Reviews
27 Down
Plug
By Tim Malloy
The band 27 Down describes itself as combining "the drive and ambition of classic rock, with an ingenuity and heavy edge uniquely [their] own." In my opinion, the term "Classic Rock" reminds me too much of Pink Floyd and I've always hated Pink Floyd. However, 27 Down's new CD/Demo Plug does show tendencies of better songwriting from the period. Therefore, my comparisons are as follows: The first track, "Lobster Boy," reminds me of the James Gang; track two, "Mesmerized," is Neil Young meets Led Zeppelin; track three's "Captain" is The Outlaws versus Aerosmith; track four, "Aaron's Song," is total R&B; track five, "27 Down" is Jane's Addiction crossed with Jeff Beck.
The sonic quality of the CD itself is a little rough, but I know that the band essentially produced Plug for promotional purposes. Regardless the CD is worth hearing and I know they'll be putting out a polished final product very soon.
27 Down is: Jess Columbo, vocals and guitar; Ben Utton, vocals and bass; Aaron Cowan, lead guitar; Erick Leggett, drums; Jeremy Schultz, guitar.
27 Down often plays with Spill, check 'em out.
Tim Malloy also wrote the Barnyard Playboys review in this issue.
Chad
Chad
By Max Owre
Once upon a time there was the Long Haired Boy. He wrote pop songs and played them on a conga. People were confused and amused. Was this guy for real? Well, a few years past and the Long Haired Boy, who everyone knew was really local musician Chad Hollister, has dropped the name, added a few instruments and written an entire album of pop rock which is surprisingly convincing.
I looked at this album at face value. These are catchy little tunes that may not say a whole lot or use more than three (o.k. maybe four) chords, but they are professionally and thoroughly written, sung convincingly (sometimes a little George Michaelish-though Chad has not masturbated in publicyet), and have the shit played out of them like a mother bat by good musicians. The result is not going to knock the artistic world to pieces with ingenuity but will power many a gaggle of frat chicks to a tizzy on a Friday night at the Cape.
Nice moments can be heard on the tracks "Jerry's Gone," where the country beat and Sean Harkness' Garcia mimicry provide a nice background for Hollister's humorous hippy slam. "Groove," despite the pathetic name, stands out because of its slower, funkier feel and some lyrics that aren't as cheesy as they might be.
Hollister is an intelligent musician with a good sense of humor. He is also an honest musician who truly loves the inanity he creates. It is evident in the opening track, "Doot Doot." I endured this two minute odyssey with characters named after rock doo wopping ("Doot Doot met La La and they fell in love"). The characters 'She' and 'Shoop' end up locked in a lesbian 69 on a striptease stage in the Caribbean. He is joking, but he is sincere.
I don't necessarily relate to the Chad aura all the time, but like a cute advertising grandpa, I smile and say, "Long Haired Boy, you have grown up. Now cut off that god damn hair and go out there and play."
Max Owre is crazy. Just plain old crazy.
Barnyard Playboys
Barnyard Playboys
By Timothy Malloy
What do you get when you combine too little sleep, too much spam, a little crank with a Buck Owens guitar? Well, I'll tell ya'': The Barnyard Playboys.
This trio from New York City gives me chilling images of Johnny Cash and Tammy WhyNot committing unnatural acts upon the Violent Femmes. Hearing this debut CD has caused no end to my worries: should I pummel my spouse; buy a double wide, or both?
Somewhat seriously though, these guys play with the momentum of a Peterbuilt with blown breaks. I mean how can you go wrong with a chorus like:
Runaway from the trailer park little baby, Runaway as fast as you can, 'Cause your mama, she's only getting fatter She's got one foot in the gutter, the other in the garbage can...
Seriously again, they're coming to Vermont to play at Club Metronome very soon, and I highly recommend you go see them.
Tim Malloy is a Burlington based guitarist and songwriter.
