Reviews
The Maggies, Atomic Joe, Brandon Sweeney, Charlie Messing, Joydrop, Great Big Sea, Cyclefly, Hard Luck, Dovetail Joint, The Stockwell Brothers, Dude of Life, Hotplate Life, Justin Pardy, The Neutral Groove, Percy Hill and Various Artists
The Maggies
Homesick
Chickenman Records
By Andrew Smith
The Maggies may just be the greatest band you’ve never heard of. I mean that in the nicest way. Originally from New Hampshire and relocated to Northampton, Massachusetts, The Maggies have been releasing wonderful albums of quirky pop rock and flawless guy-girl harmonies for about seven years, and I just discovered them by accident when we were booked to play together at Marlboro College in southern Vermont this past spring. After the show, I e-mailed one of the band members and said that if it was possible to have a crush on a band, he should consider me crushed on The Maggies. I hope he took it the right way. Not that there was a wrong way, mind you.
Let me say for the record that I’ve seen a whole bunch of bands in my day, and The Maggies were the first band in a long while to completely capture my attention. A four piece blending the delicate vocals of band co-founder Philip Price and the beautiful voice of more recent addition Adrian O’Carolan, The Maggies create a pure pop frenzy that rocks hard but never loses the harmonies in the mix. Bass player Max Germer (the other co-counder of the group) bounces up and down when he plays and drummer Stuart Wright (an original member of The Dambuilders, by God) kicks some serious ass. Wright is really one of the best drummers I’ve heard in a long time. But let’s talk about the CD.
Homesick is a thirteen song collection (including the bonus track) of immaculately produced, very pretty, pop. The instrumentation of the record includes cello, violin, tenor sax, harmonium, casio, theremin, chamberlin and the usual guitar, bass and drums and really, truly, wonderful singing.
Kicking off with “A Different Sun” (“A different sun was built by assholes”), which sounded so damned natural and familiar I swore I’d heard it before, the album has highlight after highlight for me. “Hit on the Head” is the second song on the disc and is another gem of a pop song with lines like “Why I’m pissed off, well I swear that I don’t know, And I miss all of my friends in Idaho.” “Wrong” is an ethereal kind of ballad that rocks out in all the right places. “Love Comes Inside” uses a similar method, building tension in the verse and exploding into a neo-Cowsills dance-in-the-sunshine chorus before dropping way down for an anti solo bridge.
Damn, it’s hard to pick my favorite song on this CD. It’s that good. But when someone says “It’s time to rock now. We’re rocking!” at the beginning of “Load it Up,” I almost giggle with the happy, happy, happy joy of it all.
Even if you think I’m usually full of shit, please, please, please go out and get this CD. It’s that good. Really, really, really. The Maggies will be appearing at the Good Citizen New Music Showcase at Emerald City on July 30th.
Andrew Smith is the editor of this magazine and he’s usually full of shit but he’s right on about The Maggies. They rule.
Atomic Jo
Atomic Jo
Self-Released CD
By Mark Hamm
Somewhere in between homegrown southern modern rock — SC’s Hootie and the Blowfish or GA’s Widespread Panic — and the northern indie-pop rock — Boston’s Buffalo Tom or NY’s Burning Airlines — lies... well... West Virginia. So in between these two dynamically different regions and their accompaning styles of music lies some sort of common ground. If that area does exist, than West Virginia’s Atomic Jo has found it.
Not fearing a distortion pedal, Atomic Jo knows when to rock. Loud guitars, a tight rhythm section and soaring vocals make the Atomic Jo sound. With the occasional bluegrass riff thrown into a song to confuse you a little more, their music works.
The only problem that I could find was in the vocals. For me, singers in groove rock bands or groove rock-inspired bands just don’t have soul. I feel that this goes back to Jerry. Okay the guy could play but his voice was as weak as Karen Carpenter’s last days. Usually you end up a getting a thin vocalist (just like Karen Carpenter again!) who can’t match the strength of the music. Atomic Jo’s vocalist, fortunately, doesn’t fall prey to that too much on the record, but every now and then I found myself wincing.
Faves are: “Eliza,” “Splendor” and “Faye.”
Mark Hamm has finally found an apartment in Burlington... it only took him three months.
Brandon Sweeney
Stranger Than You
Self-Released CD
By Chris Parizo
Brandon Sweeney should be on the “who’s who” list of Boston’s music scene. In the past, he has fronted such Beantown bands as Karmasonic and Notary Public, sort of a Buffalo Tom meets the Cure kind of thing. Well, anyway, Brandon Sweeney has struck out on his own with his first solo album titled Stranger Than You. By the way, did I mention that he is a fine looking man. Damn.
Playing all the instruments on the CD, Sweeney ventures into the familiar waters of the Psychedelic Furs, Pink Floyd, David Bowie and at times, a splash of some Iggy Pop. Big, swirly guitars and synth lines with top notch production. Damn, great taste in music, talented in the ways of playing instruments and good looks too. I’ve never been with a man before but maybe...
So here’s the summary; Brandon Sweeney has released a great solo album that ventures away from his rock-group days and that album is called Stranger Than You. He plays all the instruments on the album and the album is good. He is a good looking guy who makes women melt with his devastatingly handsome good looks. Yep.
Chris Parizo wants to give a shout out to his Moms; Big Up Mom! We want to mention that he bears an uncanny resembalnce to Brandon Sweeney, since he didn’t. He does, and it is uncanny.
