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Mike
Bennett
Capsule
Reviews:
June,
2004
Scroll down for capsule reviews of releases by The Contrast,
The Cucumbers, The Well Wishers, Roy Loney & The Longshots,
The Shimshaws, The Breakup Society, Various Artists -- Shake
Yer Popboomerang, Volume 2, My Record Player, Stratocruiser,
The Lackloves, Tamas Wells and Starflyer 59
The Contrast -- Fade Back
In (Rainbow Quartz): If you're
a fan of The Contrast's first Rainbow Quartz album (and second
album overall), then you can stop reading this now. Buy this
album. For the rest of you, here's the skinny. This is a confident
follow up to Wireless Days, as frontman David Reid
and his mates play muscular jangle rock that comes from a
tradition that includes artists like The Byrds, Tom Petty
& The Heartbreakers and The Long Ryders. Reid has a sturdy
folk-rock voice (which reminds me a bit of T-Bone Burnett)
and he's an ace lead guitarist. Furthermore, the rhythm section
of Richard Mackman (bass) and James Crossley (drums) is tight
beyond belief. Usually the sharp music supports Reid's barbed
lyrics. "Catch The Spark" has the rhythms of a 1967
psychedelic Beatles song, Mackman playing a deep fuzzy bassline,
while Reid sings clenched teeth couplets like: "the devil
says he's my best friend/he's not that much worse than you
in the end." Indeed, Reid's world view is a dark one
indeed: "Whatever you're thinking/it doesn't matter/we'll
be sinking/all the rainbows have turned black" (from
"Something Tells Me"). This is a fairly typical
lyric. So it's no surprise that he sings that "Everything
Seems to Get to Me" -- even when the music attempts to
be a bit uplifting, it is suffused with bitterness. I'm not
sure what to make of this dichotomy -- catchy, accessible
music and power of negative thinking lyrics. Really, the only
song that doesn't connect with me is "Smart", where
Reid declares that "I'm the one with the brains/but I'm
not very smart." He does self-righteousness much better
than self-deprecation. Of course, being an angry man or a
bitter man does not detract from my enjoyment of this record
-- I still listen to early Elvis Costello and The Smiths,
y'know. parasol.com
The Cucumbers -- All Things
To You (Fictitious): This band
has been intermittently releasing albums since the ‘80s
and they have a simple game plan: pleasant acoustic pop-rock
songs, often heavily bathed in perkiness. Deena Shoshkes sweet
and twee voice is naturally caffeinated, and defines the friendly
personality of this band. Throw in some gentle humor in their
lyrics (and don't we need more gentleness in this 21st Century
world) and it makes for some cuddly pop. The best track on
the album is "Musicians I Know", which musically
turns the calendar to about 1982, with its fizzy guitar rock
(a la Bonnie Hayes and the Wild Combo), as Shoshkes rhapsodizes
about all her muso pals and what they are up to now. Shoshkes
vocals have gotten better with time, as shown on the tender
"The Bridge of Love". Listen to her caress the notes,
not in the overdone American Idol way, but with sensitivity
and engagement. Other highlights include "Whiskey"
(which "holds the secret power/to unlock the cryptic
message"), which is a fun acoustic guitar chug, the languid
"Happiness", which pushes guitarist Jon Fried to
the microphone and "Bend Me Like a Willow" which
sounds like a long lost classic folk-rock tune. I think the
first half of this disc is particularly strong, but there's
nary a naff track to be found. The Cucumbers may take their
own sweet time making their albums (this only their fifth),
yet the quality makes the wait quite worthwhile. fictitiousrecords.com
The Well Wishers -- Twenty-Four
Seven (Not Lame): This is a side
project that stands as tall as the artist's regular work.
Jeff Shelton of Spinning Jennies doesn't take a gigantic stylistic
detour -- so this isn't a sudden turn to Nick Cave style blues
or a revelation of jam band aspirations (thankfully!). Instead,
this is a step towards a (relatively) quieter brand of power
pop. As such, Shelton will garner more Posies comparisons
than ever. You see, Shelton is blessed with a singing voice
that's two parts Stringfellow and one part Auer, and since
he clearly shares similar influences to that duo, his songs
frequently sound Posie-esque. Fortunately, his songs are good
enough that The Well Wishers do not suffer by comparison.
