Reviews
Belizbeha, Earlies, SuperKreme, D. Jarvis Band, Eric Bogosian, Gordon Stone, Saudade, SK8 98 Compilation, Laurie Geltman, No Secrets, Don Piper Situation, The Tragically Hip, Picture This, Soundboard Masters.
Gordon Stone
Even With the Odds
Jeezum Crow Music
By Matt Bushlow
The first thing I noticed upon listening to the new Gordon Stone recording is the stark difference in instrumentation from his previous effort, Touch and Go. Gone are the big brass arrangements that adorned tracks like the Carribean-flavored "South Wind," gone is the combo of Jamie Masefield on mandolin and Stacy Starkweather on electric bass, which originally filled out the Gordon Stone Trio some two years ago. And with the line-up change and the lack of auxiliary musicians, we see Stone working on more of a four-piece sound; he has a drummer on most of these tracks, and I've also seen his posters for recent shows printed with the moniker, "the Gordon Stone Band."
On Even With the Odds, we hear the addition of Andy Cotton on bass (of Rina Bijou fame), and Josh Stacey on electric and acoustic guitars. The addition of Stacey into the trio (or band), changes the sound quite a bit. We're not talking full on rock and roll, but it is the slippery slide-work of Josh Stacey that adds some punch and weight to the solo sections of these tunes. Filled out on Even with the Odds by drummer Russ Lawton (and on a few tracks Gabe Jarrett), the Gordon Stone Trio has been playing together for a while now, and on many of the tunes on this new disc it is easy to tell that they are getting to know one another quite well .
"Hubbleville," a live version of which appears on the Soundboard compilation, MASTERS, Volume One: the Burlington Jazz Scene , shows the boys at their best. This is a solid and interestingly arranged swing tune and the band really enjoys the interplay, with Gabe Jarrett providing a killer foundation and pushing the soloists constantly. Gordon and Josh go at it for a few bars before Stacey takes the first solo, during which he pulls some sounds out of his guitar that are really wild. Don't get me wrong, I'm not talking novelty, I'm talking practice and skill with a slide. Also, the rhythm section really shows its stuff during Andy's solo, after which the band flies into a sudden bluegrass flurry before descending back down into the swing.
There are so many tracks to check out on this disk that I simply don't have room to tell about them all, but I must say this is not a jazz disk, this is not a bluegrass disk, this is not a groove disk. From the Irish-inflected melody and solid tom-rhythms of "Dublin", to the Latin half of "Medley: Time Reel / Abdul's", to the fantastic countrified-ska of "Hoggin' the Spotlight", there is a lot on Even With the Odds to listen to, enjoy, or even skip through (as some of it may not be your thing).
Overall, it sounds to me like the newest line-up of the Gordon Stone Trio is trying to solidify a sound for itself, and while I found the more groovin' 4/4 sections and some of the more tightly composed selections to be not as interesting as some of the improv, it is clear to me that these guys are enjoying themselves, and they are just as willing to take you for a musical left-turn onto a dirt road at fifty miles an hour, as they so literally do on the satisfying lightning bluegrass of "Sunday Driver", as they are to send you easily into the night, with the violin and pedal steel melodies of the closing ballad, "Tiramisu."
Matt Bushlow's reviews may be just a bit too long ...
Laurie Geltman
No Power Steering
Eastern Front Records
By Charlie Messing
Well, this CD is about a woman who likes to hang around in bars, get blurry, make a new friend, go home in a blur, make love, sort it out later, get depressed, try again, same thing. She has the blues, or something.
This CD is too Hootie for me - too sloppy and too neat. And at its core is this world of twilight regret / strum-rock, whiskey-voice, cutie-blues-thing. Really old-school, and I don't use the word "really" lightly. The best track is the hidden rocker at the end, "I Got Something on You," which is followed by a repeat of track one. Period.
Charlie Messing is that guy from Be That Way. You know. That guy.