Cool Rules
Defining Moments
Definition Records
By Chris Parizo
The first thing that will run through your head after listening to this album will be: "Damn, these guys can play." Cool Rules' Defining Moments is a retro look at the lighter side of seventies rock. The band is full of accomplished players who know how to play the classic rock sound that so many people are willing to eat up. This CD must be played heavily on The Point.
The first track "The Fire Next Time," is a rocking Steely Dan-esque tune that contains lyrics like:"I was walking down the street the other day/ there were bullets flying everywhere" and "There's so many guns in this town/ this town ain't big enough to go around/ every fourteen minutes someone goes down/ and somewhere there's somebody crying". Huh? These guys are from Johnson, right? The town must be a metaphor for life...it's pretty rough in Hardwick, but does someone really go down every fourteen minutes?
"Mr. Lucky's Lucky Day" sounds almost like a Strangefolk track...or is that the Allman Brothers? Maybe a little of both.
A personal favorite would have to be the heart-felt ballad "Marie" which could melt anyone's heart (unless you are cold and heartless like myself), this is a Don McLean-like track with some wonderful guitar playing. This track was repeated four times during my listening session.
Put together, Cool Rules' Defining Moments is surprisingly good. Any musician should at least give it a spin to check out these solid performances. This album is a winner.
Chris Parizo would like to apologize for the reference to himself in the fourth paragraph but he just loves to talk about himself!!! E-mail us and complain if you want!!! He also plays bass for Chin Ho!
Derrick Semler
Only Love
BLT Records
By Charlie Messing
Mostly this is simple R&B flavor, with a few blues and a few heartfelt love songs also. Derrick has a sweet but gritty, facile, vulnerable voice. Mood, grooves, and the undistorted sounds of the instruments prevail. Lot of good players hanging back - a real mellow good time album. It's amazing how a guy who is usually seen playing cover tunes with a trio, in bars, can transform on CD into a man with originals backed by a full band, with no star turns. I'd like to see this band. But actually there are several bunches of people on here, including Dan Archer, Stacy Starkweather, Phil Carr, Brian Bull, Aaron Hersey, Don Sidney, Bruce McKenzie and more.
"Only Love" is a song about 1999, with an effective and tender refrain ("Our love is changing the world"). "I Don't See Me," by the late lamented Crow Levine (of the Rebops), evokes the strange alienation within love. I really didn't expect to like "Lay Lady Lay," but I do. It's both loose and controlled, both modernized and respectful.
The two blues tunes ("Bye Bye Blues" and "Settle Down") both have some of Derrick's masterfully off-handed soloing. "Settle Down" was Derrick's track on "Green Mountain Blues Volume Two."
To conclude: it's a sweet-sounding laid-back album; Derrick has roots, soul, and he swings.
Charlie Messing is guitarist/vocalist with Burlington's Be That Way
Drowningman
Busy Signal at the Suicide Hotline
HydraHead Records
By Samuel Cole
There really are no surprises here. Anyone who has seen a Drowningman show knows what they are about. Being pissed off and being loud about it, that is what it is all about and that is what Busy Signal at the Suicide Hotline is all about.
The band play like madmen...gritty, loud and disturbing. Todd Tomlinson shines as the key player, beating his drums like an sergeant in the army beating one of his own kids...taking every opportunity to cause some pain and never miss a beat. And right beside him is one of his privates (not the genitalia kind), bassist Dave Barnett, keeping up at every second, holding the kid down and cheering Todd on. Javin Leonard and Daryl Rabidoux, both on guitars, both take turns kicking the poor kid's head into floor... laughing as the child cries for them to stop. Vocalist Simon Brody, runs around the room, clapping his hands with a wild smile on his face. At times, Brody sounds like Sam Kinison actually...yelling at some woman on the phone who left her boyfriend. Simon's best moments are when he stops yelling and actually sings...gets a little emotive.
The opening track "Condoning the Use of Inhalants" is hectic and chaotic. It is a head rush that doesn't want to let go. "Sadder than Saturday" is a personal fave, Simon gives the throat a break and actually sings (Remember to use your diaphragm).