There are, of course, subtle differences that reflect Shelton's
specific mojo, which comes through a bit more on the true
rockers on the album and one ultracool change up. That's the
loping country-tinged "Something on Your Mind",
augmented by both pedal steel (courtesy of Tom Heyman) and
a Mike Nesmith sensibility (courtesy of Shelton). If the song
was content to be a sweet shuffling ditty, that would have
been fine, but throw in the a middle eight with heavy guitar
chords followed by a pretty instrumental section, and it's
a truly inspired effort. Equally inspired is "Bustin'
Up", which isn't too far from what the Spinning Jennies
do so well. The song sounds to me like a cross between Buzzcocks
and Tsar or Silver Sun, with a really cool keyboard part thrown
in for good measure. It's ultracatchy. These songs fit well
with the strumming acoustic tunes that form the bulk of the
album, like "Lines You've Crossed", which pulses
along nicely, "Press Begin to Play", a more dramatic
tune with a particularly strong lead vocal, nifty chord changes,
and a smart arrangement to add to intent nature of the song,
and "One Sweet Nothing", which is simply playful.
It should be noted that on the more serious numbers, Shelton's
lyrics are accordingly more ambitious. And just like The Posies,
this sometimes works, and at times, things get a bit clunky.
However, the music is so strong, that this is a minor issue.
This will likely be considered one of the best power pop albums
of 2004. notlame.com
Roy Loney & The Longshots
-- Drunkard In The Think Tank
(Career): The former Flamin' Groovie (he wrote "Teenage
Head") and leader of the Phantom Movers still has some
rocking left in him. This is really an old school effort,
in the vein of someone like Ian Hunter or Dave Edmunds, though
a bit more raw. So, at one level, this record is so far from
contemporary that it plays like a brand new relic. But that
seems to be unduly dismissive. Even if the some of the music
here is a bit shopworn, the commitment to the songs is extremely
strong. And Loney's bandmates, which include Young Fresh Fellows
Scott McCaughey, Tad Hutchison and Jim Sangster, are in tune
with their leader. They had fun and it translates real well
coming out of the speakers. As with most 16 track discs, there
are a few songs that could be pruned away. There is definitely
some good stuff here. Like "Hang With Me", which
is kind of pub-rockabilly. The song has its own swing, and
a trebly, fast fingered guitar solo that simply kills. It
took me a few listens, but I now love the opener "House
of Games", which would be an excellent cover choice for
Iggy Pop. If you like good old frat house rock (like The Fleshtones),
then "She's The One" is the ticket. "Nobody
Does It" is just a jaunty bopping ditty, while "Five
Times a Fool" is a classic ‘50s style rock ballad
that Nick Lowe would really appreciate. Plain and simple,
this is a fun rock and roll album from a guy who knows the
ropes and then some. careerrecords.com
The Shimshaws -- Subcutaneous
(Suspect Pigeon): This band has a clean power pop approach
akin to ‘90s bands like The Gin Blossoms and The Sighs,
and makes some forays into more rootsy territory (so add a
pinch of BoDeans). For me, records of this stripe need a little
something extra to really excite me -- and this record has
plenty extra. The Shimshaws play well, sing well and write
well, and have made an enjoyable little record. When you add
their commitment and obvious enthusiasm, you really have to
tip your hat to them. This is an album with a nice bit of
variety that flows well. Within the first six cuts, there's
a bluesy rocker (the reliable "Bona Fide"), a pretty
twangy love song on par with Steve Earle ("Kisses Like
Rain") and a ‘50s inspired rocker that smacks of
Marshall Crenshaw ("Buried in the Sand"). Then there's
"Red, Black & Blue" where the fraternal Shimshaw
nucleus of Todd and Scott McCombs show off some great harmonies
(not at an Everly level, but only a notch below, which is
quite good) -- if you remember The Insiders (the Chicago band
who had a hit with "Ghosts on the Beach") fondly,
you will love this. Those brotherly harmonies also key the
strummy "Warning Sign", where my comparisons to
Gin Blossoms and The Sighs really hit home, on a song with
a with a superb regretful melody. theshimshaws.com
The Breakup Society -- James
At 35 (Get Hip): Former Frampton
Brothers dude Ed Masley continues to pen clever and smart
lyrics for his new power poppy outfit. There are big loud
guitars and hooks, but sometimes the music is probably closer
to Thelonious Monster, which ain't too bad really. Three other
reference points are the Young Fresh Fellows (whose Scott
McCaughey is thanked in the liners), The Smugglers, and Cheap
Trick. The former reference points are overt, while the latter
is more of a general inspiration on a few tracks. Of course,
the album opener is directly inspired by the Trick, as Masley
decries the fact that all the girls in his high school wanted
to be with "Robin Zander". Or have hair like him,
I suppose. This sets the tone for Masley's examination of
his youth. It also establishes the baseline for most of the
music here -- this record may be overly consistent, to the
point where some of the tracks are nearly indistinguishable,
a procession of solid rockers. Thus, a slower tempo song,
like "I Could Put You Behind Me", sounds all the
better (and it doesn't hurt that he follows the title with
the revealing "any day now"). Likewise, the brilliant
"She Doesn't Know She's Not Supposed to Like Me Yet"
(which would be a great title for a country song), featuring
a nice "Day Tripper"-esque lead guitar part and
great lines like "every time we kiss/it's like I can't
believe my lips." This is a disc that would sound better
on vinyl. What I mean is, a listener would be better off breaking
this up into two halves, due to the similarity of so many
songs (which is also affected by how similar the instruments
sound on every song). Much like this record would be better
with two sides, I'm of two minds about this record. On a song-by-song
basis, it's pretty good. But as a whole, diminishing returns
set in. gethip.com.