Various Artists
No Secrets
Big Heavy World
By Max Owre
Music is so cool, because musicians are so cool. Whenever musicians can give of themselves to help make the word a better place, it makes me very proud of all those cool people I know (WOW, I always knew they were cool). Recently, Burlington musicians pulled together to help another group in need celebrate their 25 year of service. That group was the Women's Rape Crisis Center, on the front lines in the battle against violence to women and children. This is a serious cause and there is plenty of serious music on the album. The opening flute of Rik Palieri sets a tone of loneliness which is a fitting emotional basis for the project. Songs by Katherine Quinn and the sonorous penny whistle of Whisky Before Breakfast maintain some of this feel in the production. Rachel Bissex and Kate Barclay sing solo pieces without instrumental accompaniment that are particularly powerful. Bissex is mournful and sweet, Barclay defiant and strong, both are excellent.
Strong tracks by Aaron Flinn and Strangefolk keep the album pumping along, and the pop song by Mistle Thrush "51 pegasi: rocketship v.2" is great fun. I also liked Rebecca Simone's "State of Emotion" which is definitely from right field on this album with its smooth urban funk.
All of the songs fit nicely on the disc and provide a good varied listening session, but my favorite song is undoubtedly Motel Brown's "What You Mean." Maybe it is my bittersweet feeling at the recent demise of this Burlington icon that finds their optimistic anthem (there is no other word-it even has a Foreigner-type chorus) on this particular album so endearing. It is a "stand up and sing along" type song. That is what all of these musicians have done in providing their time to a worthy cause; they have stood up together to make a statement and a difference.
So go out and buy the album, and make a difference. Go Now. Did you go yet?
Max Owre is lead guitarist with the alt-funk-groove machine called (sic).
Saudade
Live Last Fall
By Kevin Murrihy
For a state so far from Brazil, Africa and Japan, Vermont certainly has a bunch of musicians that can perform these "world" beats with the greatest of ease and originality. Burlington's Saudade (sow-da-jee) have been offering up their spicy Latin jazz rhythms for audiences in these parts for a couple of year's now and Live Last Fall is a testimony to their talent and growth since their self-titled debut about a year or so back.
Guitarist Raphael Groten leads Saudade, in just about every way. In addition to writing most of the album, Groten also produced the disc and designed the packaging for it, lot of work that paid off.
The album opens with a trombone and trumpet driven salsa number entitled "Jumpin'." You might have heard it before on Magic Hat's Feast of Fools compilation released this past Christmas. The remainder of Live Last Fall, except the final track was recorded during the same session at the Magic Hat Brewery by Joe Egan.
Following "Jumpin'," "Clues" leads the ensemble in a more swingy direction. Swing big these day, the kids love it. The track's got really subtle but catchy guitar riff that starts the song and sticks around as a background for the horn sections. If I haven't mentioned it before, Saudade's got a damn fine horn section comprised of Lee Gilles on alto saxophone, Zack Leader on tenor saxophone, Qiumars Samandari on trombone and Jim Anderson on trumpet. Like virtually all Saudade tunes, this one is an instrumental, except for some jazz scatting from Samandari.
Moving ahead to "ii v," Saudade begins to dabble in the lounge realm of Jazz. I down know what it is about lounge music that bugs me, but "ii v" had me press the skip button. Instantly, "Who's Got What (San Frandisco)" powers into my headphones, the acid-jazz number has the horns way, way out in front. In spite of this, I actually notice the steady pluckin' of Dave Lanxner on bass for the first time. I really started to get into this one. For a second, I was waiting for Heloise or Fattie to burst out of nowhere and start bustin' out some vocal before I realized, woops, wrong bands.
"Dreamin'" followed but my great spirits that came while listening to "Who's Got What (San Frandisco)" left. I'm sure "Dreamin'" is a good jazz song, but it just sounded like a really good band that enjoys playing fast being forced to play a slow tune, like at a wedding or something. I had similar feelings regarding the next few tracks as well. Great songs, I'm sure but I was really looking for a really jump salsa-jazz tune.
