Kelly's Heels -- Dig In! (Popbooomerang): This is top drawer pop-rock that comes from the tradition of The Raspberries and The Smithereens. Bob Kelly obviously is a graduate level student of The Beatles and some of their British Invasion colleagues and he puts that knowledge to use song after song. This compilation states the case that Kelly and his supporting cast are top drawer revivalists who may be looking back musically, but with so much talent and enthusiasm that the fact that this music was not actually recorded between 1964 and 1972 never detracts from how good it is. Really, a song like "Tell Me It's Over" is an undeniable pleasure, as Kelly's pop perfect voice is infused with energy, and he sings the chorus as if his life depended on it, just the way it was for The Scruffs and Material Issue back in the day. One of the keys to the quality here is that Kelly shows that he knows rock and roll backwards and forwards. So he can come up with a Buddy Holly jangle here, or a sweet Everly Brothers-like intro there, as on the splendid "Faded Out", which turns into a yearning song of the type that John Lennon penned early in his career. Other highlights include the mellow "Kitten Heels", which would segue well with The Undertones' "Wednesday Week", the particularly Raspberries-ish "Don't Get Me Started" and the instantly hooky "Light in the Dark". Two thumbs up for this compilation. popboomerang.com

Angie Heaton -- Let It Ride (Parasol): The former Tractor Kings drummer makes languid songs tinged with a bit of longing and ache, among other things. She sings with a voice that is conversational, like early Liz Phair, but sweeter and more rustic. This is music that is not quite Americana, not quite typical girl-with-a-guitar, but somewhere in between. Heaton's ingratiating personality makes such distinctions irrelevant, as she's too charming and witty, in a laid back friendly way, for it to matter. Moreover, she knows her stuff. "Drive" is like a poppier Lucinda Williams (before Lucinda starting getting all atmospheric on us), with a hook built around this simple and clever lyric "I remember how far we had to drive/the last time we fell in love". That's good. While much of the album is in this pithier mode, Heaton reserves the middle of the proceedings for two terrific atmospheric numbers. "Be Still" bespeaks a confident songwriter, who lets the space between the notes mean as much as the notes themselves. The lyrics are spare and direct, as Heaton matter-of-factly sings about her broken heart. You can fill in the back story, the general sentiments are universal and resonate. The music builds slowly in intensity, and things simmer. On "Moth vs. Flame (Bandita)", Heaton's music goes in a Southwestern direction. It's not exactly Calexico, though Neko Case's recent work would be a good point of comparison. Her voice quavers in a totally endearing way. Heaton ends the disc in fine fashion with a wispy take on Cheap Trick's "Downed". She moves as much towards Cheap Trick's power pop as she pulls the song into her earthier orbit. Another sign of her considerable talent. parasol.com

David Dondero -- Live At The Hemlock (Future Farmer): Dondero is a modern folk singer, who's half-spoken, half-sung songs are chock full of clever constructions and sharp observations. After a fistful of studio releases, it's easy to understand why somebody wanted to put out a live disc. Dondero's songs are so basic that there is no transition necessary for the live performance. Moreover, his forceful personality comes across more fully live. So this is the best type of live album, as it has that ‘you are there' feel to it. With basic bass, drums and guitar accompaniment, Dondero can pull off his wordy lyrics -- he has a lot to say, whether being humorous or sober (and often combining the two) – and his intensity is compelling. He includes versions of some of the best songs from his last solo record, such as "Living and the Dead" and "Song for the Civil Engineer". He also introduces a stunningly good anti-Iraq war song, "Pre-Invasion Jitters". This song shows that Dondero is a worthy heir to the tradition of great protest singers of the past like Phil Ochs. From cracks like "this ain't like Play Station" to trenchant lines like "in this violent power struggle/I just want to love and snuggle/could you define a terrorist/give me the pen, I'm gonna make my list/George Bush Sr., George Bush Jr./Ronald Reagan and the corporate donors/the CIA, the FBI/the NRA and that Heston guy." Cutting stuff. Of course, he's only that heavy on occasion, more likely to make observations like "it's cold in Alaska/Lou Reed was right" (from "Boulevard of Broken Hearts, Busted Dreams, Shattered Wills, Booze and Pills") or "it's pop, not a soda/if you're in Minnesota" (from "Call Me "D""). Over the past 20 years or so, there have been a number of folk artists who have a somewhat punk edge to them (thinking back to the days of SST artist Roger Miller), and Dondero tops them all. He is pumping in new life to the classic tradition of folk music, showing that singing about what's on your mind is always contemporary. futurefarmer.com

