scro    

This CD contains a bonus DVD including and Iraqi tour of Base visits, Interviews with troops, live shows and more. Koch spared no expense with promotion of this disc. The CD contains most of the Daniels hits including "In America", "The South's Gonna Do It Again", "Long Haired Country Boy", "Uneasy Rider", "Simple Man", and "the Devil Went Down To Georgia". It was great to hear our troop’s response to an American legend.

The only flaw on this live CD is getting away from the original lyrics. I know Charlie is a Christian now but you take away the whole meaning on Long Haired Country Boy when you take away "I get drunk in the morning, get stoned in the afternoon for some meaningless syrupy gook of words. The same with Devil, he is an “SOB” not the radio edited “son of a gun”. Good God these are American troops not Sunday school children. Otherwise it is a flawless tribute to America's men and women fighting this "war". Four stars
JDH    

Gang of Losers opens up much like the final moments of Stanley Kubrick’s 2001: A Space Odyssey. “Sinthtro” is a lively intro track packed with twinkling synthesizers and oscillations, creating the feel of the great vastness of outer space. The void is filled with The Dears on the first proper track “Ticket To Immortality”. Murray Lightburn’s vocals give The Dears their advantage over the competition. Sounding like a loose cross between Damon Albarn and Rufus Wainwright, Lightburn’s voice is the center to which the swirling soundscapes of Gang of Losers hang on to. “Death or Life We Want” continues the Blur comparison; with the song very towards an arty kind of grunge the Blue themselves dove into head first on their 1997 self-titled album. The Dears manage to take the sound in enough of their own direction that “Death or Life We Want” grows into something all its own. The mood lifts to a hazy high with “Hate Then Love” before diving deep a few tracks later into the blue infused dark territory of “Fear Made The World Go Round”. On “Fear”, The Dears take a seedy arrangement and evolve it into a dirty eruption of emotions, making it the most dynamic piece of music on Gang of Losers.

As the album settles into its back half it seems unlikely that The Dear will ever return to the territory they laid claim to with “Sinthtro”. Just as that thought starts to sink in, The Dear surprise with the easy hit “The Ballad of Humankindess” with its electronic drums tying back into the synthesizer themes first introduced on Gang of Losers opening track. Gang of Losers grows more interesting with each listen. Every time through the album reveals new elements of the playing or production, letting the listener in a little more each time. While the album isn’t entirely even throughout, there are enough moments of interest to make The Dears a band to watch in the future.


Justin Scro    

The Detroit Cobras stick with their winning formula of covering rare and odd Motown and 50’s tunes in their own supped up way on Tied And True. Taking their distinctive Detroit sound and covering the likes of Leadbelly, Tied And True will not disappoint fans of the band and will aid in the rise of The Detroit Cobras. Garnett Mimms’ “As Long As I Have You” opens Tied And True with a sexy swagger that sets the tone for the Detroit Cobras. What had always set them apart is that they can find songs that were looked over even in their original era and find what is great about them and extract that in their own recordings. Each song on Tied And True is played with total conviction and proper respect is given to the source material. “(I Wanna Know) What’s Going On” finds The Detroit Cobras rolling around on a lighter note and it works perfectly. Letting the listener know that she would “drink all the tea in China” for them, Nagy takes on the cheeky lyrics straightforward and does the song complete justice as to how it would have originally sounded.

Continuing down a more mellow path, the beautifully delivered “Try Love” (originally by Dori Grayson) The Detroit Cobras continue to nail each piece of music they approach with total precision. The sharp backing vocals were key to music in the late fifties and early sixties and here on “Try Love” the band exhibit their knowledge of these facts and show off the ability to apply it. Going further back, The Detroit Cobras take Leadbelly’s “On A Monday” and turn it into a rocking stomp and clapping show stopper. The most impressive feat on Tied And True is the sincerity in which these songs are delivered. Most of this rests on the shoulders of Rachel Nagy and how tenderly she delivers the vocals and makes the lyrics come to life without taking anything away from their innocent nature.
Justin Scro    