"Swung" did it for me. The up-tempo jazzy muted trumpet intro. Into sax solo flows well. Saudade should focus more on the fast stuff, but that's only my opinion. Oh, Samandari has a good time scatting again on "Swung." The track also features the first noticeable solo for John Lilja on upright bass. "Eddie's" follows "Swung" with similar energy, but lacks some of the screaming flare of "Swung."
"Lover's Funk's" unlike one's prior was recorded live at Club Toast. The slower moving jazz track features a guest appearance by Chad Hollister on timbales. The song seems like a slightly somber note to end the album on but then again that just my take on it. As a whole, Groten and all who comprise Saudade should be proud, they're a talented jazz-salsa ensemble that can really put on a hell of a show as proven by Live Last Fall.
Kevin Murrihy is the station manager at WWPV, the St. Michael's College radio station.
Don Piper
A Don Piper Situation
Scrimshaw Records
By Charlie Messing
A Don Piper Situation is a vague situation. Soft, jazzy-blurry-yodely version of some kind of Beck. Lots of studio time, not much to say. Short CD, five songs (and a hidden track, the best for me, a nice spacy loop). Nice production. Get out more!
Charlie Messing, a late bloomer, has a band called Be That Way. He used the word blurry in both of his reviews.
Various Artists
SK8 98
Mezzoman Productions
By Chelsea Condos
So... I got to do this review cause Andrew thinks that The Sex Pistols are "the only band that had the right to call themselves punk rock." He wouldn't be wrong on that count cause The Sex Pistols began what is now called punk. And Chris would mock the whole CD. He wouldn't be totally off in his action either. I've definitely heard better punk, but this is a decent CD and I'll give it it's due.
H2O's "Everready" was a pretty straightforward power-punk song. Good, but nothing special. Murphy's Law, one of my personal favorites, stays true to their classic, crazy, comedic punk. They seem to have a Peter Pan complex, but that's their style and it sounds pretty damn good. Dayinthelife... has a good song for the most part, but the vocals need to be turned up. It sounds very passive in between the Murphy's Law track and Corey Glover's power-rock, in-your-face vocals on "Do You First... Then Do Myself." Tree's "V.O.C (Victim Of Chance)", is classic skater-hardcore punk. "El Sol" by Shootyz Groove seems slightly out of place, especially since I don't like rap, but still a decent song. Eastcide reminded me of Vision Of Disorder (a good thing since they're my favorite hardcore band). Nothingface is a little VOD-ish as well with a few added softer and slower segments that add a welcome break from the screaming. The Proton Accelerator's "Proxima Centauri" is part techno, part pop, a little bit trippy with a Bran Van-ish sound to it. Yes, it is a strange combination. I like it. Scissorfight has a very deep gothic hardcore sound to it. I don't particularly like this band, but that's more of a dislike for their showmanship. They played here with Sam Black Church a while ago and were complete dicks to the audience who was trying to enjoy their music. WOW! You guys are badasses! You randomly give the middle finger and yell things like, "We rule! You suck!" H8 Machine... hmmmm.... bad name. Horrible name, in fact, but it's decent hardcore so they're forgiven for their bad taste. Forcefed Shovelhead is really, really pissed. "The system" just doesn't seem to be working for them. Chillum is okay, a little repetetive, but not too bad. Rotors To Rust opens sounding like a cross between The Misfits and Nirvana, and remains a punkier Nirvana for the rest of the song. I don't like 7 Hill Psychos. It's kind of hip-hop punk, two genres that just don't work together. It is boring and had the same uncreative beat through the whole track. Split is worse. The lead singer doesn't have a punk/hardcore voice. And again, the hip-hop calls in the background just don't work. Sticker... Girl punk. Not usually my favorite but not all too bad. I'm picturing the lead singer to be a 16-year-old skater chick. Right on. Huck's "Catchy Phrase" is not a bad song, it just doesn't fit on this compilation. Sounds like it belongs on the Buzz. It's too pop/alt rock for a punk hardcore CD.