The Grip Weeds -- Giant On The Beach (Rainbow Quartz): Yet another well done album from this New Jersey psychedelic band. The band blends jangle and crunch in equal amounts, with Kurt Reil's powerful drumming, Kristin Pinnell's sharp lead guitar playing and the wonderful harmonies remaining a constant. At first blush, this record seems just a bit heavier than the last couple of Grip Weeds records, or maybe I should say that this is a bit more intense. Even an acoustic number like "Give Me Some of Your Ways" seems to have an edge underlying it. This, by the way, is a great track that has a bit of a late ‘60s Fleetwood Mac vibe. The one wholly light moment has to be the Beatle-ish "Sight Unseen", a smile inducer if there ever was one. Of course, you can spot a few Move influences on the album -- heck, the rhythm guitar part that begins the song "Astral Man" is a Roy Wood special. And Pinnell gets her standard fine vocal turn, on the dramatic "Closer to Love" -- quite frankly, she probably deserves more than one lead vocal an album, as she has a nice, clear folk rock voice that is perfect for this band's sound. Finally, the band shows that they can still make songs that are inviting and haunting at the same time, such as "Once Again" which is trippy without being hippy, as these folks are too rocking. In the end, this is simply a representative Grip Weeds release. They have mastered their sound and staked out a unique piece of turf. If you are a psych-pop fan who likes the psych to be a bit stronger than the pop, you should give this a whirl. rainbowquartz.com

Phil Angotti -- Juliette Foster (Jam): Years ago, my sister was a panelist on a local access cable show called Teenage (great title, I know). One Saturday she came back from a taping and gave me an album from that day's guest, Phil Angotti. She said she'd thought I'd like it. I threw it on, and was impressed by the low-fi Anglophile pop. It was years later when I finally caught up to Angotti's music at an International Pop Overthrow gig, and it was the same guy but better. He knows his Beatles, Zombies, Kinks, Bee Gees, etc., and also knows (he has to) that he has a clear wonderful voice that is perfect to sing the music he so obviously loves. Every Midwestern rocker who wants to sound like a Brit wishes he could sing like Angotti. His career over the years has simply been a process of refinement, as Angotti is another popster on a quest to write the perfect song. I don't think he's gotten there yet, but this solo disc shows that he a lot closer than most. Playing almost everything on the record, and giving his crack band The Idea a rest, this disc is a series of acoustic pop gems. Of course, each song is boosted by Angotti's singing which is sincere and emotionally engaged to every word out of his mouth. When you hear a song like "Trying to Find Out About Something", you are hearing a master at work, mixing a melancholy melodic concoction that is equal parts John Lennon and Simon & Garfunkel. Angotti shows that he is up to challenge of referring to this disc as an ‘original soundtrack'. The title cut that opens the disc contains nice detailed lyrics (novelistic, if that's a word), and haunting string accompaniment. Indeed, Angotti's retro writing is well suited for story telling songs -- music as well as the words are products of memory. Which isn't to say there aren't universal sentiments -- check out "Upside Down", a piercing song of ennui and weakness. Angotti has really moved a step up on this disc, which, considering how good his past work has been, is really saying something. jamrecordings.com

Travis Morrison -- Republic Of Travistan (Barsuk): Morrison's first solo album builds upon the last couple of albums of the late, great Dismemberment Plan. The Plan had not quite yet broken through to a wider audience to the degree that Death Cab For Cutie have, but they had certain common characteristics. Morrision, much like DCFC's Ben Gibbard, is as much a narrator as a vocalist, and creates spare, but not too spare, melodies which support acute lyrics. Whereas DCFC favors straight ahead indie rock romanticism, Morrison solo, as he did in the Plan, goes for a more rhythm based sound, augmented by keyboards and some danceable beats. Sometimes, a Talking Heads comparison would be appropriate. This disc has severely divided fans. Generally, I don't get the major league rants. There are a few songs where I think Morrison gets pretty precious lyrically. On "Song for Orca", Morrison goes all St. Francis of Assisi on us, and while giving props to animals is fine, the simple mindedness of the song (which sounds little like Simple Minds) is a letdown. Morrison's vocals don't help. He sings in a limited range with a matter of fact tone. Which means a cute or precious lyric on "Orca" that would work for They Might Be Giants or Jonathan Richman, doesn't for our boy Travis. Likewise, when he starts intoning "all I want for Christmas/is my two front teeth" at the end of "My Two Front Teeth II & III", which is an otherwise nifty narrative reminiscence, it comes off as simultaneously stupid and pretentious. I've got mixed emotions about the four songs entitled "Get Me Off of This Coin". They are pithy ditties sung from the point of view of four presidents. They are kind of funny, but they don't wear well over repeated plays. These missteps, however, are more than offset by many wholly successful tunes that maintain the drive and creativity of Morrison's former band. Indeed, the first two full songs, "Change" and "Born in ‘72", are great. On "Change", Morrison combines an urgent wisp of a melody with a rock-funk rhythm on an exciting driving track. This song just moves forward at every moment. Meanwhile, dancing is mandatory on "Born in ‘72", another lyrical look back, with Morrison reciting with journalistic detail memories of his childhood. The music here is played by his bandmates with crispness. For someone who is indie, he seems to owe a bit of a debt to The Police -- which is fine, since that means the grooves are always laid down well. Other excellent songs include "Any Open Door", which is more of a pop song, in line with Death Cab For Cutie, and "Che Guevara Poster", which is a great title that fulfills its potential, with Morrison taking a story that starts with a description of the poster into interesting and unexpected directions. Even the duff tracks are the product of ambition, and with so many good tracks, this disc is recommended. barsuk.com