The strangest thing about this CD is the inside art work. At first glance I thought I was looking at a Twin Peaks soundtrack...with all the stills from the TV series. Unfortunately, the liner notes are written by Simon and in the first person, so it is kind of like reading one of his columns, or reads like it is a solo album, but it's not. Maybe they should have named the album: The Exciting and Glamorous World of Drowningman.... like the column should be.
Samuel Cole is a native to Florida who now resides in Vergennes. His father was in the military.
Dysfunkshun
Gravy
By Daniel Bolden
You know what, I am going to get this right out of the way and into the open. Dysfunkshun sounds like 311. Dysfunkshun sounds like Sublime. Dysfunkshun sounds like Rage Against the Machine at times. Okay? The similarities are too obvious to not mention....so it is now out in the open and out of the way. Problem?
Gravy is the latest CD from Burlington's grand-daddy band, Dysfunkshun. Recorded and mixed by Jud Wygmans at his new Rock It Science Studios, Gravy is more mature than the last EP released in 1995 called Home on the Range. Home was a rock heavy and hard hitting CD that dripped with testosterone and said: "I'm going to kick your ass". That CD displayed Dysfunkshun as an "in your face and proud of it" rock band, while the follow-up Gravy is more of a laid back, almost relaxed recording. The latest CD shows that the guys can lose their distortion pedals and keep it going. Ska and reggae are used to create a more eclectic group of recordings, this might have something to do with the addition of Jason Pratt on second guitar and new bassist Tyler Neilson. Pratt holds the fort together with his off-beat ska rhythms while Neilson, although not as aggressive as former bassist Ben Dunham, adequately keeps the band together...someone should have turned him up in the mix however... he barely heard bass is a sin that someone should burn in hell for...maybe Jud?
The opening track, "Cliffhanger," is Dysfunkshun at their best. Distorted guitars and the heavy hitting of Troy "Mr. Excitement" Pudvah on drums. This formula is repeated on "Grapevine" (a personal favorite), "John Doe" and "Shake." The lighter , less heavy songs can, at times, seem lacking compared to the heavier tracks. This might be due to the lack of effects on the guitars...I am not too sure. DJ Frostee appears throughout the CD adding some turntable effects here and there, and like the bass is depressingly low volume...may Satan himself tear your soul apart, Jud. Lead vocalist Marc Daniels, has more of a laid back and smooth approach to this album, showing a more mature and soulful approach to his talent.
Actually, Gravy is a very good recording by Justin "Jud" Wygmans. The sound of the album is loud and heavy and warm, an improvement compared to the tightness of Home on the Range. May you never reach the gates of Hades and instead enjoy a peaceful afterlife beyond the gates of Heaven and be surrounded by love and an inner-peace.
Daniel Bolden is a sophomore at UVM and has been studying music since the age of four. He plays a wide variety of instruments.
Various Artists
Hop 2
By Alex Mayer
Fattie B, when not busy rapping with Belizbeha, is working hard to promote the local hip-hop/acid jazz/techno music scene in Burlington. Hop2 is the second CD compilation that Fattie has put together of Burlington's underground music scene, and this CD does an excellent job of showcasing the diversity of the scene. Techno tracks include Robert Larows' fast, hyped-up "Don't Stop, Come on!", DJ Frostee's "Burlington Massive and Crew," and Orange Factory's creepy, stalker-esque jungle tune called "Stowe-Away," which contains a sample from the Kennedy assassination. There are acid jazz tracks from ViperHouse ("Give it Up" which includes a great violin solo) and a cool remix of Belizbeha's "Inhibitions" which reached #2 on NYC's Dance Trax charts. Some lesser known but equally impressive jazzers are Rebecca Simone's "State of My Emotions," "Hopejoy," by Green Street, and Melo Grant with Fattie B and Bob Dunham (of Belizbeha) on "Time Goes By."