Overall, this is a good compilation. something for everyone, rock, alt rock, techno, punk, hardcore...etc. Although, I think that's its downfall. It needs to focus more on a couple of styles and have multiple songs from various genres, not one from each.
Chelsea Condos is sixteen years old and she's very, very excited that the Misfits are coming to Club Toast in September. Those guys are, like, three times her age, aren't they?
Various Artists
Soundboard MASTERS
Volume One: The Burlington Jazz Scene
Soundboard Records
By Matt Bushlow
The Burlington Jazz Scene does an excellent job capturing what goes on in town in terms of "improvised and experimental music," as Pete's subtitle to his 'zine Soundboard , says. Not all of these tracks are what some listeners may think of as "jazz," but they all touch upon the genre and doubtlessly draw upon its improvisatory influences and often the head-solo-head-solo structure.
Though there are many great performances on this disc, the one track where I find a band completely on, listening to one another, acting and reacting, is ViperHouse's "Pugsley System." The band is a living, moving force, from the transcendent melody, stated here and accentuated by the instrumentation of the horns and at least one violin, to the confidant and propelling quarter-note pulse on the cowbell. The rhythm section is hot, and the players are ready to go.
Not to say that the rest of the Burlington Jazz Scene is lacking at all: check out James Harvey's piano solo on the 5/4 swing of "Tailspin." There is not much I can say except absolutely mad percussive convulsions. I'm not sure if Harvey plays the piano intro to Option Anxiety's "Dark Things," but the style is similar and the playing creates an ominous atmosphere for a tune that starts very free and features both a great bass line as a foundation for the head (big surprise) and a solo consistent with Stacy's best nights.
Saudade's horn section sounds huge on the JB Horns-ish melody to "Who's Got What (San Frandisco)," and features a great trombone solo in a world of too many saxophone solos. Jazz Mandolin Project gives a wild performance of a tune called "Igor," which starts out with a loping 5/4 and switches to an up tempo latin feel that shows this trio at its best and is perfect fodder for Gabe Jarrett's drum solo. Though there is plenty of room for the band to move around, this tune sounds very composed and we can see why it is such a shame that this line-up no longer exists: the chemistry between the three musicians was untouchable.
I was surprised and impressed by Pete Gershon's self-produced first compilation on Soundboard Records, and it opened my eyes to the high level of playing that goes on in Burlington on a regular basis. Sure, bands aren't always hot, but from this sampler we know that any given night can produce gems that will never exist again (except on tape or disc). The only real let down was the last track, a very Medeski/Meters-like organ trio funk tune by i'm big and i can dig. After all the masterful solos and band interplay, this track sounded a bit young and unoriginal, especially when the players seemed to rush a bit during the second section. Not bad, just a bit disappointing after such a strong group of players and compositions.
..ayuh, they just may be.
Tragically Hip
Phantom Power
Sire Records
By Andrew Smith
I was one of the lucky few who got to see the Tragically Hip many years ago on the ferry somewhere on Lake Champlain. I was pretty drunk, I seem to recall, and I got into an argument with Mister Mike Luoma, although he doesn't remember it. It may be the memory of a drunk, but I think the whole boat was crazy that night. There was a fever pitch going on, know what I mean? I remember that the band got the crowd pretty riled up, and I didn't really know any of their songs but my friend Jeff Angione (who owns Tones) kept telling me that they were great so eventually I started to believe him. They were certainly great that night. We all were.
It took me a while after that to actually hear a Tragically Hip record, but I did and I was nonplussed, at best. These Canadians were a little too sincere for me, and they just sang with too much soul, if you know what I mean. That throaty thing. And the melodic hooks just weren't memorable at all. We're talking dull.