American Werewolf Academy -- Devil, Spit It Out (self released): Aaron Thedford of Robot Monster Weekend continues that band's mission of good timey, silly rock and roll. On this record, the Academy blends a bit of Young Fresh Fellows, some Replacements, some Smugglers and an all-encompassing inability to take anything serious but the rocking to make for a nifty seven songs that never overstay their welcome. The best example of this is the bashing and smashing "Library Jamboree". I can picture Tony Harper pounding away on his drum kit, sweat flying off his brow, while Thedford lets the lyrics escape from his sore throat, head bopping back and forth and slashing out neo-Who power chords, while Carl Schembri, as so many bass players must do, remains calm and keeps things together. The Academy doggedly pursues fun and excess, as shown by titles like "Here Comes the Drunks", and inspiring lines like "you load up the station wagon/I'll bring the alcohol" on "Rock Show Tonight". Even when they quiet down, these guys can't help their smartass nature. On "Goodnight, My Pumpkin Pie", a lullaby goes awry, as Thedford goes from gushy sentiments to warning of monsters, mummies and crocodiles. These guys are warped, and I hope they stay that way. americanwerewolfacademy.com

Nouvelle Vague -- Nouvelle Vague (Peace Frog): Ingenious French disc, masterminded by Mark Collin and Oliver Libaux. The concept: take great songs from punk, post-punk and new wave acts of the late ‘70s and early ‘80s and do them in a lilting bossa nova/lounge style, with a procession of wonderful female vocalists. Indeed, the band's name is a double entendre that encapsulates the modus operandi -- Nouvelle Vague is French for New Wave and is Portegeuse for bossa nova. They open with Joy Division's "Love Will Tear Us Apart", and immediately prove that they are skillful arrangers who recontextualize the song in an original and entertaining way. The song loses its absolute nature, where love is a matter of life and death, and turns it into something more philosophical -- love is fleeting, so no wonder it drives people away from each other. OK, there are a some numbers that are pretty much novelty -- certainly the samba treatment of the Dead Kennedys' "Too Drunk To Fuck" and the rollicking take on Depeche Mode's "Just Can't Get Enough" are mere giggles. But hearing The Clash's "Guns of Brixton" done with elegance is weird -- after getting over the new slant, I really like slinky and dramatic take. Other songs that fit and hand in glove with the classy, jazzy music include The Undertones' "Teenage Kicks" and Tuxedomoon's "In a Manner of Speaking" -- the latter sounds like a standard. Of course, jazz vocalists frequently turn to rock for material, it's just you don't often hear old-time college radio fare get the treatment. I should also note that I've played this disc for fans of the original songs and folks who have never heard the originals, and they were all entertained. Unlike some records of this type (Senor Coconut, Big Daddy) which are good but insubstantial, this is one that I'm sure I'll still be listening to for many years to come. peacefrog.com

Raquel's Boys -- Music For The Girl You Love (Jam/Sun-Drenched): Super fun pop record that will appeal to fans of bands like The Model Rockets and The Breetles, and perhaps even The Liquor Giants and The Resonars. There are only two Boys -- Singer Sean Hutton (who plays guitar and bass) and Reg Carter (drums and more guitars). Jam Records jefe Jeremy Morris provides the production, and adds lots of reverb and echo, which effectively contrasts the often sugary sweet melodies -- sugary sweet fitting Hutton's innocent and light vocals. Early on, the band shows that there is something special going on here. "Knockout" mixes a garage rock perfect guitar riff, but it's played just gently enough (though tinged with fuzz), turning it into something wistful and charming. The song is a simple ode to the girl at the video store, and as Hutton waxes all gooey, Carter joins in with Beach Boys style backing vocals and everything layers to a perfect chorus. Indeed, Hutton waxes gooey a lot, as on "Wholesome Girl", a standard issue 1965-ish pop tune, that actually verges on being dopey. What prevents that is a middle eight that is simply sublime -- The Searchers would have killed for something this good. On "This Green Lawn", the Boys sound like a collision between Outrageous Cherry, The Orange Peels and LMNOP (due to the vocals). This song is a jaunty psych-pop triumph. Clocking in at 35 minutes, this album is devoid of bum tracks. jamrecordings.com