There are of course plenty of cool rap tracks from the likes of Conflict, whose "Beats and Rhymes" has a great groove, and DysFunkShun, the kings of rap-core, with "Grapevine." Again, this disc does a great job of exposing some underground music; I had no idea that there was all this cool techno and hip-hop right in Burlington. So hop to it and pick up Hop 2. It's got a flavor for every palate.
Alex Mayer is a senior at Middlebury Union High School. He is also the Electro Indie Folk Star and has two tapes available.
Invisible Jet
Invisible Jet
By Jason Dunn
Editors Note: Jason's Invisible Jet review got all weird when we tried to take it out of our e-mail file. We called him repeatedly and asked him to send it again. He never called us back. Here is Jason's review, gibberish and all.
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þÿÿÿþÿÿÿ ously-complex-yet-seemin gly-effortless beats. "Grounded" is a perfect example of Invisible Jet's admirable talent for arrangement: The song is subtly divided into multiple sections; each member of the band adding and changing parts as the song builds from a quiet, pulsing pre-verse to a gorgeous chorus, in which the intensity of the playing is almost too much for the ear too take...these guys worked on this for a LONG time.
The Jet's guitarists (Ryan Ober and Jesse Sargent) mesh their sounds together with one another and the rhythm section to form a vibrant, sparkling blanket of sound.
Sargent's voice soars over this lush background with confidence and grace, always with an independent melody that fully deserves the foreground and complements the music like the perfect lead instrument. After stomping through the jungle of sound that is "Grounded", the band leans back and breathes out a gorgeous, laid-back ballad with "Easy to Break", which is almost a showcase in subtlety. The vocal harmonies are almost lovely enough to make ya cry. Invisible Jet manages to squeeze a lot of different sounds into this album without losing a drop of identity - also difficult. "Grounded", "Signed in Red", "Taxi" and "If This is You" stand out as the rockers on the album, "High Hill", "Easy to Break" and "Get Hit" strike me as the most moody compositions, the latter with an inescapable "thump-thump" dropping in like a heartbeat every 8 beats, and a loud bit that hits you right out of the blue and slaps you around for a while before dropping out suddenly - very intense both live and on CD. This album is just chock-full of little moments of musical genius... reminds me of the old Raisin Bran commercials where no-one can believe the amount of raisins in a single box (or something like that). And yes, it's true that Sargent's voice sounds a heck of a lot like Peter Gabriel's. But anyone silly enough to let that get in the way of enjoying this band deserves to be smacked, in my humble opinion. Not only would they be denying an incredible band the willing ear they deserve, but they'd be denying themselves the opportunity to enjoy some of the most masterful musicianship and brilliant songwriting there is to hear in this area. Get the CD. Go to a show. You'll enjoy it as much as they'll enjoy having you there, and Invisible Jet seldom disappoints.
Jason Dunn plays a bunch of instruments and i
Mike Watt
Contemplating the Engine Room
Sony/Columbia
By Terrance Bradshaw
Anyone familiar with the work of Mike Watt, including that of his legendary band the Minutemen and fIREHOSE as well as side projects including dos Banyan, and the Madon-nabees, knows that this is a man of character. He plays the 'thunderbroom' (bass) with everything he's got, books his own tours (thirty-three around the country and counting), and is one of the most personable superstars around. After listening to this album one can also get inside his head a bit and begin to understand where his music comes from.
"Contemplating the Engine Room" is Watt's 'punk-rock-opera', and it takes a dramatic turn from his previous outings. The album is based around several facets of his life, including Watt's early years meeting D. Boon, with whom he founded the Minutemen, the rise of that band to its mythic stature, to its tragic end when Boon died in a 1985 van crash.
Lyrical flow is achieved by telling the story of three men on a ship, in homage to Watt's navy father. Rather than the sometimes aloof lyrical bent of previous Watt works, on this one he reaches to the depths of his soul to tell (and sing on a whole album) his personal story for the first time. And what a story it is.