Most of the United States seemed to agree with me, because their records didn't do anything down here, even while they hit sainthood back home in the great white north. I think I heard that Burlington and Detroit were their only big US markets, and knowing Vermont's weird relationship with all things Canadian, I figured that was true. We love you . We hate you. We love your money. We hate your attitude. The Tragically Hip. Very Canadian, I must say. They even sing about hockey.
Okay. I'm warming up to them a bit. After only, what, forty or fifty albums? Phantom Power is a very subtle record. I didn't catch it the first time, just like I didn't catch the band the first time. I almost didn't go back for a second listen, just like it took me years and years to give the band another try. Almost didn't. Damn, I keep screwing these things up.
"Poets" would appear to be the first single. I saw the video on Much Music on WWIN late one night. The band is moody. Gray. Surreal. Brooding. Not overly Canadian, after all. Phantom Power is a really big sounding, ass-kicking rock record. And now that the Bare Naked Ladies have finally hit paydirt, the T-Hip's time might be right. Finally.
Andrew Smith doesn't drink anymore, by they way. Just thought we'd tell you that.
earlies
earlies
(slag) Records
By Scott "Swamper" Bouchard
Hey, this CD ain't too bad. Me and the boys like to take our dirtbikes out to Enosburg and go mudboggin' to this album. Yuht. This here album is friggin' good.
Now, usually I like stuff like Led Zep or The Doors or stuff like that, and good mudboggin' music is usually The Charlie Daniels Band or Van Halen and stuff, but I like the earlies, and, well, this is new to me. It's not as ass kickin' as stuff by Ted Nugent (NUUUUGE!!!) but it ain't that bad there, guy!
Good guitar rock with lyrics that are pretty cool. Yuht. My good bud Jason Benoit said: "Turn that pansy stuff off, douchebag!" But I said: "Hold up there you touchhole, listen to it for awhile, big guy!!!" And he liked it. Pretty soon, all my buds started to like it. Except Tucker Deuchamp who thought it was queer, but he really is a douchebag, anyway.
Now, I ain't ever been to high school, and I only gots a third grade education so I ain't to good at writin' these here reviews, so I gave the CD to Chris Parizo and here is what he said 'bout it:
"This CD is pretty cool. Crunchy guitar riffs with catchy vocal hooks. Recommended if you like My Own Sweet or Sunny Day Real Estate. The band is talented and probably destined for a large uderground indie following. Excellent song craftsmanship with some cool effects thrown in. Great pop rock with songs about teen angst, boy-loses-girl or boy-caught-by-the-cops-with-pot stories. Pretty cool."
Yuht. There you go. Buy this here CD and stuff because it's good and shit. NUUUUUGE!!!!
Scott "Swamper" Bouchard likes to hang out in front of the mall and laugh at you as you walk by.
Belizbeha
Void Where Inhibited
By Chris Parizo
In a world where swing, ska, and dance musics are the zeniths of hipness (for the rest of the year anyway), I have to ask myself why is it that the band Belizbeha isn't doing bigger and better things? I know what they are accomplishing -- packed houses all over the country, playing with everyone from Kool and the Gang to Busta Rhymes and selling too many damn CDs (everytime I am in Pure Pop I see someone carrying a Belizbeha CD, getting into purchase mode), but still... there is a whole world out there for them to take over.
I enjoy Belizhbeha. They provide grooving tunes that stand toe to toe with Brand New Heavies, Ozomatli and even that band that is on MTV everyday (or maybe it's a group of bands... I am not too sure) and they also rip when they play live, and now I have Void Where Inhibited. A great example of some of Burlington's best musicians who somehow ended up in the same band.