One of the most successful independent acts to emerge from the Chicago music has been The M’s. Here on the first release for Brilliante they showcase their talents that have made this the best selling disc in the Brilliante back catalog. The M’s opens with the sixties British invasion tune “Dirty Old Dog”. Here the band establish a laidback attitude with the music gliding along and the vocals floating in the rafters. The nostalgia trip continues with “Banishment Of Love”, with The M’s delivering another great modern tale that could be transposed back to the summer of love. The production quality even echoes that of the work done back in the sixties with tighter more arrangements and less space in between the instruments. Reverb and distortion introduce the more rocking “2X2”, recalling the instrumental work of The Who.

The true charm of The M’s is that they are a singles act without any clear cut singles, keeping each song on par with the ones surrounding it. “Bethany Rave” is a quick two minute tale about “Bethany Rave and her sinister life”, being the first song on The M’s with an approachable vocal narrative “Bethany Rave” is the perfect combination of all The M’s talents and one of the best songs on the disc. “The End Is Still A” ends The M’s in a lush relaxing manner. The closing track and band seem to simply float away on a cloud of smoke and disperse into the air. It is the perfect closing to the album and also the perfect segue back into hitting repeat and letting the album start over from the beginning.
Justin Scro    

New York’s The Shake are a throwback not only to the great early punk new wave bands of the late 70’s (Television, The New Dolls,) but they also have a debt and connection to the great garage rock of the turn of the century (The Strokes, The Mooney Suzuki). The Shake takes the sound of their influences and forged it into something all their own. With emo flooding the airwaves and the charts, it is certainly refreshing to hear a band that stays close to the heart of rock and roll with out diverging into one of its sub genres. This NYC quartet is not afraid to throw down on their debut album Kick It, and the action starts right away with the intro track “Frequency”. Continuing the fast paced 4/4 rock with second track “Princes and Kings”, a great showcase for The Shakes playing, letting guitarists Eliad Shapiro and Jon Merkin interplay over the tight rhythm section of drummer Andrew McNellis and bass player Jeremy Stein.

Right at the point of becoming repetitious, The Shake delivers their best song yet, the melodically charming “Eight O’clock”. This track is smooth and is very reminiscent of early Joe Jackson, letting the music build around the vocal line and allowing everything to crescendo on its own accord. A song like “Eight O’clock” is The Shakes best chance of escaping the confines of the New York scene and cross over into national success. Clocking in less than thirty minutes, these nine songs fly by in a flash. The energy is so high throughout that the album practically begs to be played more than once in a row.


Justin Scro    

The Tams originated in the ‘50’s out of Atlanta, Georgia with an up tempo brand of soul that became legendary across the South and Southeastern sections of the United States. They began recording regionally and nationally in the early ‘60’s, becoming one of the cornerstones of what we came to know as Beach Music. Six of their tunes made the Cashbox Magazine Top 100 Chart in the ‘60’s, with "What Kind of Fool" reaching #9 in 1963. Other charters were: "Untie Me", "You Lied To Your Daddy", "It’s All Right (You’re Just In Love)", "Hey Girl Don’t Bother Me" and "Be, Young, Be Foolish, Be Happy". Although their acknowledged leader Joe Pope passed away in 1996, younger brother Charles has carried on The Tams tradition that has lasted for well over fifty years.

The Tams’ latest CD, Comin At Cha, contains the rhythmic sounds that take us post-World War II baby boomers back to the era when Beach Music originated. Issued on Mossland Records and distributed by one20inc, this CD is a culmination of approximately four years worth of effort as orchestrated by producers Bobby Simmons and Rickey Godfrey. Several of the songs were actually originally recorded at Fred Shaw’s Bradleyhouse Studios in Quinby, South Carolina and were produced by Fred and Curtiss Carpenter. The remainder of the songs were engineered and produced at Jim Boling’s Creative Studios in Atlanta.