Watt's sidemen on the album include guitarist Nels Cline, now of the Geraldine Fibbers, and drummer Steve Hodges. Of the two players, Cline really stands out with his avant-jazz playing and searing solos. On one tune, "The Boilerman," he even plays Boon's old setup, and his playing would send shivers down the spine of any Minutemen fan. With Watt's fluid bass often floating between lead and rhythm parts (all songs were written by him on the bass), Cline manages to improvise in a beautifully harmonious manner, adding percussive riffs, polished, classy solos, and sound effects which fit the mood of the various pieces beautifully. Hodges is a more than adequate drummer who understands well the dynamics of the music and their place in the story.
This album brings me overwhelming joy whenever I play it, and like a true opera, the music and lyrics work together to pull the listener into the story and make them feel what the writer feels. Mike Watt has proven himself a genius with this release, so buy the album now, along with any of his previous work you can find, then go see him with the "Black Gang Crew' at Club Toast on May 5th.
Terrance Bradshaw is a Mike Watt fan.
Missing Joe
Never Been To California EP
By Chris Parizo
A lot of people come down hard on modern rock music. They call it "commercial" or "un-original" and damn it because modern rock radio sweeps it up and plays it until all of the life is drained away from it. Some people might pass over Missing Joe as one of those "commercial" or "un-original" bands and say that they aren't true musicians because they don't have the indie credibility that other bands possess. Well, come on folks, bands like Missing Joe are snagged by radio all over the country because their sound is popular and is welcomed by the masses.
Missing Joe's music is strong, with vocal hooks that can be tediously stuck inside your head for days (the chorus of the opening track "Martini" for example) with solid vocal harmonies. Lead vocalist, Matt Rafal has a deep, soulful voice and holds an excellent bass line at the same time.
Are the tracks on "Never Been to California" ready to take over radio stations all over the country...probably not, but they would very easily fit into today's rock format. This EP gives you a taste of what Missing Joe is all about: popular rock ditties that can grab your attention and don't let go. With a little polishing up of the material...Missing Joe is a band to keep an eye on.
Chris Parizo is pathetic.
Never Again
Through Bleeding Hands
Pressure Point
By Alex Mayer
"That they may take our lives, but they may never take our freedom!" And so begins "Strength to Prevail," the first track on the debut CD from Never Again, one of the newest, brightest hopes on the Burlington hardcore scene. This hard-hitting disc rocks out from beginning to end. "Innocence Lost," "Moral Obligation," and "Stay True" are great tracks. Not only do Never Again have incredible skills as musicians, their lyrics also have a positive message. "Revolted" speaks out, or rather screams out, about the sad state of the world, particularly the youth and how they grow up in today's society.
"Senseless killing by the youth of today/Please I beg you this violence must stop/Precious lives are taken without thought/Day after day the death toll adds up/Countless children have become so corrupt." These lyrics seem poignantly appropriate in the wake of the Arkansas schoolyard killings. This CD is great. Never Again have proven themselves to be one of Burlington's best new bands, as well as some of the most socially conscious lyricists. Get this disc and go see Never Again live. You won't regret it.
Alex Mayer wrote a whole bunch of reviews in this issue.
New Nile Orchestra
New Flower
Addison Ababa Records
By Michael Allen
Kiflu Kidane and his New Nile Orchestra have been thrilling Vermont audiences for years with his incredible dancing and their percolating, Ethiopian-inspired rhythms. On New Flower, the band's second compact disc release on their own New Haven, Vermont-based Addison Ababa Records, New Nile Orchestra reaches new heights in both performance and production. The disc sounds great without being overproduced (Lane Gibson and the band at Chuck Eller's studio in Charlotte) and the song selection allows for a gentle flow from piece to piece.
New Nile Orchestra has created a new music certainly inspired by Kidane's heritage, but without avoiding the influence that American music must have had on the non-Ethiopian band members. This band lays down a mean groove and I hear a good dose of early-seventies funk going on, if I'm not mistaken.