This CD might be the one to put them on the road of greatness. Who knows, maybe someone from Universal will snag them up and a year from now we will see Fattie as a guest judge on MTV's "Say What Karaoke," hanging out in the Florida sun with a cool pair of Raybans, holding a cardboard 9 in the air after someone lip syncs Def Leppard's "Pour Some Sugar On Me." Anyway, Void... has the capability of doing this, because the music is strong and hip, and the more souldful tracks on the albums that are sung by Kadi and Shauna could quite possibly be hits. Does this mean I like it?
That's the problem... I don't know. It seems to be Charlie's Dream Part II. There doesn't seem to beenough growth between the two albums, production wise anyway. With the exception of "Whenever She's Around," a great Stevie Wonder-esque smooth groove that deserves some serious airplay, the songs remain the same: funked-out keyboards, a strong backbeat, the laidback guitar technique of Mr. Bob Dunham, the delicate touch of vocals by the ladies, and some flow from Fattie. I was hoping to get some more drive or something.
Void Where Inhibited kind of let me down. When I heard that the Beliz's were heading into the studio with Rob Stevens, I was hoping for a more experimental album... something that would push the boundaries of acid-jazz and create a new format of music.
If you are a Belizbeha fan, Void Where Inhibited is worth the ten bucks. Your expectations will be fulfilled by a great album that represents the band at their best... but for me, I feel like I've heard it before.
Chris Parizo plays bass for Burlington's Chin Ho! and never watches MTV.
Picture This
Reach
By Max Owre
Picture This make pleasant music. From the very first song on their new album "Reach," where the crystal clear melodies of this Vermont jazz trio are beautifully recorded, a comforting aural pillow grabbed my head and pulled me into its snippety downy goodness.
Is that really the guitarist singing like that or is it a synthesizer? What does it matter when he (guitarist Jerome Monachino) flies through incredibly smooth complex lines like an excited but gentle madman throughout this album. His sound is somewhat like Metheny - a common phenomena in the chorus heavy world of jazz - but he distinguishes himself in his soulful and lively takes on the band's original melodies.
Monachino and Pianist Peter Engisch wrote all of the songs on Reach and although the album is seamless in its presentation of the 'new jazz' genre, it has remarkable shifts in mood and interesting tensions. It can be heard and felt in "Something about Elena", where the slower ballad feel slides into a swinging modal piece capped with superb piano work by Engisch. Or in "Miles Away" which alternates between a nicely paced almost pop melody and a decidedly rock bluesy climax.
It takes a good drummer to play with the energy and stamina that this music requires, yet exert control throughout. Drummer Matthew Deluca plays solidly throughout the album moving from the driving uptempo of "Tell It Like It Is" to the Latin "More Ways Than One" without skipping a beat. He is also an impressive funk player, whipping out a fat (or is that PHAT?) beat on "Chocolate Amber".
If you like expertly played easy listening jazz, this album is for you. The recording and production of Chuck Eller and the band are flawless and 'big sounding'. The band is by no means monotonous as the diversity in their songs adds texture on many levels, but some obvious styling of what we all know as 'soft jazz' may turn off the casual listener to this album. However, the forgiving ear will be pleased to hear pretty melodies and ass whooping licks wrapped up together all squishy and nice. I bet these guys take this material into great spaces live. Check it out, baby.
Max Owre is a man. He plays guitar. He writes. He loves Napoleon.
The D. Jarvis Band
Davemania
Chemical Records
By Chris Parizo
There is nothing more important about a finished CD product than the mix. What is the mix, you ask? Well, the different levels of each individual instrument is adjusted to make the music seem rich and full, while making sure that every instrument can be heard. If the mix isn't good, the CD will sound like ass.
The D. Jarvis Band's debut CD, Davemania, unfortunately has a terrible mix.
The guitar levels are way too low, the vocals are way too loud and the bass is practically inaudible. At least on my stereo, it sounds like ass.