There are several tunes on this CD that could be considered potential hits and heavy charters on their own merit. "My Main Squeeze", as so eloquently sung by ‘Lil Redd’ Cottle, was out of the gate early and steadily moved up the Beach Music charts (he is not so little any longer, I told him not long ago that I remember seeing him singing a solo at nine years old while sitting on a stool as part of a Tams show in 1978!). Veteran Tam Joe Jones’ great vocals on "This Love Will Last" combined with an outstanding rhythm track makes this tune a strong dance floor number. "Untie Me" was the first Tams hit on the Arlen label way back in 1962. The chilling remake included here features the gravelly voice of original Tam, Charles Pope and some tremendous horn riffs as well. "Numbers" is another one that has received some Beach Music airwaves attention. Two of my personal favorites on the CD that have that sound of the Carolinas are "Laugh at the World" and "Operator". The same could be said for "Love Love Love". Speaking of love, you gotta just love "That’s America", which evokes the memories of days and things long since gone by, but still may possibly be found - you just have to look harder! Everyone who has worked on the songs over those four years that went into this project should be credited with being part of an outstanding effort.

If you get the opportunity, be sure to go see a Tams live performance. Watching their outstanding show and the huge fan reaction springs hope that Beach Music will go on for many years to come. May the memory of Joe Pope live on forever!


Neal “Soul Dog” Furr    

With the cover image of Jason from Friday The 13th, is seems that Tisky will bring some murderous stylings to his debut Ready Or Not. Sounding like meaner Guru from Gangstar, Tisky is not afraid to drop the science straight away. On “Survivor” Tisky drops rhymes like Twista, barely letting a breathe pass in between his words. This track sets the stage for Ready Or Not. The track is catchy, yet is still contains enough street credibility to prevent it from sounding like most of the pop-rap that is forced through the airwaves today. The production work on Ready Or Not is as impressive as Tisky himself. Taking cue from the likes of Dr. Dre, Ready Or Not knows that a gangster rapper is only as good as the material is given to rap over. “Bakk Up” is a simple beat, but the organic sound of either a sample of a cricket or a whirly tube you swing around brings an eerie and new feel to the track, keeping with the sinister theme started with the Jason Voorhees image on the cover. The theme of violence runs through out, but in this day in age, its un-PC angle is almost refreshing. I remember the first MC Ren tape I had and how taboo it felt to even be listening to it. In today’s age of ready-made rappers, something darker and grittier is just what the doctor ordered. While Tisky is not for everyone, anyone who is a fan of the genre will be more than pleased with his impressive Ready Or Not.
Justin Scro    

Well, what can I say? This CD is so obvious Nashville, with the usual forgettable songs written by the artist or Nashville songwriters who for the life of me think they're the greatest talent alive. Well, excuse me again, it ain't. Yes, the album has climbed to no. 2 on the Cashbox Country album chart, and yes it will sell tons of CD's, but even Lowes still sells tons of cow manure, that makes beautiful flowers but you know what eventually happens, they fade!

Toby, I know you can do better than this, besides there are only 11 tracks to go though. "High Maintenance Woman" already a Cashbox # 1, "Love Me If You Can" and "Big Dog Daddy" or the only singles you can milk from this obvious 11 track B collection of tunes, but who cares as long as a gullible pubic makes the cash registers ring. Two and a half stars
JDH    

Debuting on our Bluegrass charts is a refreshing sounds of the legendary Tom T Hall. Taking a verse from your first hit, "I Washed My Face In the Morning Dew", I just got ecstatic over a CD that acknowledges what great music is supposed to be about. Tom T and Miss Dixie wrote all the tracks and the CD was actually produced by Dixie Hall. These 12 tracks provide some of the best storytelling songs anywhere. No Nashville songwriters, each track is an AAA. The cast of musicians, too numerous to name in such a small accolade, but they're the best the industry has to offer. This is pure Grammy material. Tom T. Hall has always been and always will be one of Country Music’s greatest performers. He has a total of 65 Cashbox hits. One of the best tracks on this CD is the moving "A Hero In Harlem". One of ole J.D.'S favorites is "One of those Days"(When I Miss Lester Flatt) is exactly the way I feel most of the time and "Jimmy Martins Life Story" with Jimmy Martin. This CD should be added to anyone’s collection if they are serious about music period. Five Stars
JDH    