Various Artists -- Shake
Yer Popboomerang, Volume 2 (Popboomerang):
This up-and-coming Aussie label is making a compelling case
that the land of Oz is to great pop bands what Hollywood is
to plastic surgeons and the Bush administration is to rank
incompetence. This second survey of Down Under pop bands is
filled to the brim with good songs (although the opening title
track is done by the U.S. of A's Her Majesty's Buzz with the
assistance of Go Betsy's Kate Duncan, to become quasi-Aussie)
and is insanely cheerful. Not everything is happy go lucky,
though everything is pretty hooky. The Mome Raths find the
mid-point between the harmony sound of The Posies and the
power of The Who on the affecting "You Trip Me".
The Tranquilizers break out the organ on the spooky mid-tempo
garage rocker "Stop, Go", an excellent tune. On
"Pet Indifference", an all-too-short song, Dollar
Bar unleashes a ripping indie pop sound. Milli Davis represents
the gurls, with the very lighthearted "The Loser",
which is sweeter than marzipan. Fans of the mellower side
of pop (a la Pernice Brothers) will like "Grasshopper
Island" by Hoolahan, while The Hovercrafts show off a
Ben Kweller vibe on "For The Love & Sound."
The best known name on the collection is Even, and they live
up to their reputation on "74 Crown", which is one
of those songs that is both poppy and garage-y in the tradition
of great Aussie bands like The Stems. I think these highlights
reveal that this is a multifaceted pop gem. popboomerang.com
My Record Player -- Come
Around (self released): This is
a vehicle for the songwriting of Mark Balletto, the outstanding
lead guitarist for Dolly Varden. My Record Player's debut
disc shows that Balletto maintains a certain rootsiness, but
it's a bit blusier -- somewhere between The Faces and The
Replacements. So this acorn doesn't shy too far from the tree,
but far enough to separate himself. On "Good News",
Balletto takes a trip down to Memphis, cooking up a potent
soul stew, complete with horn section. It's a great song,
well performed and the best showcase for his vocals. "Loose
Women & Red Wine" sounds as seedy as its title --
the lyrics aren't exactly Dylan, but musically the song has
a gutbucket feel that reminds me of early Dire Straits and
the better side of Dylan in the ‘80s. Mixed in with the
rock are more melodic numbers like the terrific "Come
Around", which would have fit in well with the great
Southern power pop of bands like Guadalcanal Diary and The
Windbreakers, and the tender "Silhouette Reverie",
which features a lovely fiddle solo by Renee Chester. On top
of all this, Balletto subtly shows off his guitar skills (just
like he does on every Dolly Varden record) -- he's a creative
soloist who always enhances a song, and he also is a master
of finding just the right texture. Moreover, the production
(by Balletto and ex-Wilco jack-of-all-trades Jay Bennett)
is superb -- not just the sound quality, but the little creative
things that crop up on the songs, that don't always leap out
immediately. Dolly Varden sings about the "simple pleasures"
in life, and this disc would certainly qualify as one of those
pleasures. myrecordplayer.com
Stratocruiser – Copyshop
Girl (New Atlas): Nifty four song
single from this North Carolina band. They close with a nice
acoustic cover of Cheap Trick's "Come On, Come On",
but the titular song has a nice Cheap Trick vibe in its verse,
with Mike Nicholson playing a cool dirty guitar lick, which
goes perfectly with producer Robbie Rist's nifty ascending-descending
bass line. Brunson Hoole bashes away on the drums, Jay Shirley's
organ adds heft and texture, while Clay Howard sings about
his new love. This is simply an automatically pleasing, hard
rocking power pop tune. "Hearts Are Wrong" isn't
quite as good, but it's still another respectable rocker,
with Shirley's keyboards again sounding great. The third track
is "Billy Budd", which is Stratocruiser's "Moby
Dick", I suppose, allowing Hoole a long drum solo. Not
my cup of tea. So three quality slices of power pop and a
drum solo. stratocruisermusic.com.