The back cover of the CD states: "Under extreme pressure during the Burlington Music Conference, The D. Jarvis Band took nine hours to record Davemania...." Well, the mixing process and mastering process must have been overlooked because this sounds horrible. Extreme pressure? Does that mean that this CD is going to be sent out to industry? Dear God No! Take all the D. Jarvis Band tracks from the Big Heavy or Good Citizen compilations, buy some blank tapes at Advance and make a cheap demo tape that will sound ten times better and send that to the labels.
This is a shame because The D. Jarvis Band is a great band that writes good pop songs and I know that the songs that appear on Davemania are good songs because I have heard them before live and on various compilations, the song "Decide" is actually one of my favorite local songs right now, but you would never know it being a first time listener to Davemania..
Chris Parizo is this guy... who... uhm... does stuff... uh... sometimes.
Eric Bogosian
Pounding Nails in the Floor With My Forehead
Blackbird Recording Company
By Alex Masse
If you have never heard Eric Bogosian before, do yourself a favor and pick up this CD. Bogosian is probably one of the greatest public speakers/ storytellers of all time. The list would probably go 1) Jesus Christ 2) Adolf Hitler and 3) Eric Bogosian. He could lead us all to salvation if he wanted to.
This CD has no music, just a man speaking. He will entertain you for hours. He is funny. He is thought-provoking. He is the man.
Think Spaulding Gray with balls.
If your position in life calls for you to drive endless hours across America with nothing but the radio to keep you awake... the CD is perfect for you, a good break from music.
Recorded live in front of a full house at the New York City club called the Knitting Factory, this CD is as rock and roll as rock and roll can get. He is raunchy and he is dirty, but smart.
Only Bogosian, in his New York City street smarts, could play the role of a homeless man in the CDs opening monologue "Molecules," who talks about oral sex and dirtiness, who will eventually start pondering his existence and the very matter of life. Perfection.
You need to understand that Eric Bogosian is not a comedian, nor is he a one-man play... he is a genius. He knows life... he sees it all and is not afraid to talk about it. ("Why do you feel so good? Because you are stoned and you just had an orgasm. That's why. Simple arithmetic, man.") Listen and learn.
Alex Masse is one crazy sum-bitch. He says that if you go to the Knitting Factory for a show, try the balcony.
Superkreme
Superkreme
Acme Entertainment, Inc.
By Chris Parizo
Sometimes I wonder where all the good albums have gone. Not one band that I have heard lately is close to capturing "a moment in time" for me. I think that the last record that really hit me was Superdrag's Regretfully Yours... but that was two years ago. Where are the modern classics that never seem to die, the albums that you could never get sick of... no matter how cheesy or "uncool" they get? Records like Made of Stone by The Stone Roses, Murmur by R.E.M., or even (now sort of embarrassing, but I like it so I'll stand beside it) Appetite For Destruction by Guns and Roses. They all have a permanent spot in my CD collection for the rest of my life. None of the new bands that I hear get me excited. Who knows, maybe everything sucks. Maybe there is no hope for rock and roll. Maybe the next Great Rock and Roll Record won't be done for awhile.
However, the band Superkreme comes pretty damn close. Their self titled debut CD is almost a collection of all my favorite singer/songwriter acts put into one group. I hear Matthew Sweet, Bob Mould in his Sugar mode and even early R.E.M... this might have something to do with the album's producer Mitch Easter (R.E.M., Pavement and Velvet Crush). The album is a perfect pop album, with enough hooks and lightly distorted guitar chords to make Toad the Wet Sprocket pee their pants.
The lead vocal duties are evenly exchanged between Matt Sobol and Susan Rasch, both of which do their job well. Matt writes the dancey pop stuff while Susan's lyrics are darker and her vocals can at times sound a little like Concrete Blonde (I seem to dropping the name of every single band I love). Such songs as "Hangnail" and "Swerve" will be on the next twenty mix tapes I make.
All and all, I am a pop-music junkie. There is nothing I like better than a good pop-rock song... Superkreme fits the bill perfectly.
Chris Parizo loves to see his name in print. Here it is again. Chris Parizo. There.