American Music Club -- Love Songs For Patriots (Merge): This is a most welcome reunion. While Mark Eitzel has made some excellent music (and some that's just alright) as a solo artist, there is something special when all of these guys get together. While their later major label releases contained some songs that were upbeat and even poppy, this album plunges into the heart of darkness, with only a few forays into the light. The band plays with a coiled intensity that only a great rock band can acheive (even though they aren't "rocking" per se, on these songs), as Eitzel feeds off his mates and they all turn in excellent performances. Of course, Eitzel's vocals, which are part lounge crooner, part Levon Helm or Van Morrison (though more limited), and his lyrics drive the band. He is a hopeless romantic, an incurable pessimist, a thoughtful, brooding man who often hides his tender side behind acidic observations. Two songs standout as instant classics. The title song is scathing, Eitzel dealing with America's twisted takes on money (and how it rules above all) and sex, and the emptiness that those things manage to both mask and illuminate. That he does so from the story of a male stripper at a gay bar, making the point that both the exploited and exploiter are pathetic, is just part of Eitzel's unique take on life. It's a similar take that created "America Loves a Minstrel Show", which is a gentle rant about hypocrisy and the willingness to believe the hypocrites: "It's the thief who's the first to accuse others they steal/it's the fake who claims to always know what is real/and millions all want to bathe in his glow." It's not all gloom and doom. Eitzel shows off his sense of humor when he pines for a bookstore like "Myopic Books", where they only play Dinosaur Jr. on the stereo and all the employees are "super skinny/and super unfriendly/and that would make me happy." Yes, even when he's being funny there's a sting. For all the negativity, when Eitzel sings that "Only Love Can Set You Free", you have to believe. He sings from the point of view of a man who has lived it all, and hurt and failed, but still has a destination in mind. That glimmer of hope comes through in his voice and the band's playing and this is what makes this record as comforting as it is sometime disquieting. This is a sophisticated form of the blues, really. mergerecords.com

Various Artists -- It Was 40 Years Ago Today: A Tribute To The Beatles (Bullseye): Two discs with 49 songs from the Fabs as done by a variety of pop and rock artists of varying degrees of notoriety. While for many, covering The Beatles is heresy, for those of us without such hang ups, there is some fun to be had. Certainly, taking on the all-time rock and roll kings is daunting. I don't think the problem is in handling the songs -- I mean they are such great songs, they are meant to be played. The problem is that The Beatles were so talented in all areas, and had such a great sound and personality. So the notion that these will equal the originals is silly. The goal is really just to be good and have fun, and most of the artists here accomplish that. I would say that the second disc is the stronger of the two, and coincidentally (or not), it has more well known artists such as Neilson Hubbard ("Julia"), Walter Clevenger & The Dairy Kings ("I Will"), Michael Carpenter ("If I Needed Someone"), Dave Rave ("Here Comes the Sun", joined by The Wretches) and Phil Angotti ("I'm Only Sleeping") among others. None of them tops the original, but these are quality performers who do a fine job. My faves on the second disc are Steve Barton's energetic take on "She's Leaving Home" and the legendary Al Kooper recasting "Eleanor Rigby" in a bluesy arrangement. It shouldn't work, but it does. Oddly enough, on Disc 1, The First Time do a nice job on the same song, with electric guitars replacing the strings. Some other top tracks on the disc include Lolas ("Good Morning, Good Morning"), Eytan Mirsky, who's vocal on "Don't Bother Me" is terrific, The Lackloves ("Hey Bulldog" -- a natural for them) and Cats & Dogs, who make the piano the main instrument on "Norwegian Wood" to good effect. The first disc, however, is more hit and miss, with a few clunkers. Alison Solo rocks up "Paperback Writer", and it doesn't take, The Deal tries to pop-punk "Eight Days a Week" and it resists, and Cadence try an arty a capella (a la The Nylons) take on "Drive My Car" that is a few tads too precious for its own good. Overall, this is a bit better-than-average tribute. I wish it had a few more knockout moments. The only real stunner is Stacey Wheal, who's version of "Here, There & Everywhere" brings to mind early Kate Bush. It's beautiful. bullseyecanada.com

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