The Lackloves – The
Beat And The Time (Rainbow Quartz):
On their third album, this Milwaukee band continues to show
its utter mastery of ‘60s jangle pop. What elevates Mike
Jarvis's songs to the top of the heap (amongst fellow retro
inclined tunesmiths) is an utter lack of self-consciousness
– he is so fluent in the language, so to speak, that
his songs sound like newly unearthed treasures, not just rewrites
of the past. It helps considerably that these guys can play
the shit out of the songs – Jack Rice on bass, *The Onion*,
and spot on backing vocals, original drummer Tommy D, who
is back in the fold, and their outstanding lead guitarist,
Don Moore. This album has a fine balance of songs firmly within
the band's style, with a few new wrinkles thrown in. On "Excuse
Me, Use Me", Jarvis finds a long lost guitar riff (from
Faces or Slade, I believe) and comes up with poppy riff-fest.
Heck, even the title smacks of ‘70s rock. Moving back
a couple of decades, Jarvis shows that he can pen a wonderful
‘50s-style ballad on "If Ever I", giving Moore
a chance to execute a superb smooth reverbed guitar solo.
Classy. And, it wouldn't be a Rainbow Quartz release without
a nod or two to psychedelia -- the opener "The Radio's
Mine" has a nice instrumental section that smacks of
1968, and is otherwise in the vein of Cheap Trick's "Downed"
(which is a good vein to be in), and insightfully mourns how
bad radio is now: "radio my heart is breaking/you left
me here while your dial was quaking/now so terribly disfigured
to the point where/I don't recognize you anymore." You
tell ‘em, Mike! And the tried-and-true songs in the vein
of the early Beatles, Beau Brummels, Searchers and Hollies
are terrific too, and there are plenty of them, such as "Never
Gonna Fall" and "Still Missing You". There's
a fantastic pure power pop number in "Misfits Collide",
and for the second album in a row, they re-record a tune from
their hard to find debut disc, in this case, "Nowhere
Near Here". These guys have pretty well established what
they do, and they do it extremely well. parasol.com
Tamas Wells -- A Mark
On The Pane (Popboomerang): Mr.
Wells leads his quartet on a pleasant collection of soft acoustic
pop songs. The music falls somewhere on the spectrum between
Nick Drake and Duncan Browne and more current singers like
Sondre Lerche and Popboomerang labelmate Tim Reid. Records
like this, which take the ‘quiet is the new loud approach'
(tip of the hat to the Kings Of Convenience for that phrase),
require some spins to determine if they are worthwhile. The
challenge is to create something that stays in the listener's
mind while being musically unobtrusive. On a few tracks, Wells
succeeds in his mission. The best song is "If You Bring
Me Aubergines", with great two guitar interplay and the
strongest melody on the record. This is probably the most
forceful song on the record (relative to the others) and is
a great example of twee rock. Wells's winsome voice is shown
off to its best effect on "Chandeliers (on the parish
garage sale)". Again, instrumental interplay makes this
song even more interesting. The plucked guitar notes are accompanied
by Anthony Francis's subtle keyboard coloring, in particular
his sympathetic piano playing. As atmospheric as these songs
are, they could easily come off just as well with different
arrangements. This is particularly true of "Even in the
Crowds", which sounds great in its languid form on disc,
but could have sounded just a swell with a peppy Brit pop
approach. popboomerang.com
Starflyer 59 -- I Am The
Portuguese Blues (Tooth & Nail):
This prolific group led by Jason Martin gets out the black
leather on a rocking album. There are only traces of their
more typical shoegazing spacious sound. Instead, these songs
are strongly based on the riff and are highly reminiscent
of The Jesus and Mary Chain and Love & Rockets. Of course,
this isn't too far away from their basic sound. The only drawback
with this album is that over the course of ten songs, there
isn't much variety and things run together a bit at the end.
But there are some excellent rock and roll songs. On "Unlucky",
Martin even breaks out a T. Rex vibe that he works really
well. Martin is simply a fantastic guitar player, who gets
a great sound from his instrument. Even when the tempos aren't
that fast, the record rocks because of the tone and texture
he gets from his instrument. This comes through loud and clear
on "Not Funny". Martin lays down a thick, dirty
riff, later throws in one of his classic twang guitar solos,
and then brings the song home with a melodic lead guitar part
that integrates well with the original riff. Martin's whispery
vocal style contrasts with the heaviness very well throughout,
as on "The Big Idea". The shift from hard guitars
to melodic chorus is reminiscent of Queens Of The Stone Age,
though the musical context is a bit different. The opening
of "Worth of Labor" sounds like something from Urge
Overkill's *Saturation*, though the song goes in a more typical
Starflyer 59 direction after that. This album further confirms
that Starflyer 59 is one of the best kept secrets in rock.
toothandnail.com
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