I can't say that I understand a word of Ethiopian, but I understand the feelings that the music is trying to create. It's hard to miss a mood this infectious; this disc practically bubbles with optimism and joy. C'mon, get happy.
Michael Allen is still bouncing up and down to New Nile Orchestra. He can't get it out of his head. He just can't.
Pete Weiss & The Rock Band
Pete Weiss & The Rock Band
Sasquatch Records
By Darren Bu Care
Pete Weiss & The Rock Band. There are three of them. They all sing. They all play wacked out instruments (beer bottles included). Stephen Fredette was in Scruffy the Cat. I hear Morphine, I hear Pavement, I even hear Buddy Holly. And I have thirty six opportunities on this compact disc.
Like most good pop bands, these guys aren't afraid to wear their hearts on their sleeves: we get rockabilly ("Fill Me In,") imaginary game shoe themes ("Robert Robbs") and even a Beatle-esque sing-a-long.
I'd recommend that you hear the song "Maggot." At least once. Pete sings a song to a beautiful maggot. He asks the maggot to be brave so that one day he may fly into the sky with one thousand eyes shining. Uh. What else do I say?
Darren Bu Care is a fiction writer from Cleveland.
Sam Black Church
That Which Does Not Kill Us, Makes us Stronger
Untangled
By Alex Mayer
The almighty Sam Black Church, Boston's hardest working, hardest-hard rockers, throw out a few demos from '95 and '96 on this new self-released CD. "New God Science" is a hard and fast one with some cool lyrics. Another fast and fun one is "Jesco (The Dancing Outlaw)", a tune about a big dumb redneck who likes to fight, hunt and sniff gasoline. "Ballad of Iron John O'Rourke," a slow tune, with haunting lyrics by an unusually tranquil Jet, build in intensity to a full on rocker. "Delay and Doolittle" is a hard emo-sort of song, with angry lyrics about a world gone wrong. Sample: "Republican beach party 2000/Key Largo with a fateful twist/The CFC's were left to fly/03 and a planet left to die."
This disc is a little "tide-us-over" while SBC are tied up in some "red tape crap" as they say, all I can say is: Can't wait for the new album. These demos rock, hard.
Alex Mayer is a senior at Middlebury Union High School. He is in two bands.
Skamaphrodites
Skamaphrodites
By Max Owre
In general, Ska is a difficult music for me to put my finger on. It embraces early island roots, the big band-jazzy arrangements, and hyper active punk-like strains. All ska bands have one or more of these elements. What makes a good ska band is the successful mixture of these elements (provided more than one is evident). The Skamaphrodites have done an admirable job of it on their self titled debut album.
I saw these guys at the Price Chopper parking lot, of all places, last summer. I was impressed then and am even more so after hearing their first album. These guys are young but from the first notes of this album they come off as very mature (instrumentally at least). They have that playful nature that makes a ska band the party favorite while surprising me with a melodic nature that is innocently complex and exciting.
The first song, "Claw Hammer" is probably my favorite. This is my favorite ska style. It is reminiscent of the Skatalites, with a slower more deliberate pace. It is also an instrumental piece. The rest of the songs on the album are somewhat tainted by lead singer Dan Bolles broadwayesque delivery but I didn't notice this when I saw them live and quickly got used to it on the album.
Now, how about those songs? They are nice in that they don't make me run around the room screaming EEEEEEEEEEEE like I do with some ska. "Highway Girl" is a nifty little pop song with an interesting melody. The tune "Tuna McKabe" is a piece about a pedophilewhere the band gets to scream "_____ in the ass" about prison. I can see these guys giggling at each other when they decided to leave it in the song-it is endearing in a sick way.
These guys are young and very impressive. Big bands with horns and all that good stuff are hard enough to manage and arrange with years of experience. They have crafted a nice showcase of their talent, and any glitches apparent on this album are far overshadowed by the energy, creativity, and good humor of this group. For a first album, this is EXCELLENT.
Max Owre is guitarist with the band (sic).