”Form and The Future of Sunshine” opens Sow Loco with a sound like a cross between 90’s U2 and Linkin Park. Thank my lucky stars that once the vocal arrive the Linkin Park comparison is drop, as is the U2. Canadian band Toykult know there early 90’s Madchester scene and seem as if they could travel right back and be part of it. Capturing elements of the Happy Mondays and Stereo Mc’s, Toykult grab the listener immediately on the opener and hold them tight. It is not often that something rubs me the right way on the first listen, but Sow Loco’s promo cd will surely be going on my shelf next to the rest of the cds I buy. Keeping things moving forward, “Chinwaggin Shit” delivers a shaky delayed up reverb vocal spliced all over a ice acoustic guitar and relaxed percussion. Wow, I love this album! I haven’t been this into a bands sound in a long time. I usually never even refer to myself in these reviews, but what can I do?

Taking musical cue from Prodigy on “Face in My Mind”, Toykult sends the masses to the dance floor with their eyes cast downward. Each songs reveals new layers in Toykult’s sound and creativity and Sow Loco pulls away from its influences and moves into a territory all its own as apparent on the albums standout track “The Greatest Smile”. “Smile” contains magical arranging and catchy beats, sounding like Shaun Ryder and the Happy Mondays being held captive by Daft Punk. Mixing past genres with the new ones they create, everything on Sow Loco calls for attention.


Justin Scro    

Opener “Friends And Enemies” is a surprisingly straight forward song for the experimental tendencies of Tub Ring. Immediately grabbing the listener with its opening track, The Great Filter goes on to the ultra catchy “The Charismatic Smile” showing off Tub Ring’s past and roots in punk music. It is not that the song sounds ‘punk’ but it pattern and energy align it more with punk music than straight up rock. “Seven Exodus” marks its arrival with a piano and stomping that make immediately gripping. The arrangement and overall eerie intro give way to the beat dropping and “Seven Exodus” becomes the best track on the first half of The Great Filter. Keeping each song brief makes The Great Filter an exciting experience. Just when the listener settles into one sound, the band has moved on to another and a whole new musical perspective. This is most apparent on the Rage Against The Machine-like angry as hell “Get Help (NOW!)”. More than just a Rage-like…well, rage, “Get Help (NOW!)” features great sample and key work (I swear I thought I heard a Nintendo game in there somewhere) with the arrangement of the song seeming more typical to a Captain Beefheart recording than a modern one.

The noir thriller “Killers In Love” opens with a great spy guitar line and record scratching before a sultry female voice drifts into the picture. Unfortunately this potential amazing sound is just an intro into Tub Ring’s more common attributes of rely on their punk-like tendencies and rock and roll grandstanding. With the great ideas and ambition they have, Tub Ring will only continue to grow more and more interesting as time goes on. Once the intros and outros become the core of the songs, Tub Ring will have found the secret to their artistic success. For now they definitely the most experimental punk band of all time, and that isn’t a bad thing.
Justin Scro    

If wacky cover art says anything about the music, then Von Robinson & His Own Universe’s Jostle It! should be a wild and colorful ride. While it is not as wild as I thought it would be, it certainly is colorful. Heading in the direction of The 88’s and Fountain’s Of Wayne uber-pop, VR&HOU are as catchy as it comes. Sounding like Elliot Smith during a sunny day on “Satellites And Totem Poles” finds vocalist Von Robinson (Chris Anderson?) stepping out ahead of the music. While the EP has moments of greatness, it seems like VR&HOU best work lay ahead of them. Here on Jostle It! The band express a lot of ideas, all interesting, but I really look forward to them digging deeper and hearing what they come up with for their debut album. All things aside, Jostle It! is undeniably listenable, bouncing around the best regions of Pop Rock and the lovely music of the 60’s


Justin Scro