Charlie Messing
bit
Self-Released CD
By Anthony Morazetti
I have this theory. I believe that Elvis Costello has gone underground. Embarrassed by his appearances in such feature films as Spice World and Austin Powers: The Spy Who Shagged Me the man has lost his vision. His pairing with that evil and manipulative bastard Burt Bacharach — oooooh that bastard — has thrown Elvis in a whirlwind of depression and lost focus. He has re-emerged as Burlington singer and songwriter Charlie Messing and he has released a CD titled bit — a CD of nothing more than a man and his guitar with a little percussion in the background.
Of course my theory is wrong, but Messing’s CD is drenched with Elvis Costello’s songwriting-style. This is proven on the opening track “Humdinger,” as well as penty of other songs on the album. The other Elvis in rock history — Presley for those of you who couldn’t figure that out — can be heard on track 4 titled “Call Me.”
bit is a CD of great songs by a talented singer and songwriter, a little too strummy but still good songs.
Anthony Morazetti lives in Chapel Hill, North Carolina and does his own music magazine called Hang Job Magazine. And it is rad.
Various Artists
Aware 6
Aware Records
By Andrew Smith
Aware Records started a revolution. Really. Founded by one guy in college almost a decade ago, the label has released six compilations featuring bands that would become household names like Matchbox 20 (then with the even worse name Tabitha’s Secret) and Hootie and the Blowfish. But they did a lot more than that. They started a network of like-minded college kids who promoted the hell out of the bands featured on the Aware compilations. Aware booked tours for the bands. They worked their asses off for bands that weren’t even really signed to their label, and eventually they grew into a deal with Columbia Records that allowed them to sign and market bands through the mega-huge Sony corporation.
The beauty of the Aware comps is the quality of the bands. There ain’t a whole lot of crap on an Aware disc, and there’s only one song on the new one that I don’t like and that’s just because the singer (Cary Pierce of Jackopierce) is a little too sweet and insipid for my tastes. The highlights of this disc include Shawn Mullins (and it was released right before “Lullabye” got so overplayed on the radio and MTV), the Florida-based Noel Hartough and Maine’s superstars-in-waiting Rustic Overtones.
Suffice to say, if you’re a fan of new rock music, you just can’t go wrong with an Aware compilation. Pick it up at a store near you or check out their new website at www.awaremusic.com.
Andrew Smith isn’t just sucking Aware’s dick. He really likes the CD.
Joydrop
Metasexual
Tommy Boy Records
By Chris Parizo
With swooping guitar riffs, live drumming effected with loops and various sounds , pounding bass lines and the near perfect female voice on lead vocals — Toronto’s Joydrop has released a monster named Metasexual. And I always thought that the only good thing out of Toronto was my beloved Maple Leafs.
What is Joydrop? Picture the band Garbage, now add a lot more live instrumentation, subtract all of Shirley Manson’s bullshit, throw in a pinch or two of Blondie, Radiohead, Aimee Mann and The Heart Throbs, now add the velvet-like voice of lead crooner Tara Slone and multiply the whole thing by 100 — and you might get the idea.
The first single off of Metasexual, the radio-hit-ready-to-be track titled “Beautiful” is a prime example of what Joydrop is about — an emotional rollercoaster of dynamics. The track opens with dreamy guitar of Thomas Payne and the gentle murmuring of Ms. Slone, an ethereal opening that has the listener completely mesmerized — until the chorus slams into you as serious as a heart attack. Tony Rabalao crashes down with bone crushing power on the drums with the puntuated hits of bassist Tom McKay — check your pulse if you don’t react.
Other tracks on the album, such as “All Too Well,” “Spiders” and “Fizz” shine just as bright — however, the gem of the album is the gut-wrenching “Breakdown,” a loud, mid-tempo rocker that should be on that mix tape that you plan on giving to your ex-lover.
Kudos Tommy Boy.
Chris Parizo came to drop bombs, he’s got more rhymes than the Bible’s got psalms and he plays with Chin Ho! And he’s in the band, too.
Great Big Sea
Rant & Roar
Sire Records Group
By Michael Yeaman
Har maties!!! Canadians, stand up on yonder table and wave yer drinks above yer head!!! Har!!!
All right there land lubbers, for those of you who haven’t heard of Great Big Sea I have pity for you. All of the band’s music is highly inspired by their Newfoundland roots; maritime traditional tunes of the sailor’s and pirate’s who called the island their home — all of that with a hint of rock and roll — kind of like Billy Bragg meets that pirate from The Simpsons and they make a band together. Uhm... yeah.
Great Big Sea’s music is fast and furious that will have you dancing on top of your table and screaming along to every seaman’s chantey — even if you don’t know the words. And their version of REM’s “End of the World” is a hoot.
Michael Yeaman eats his weight in iceburg lettuce.
Cyclefly
Generation Sap
Radioactive Records
By Chelsea Condos
This is a strange one. But I like it. The mixed-European band, Cyclefly, is incredibly difficult to describe. The band’s influences have to be significantly varied with a pair of brothers from Ireland, two Frenchmen and an Italian. Electronic pop with almost a slight Marilyn Manson tinge. The vocals are a cross between Billy Corgan’s droning, Robert Smith’s ethereal abstractness (I think I just made up that word) and Perry Farrell’s high pitch. The music is smooth and thick sometimes building the song from nothing but vocals at the beginning much like the band Hum. There are lots of guitar solos, some of them cheesy, some gritty, and many trippy really cool segments. The lyrics are very abstract but fit like a glove with the music. Lyrics such as those in “Crawl Down” leave you riding the fence trying to figure out whether Declan, the lead singer, loves or hates himself. “I am the pleasure you call pain, / The flash that lacerates your brain. / The undisputed King of shame.” He also describes feelings we all go through in a clever and well written way. “A line so fine you wonder / which way you should fall.”
Overall, this band also features Skinny Puppy’s mysterious, provocative sound without the industrial samples. After reading a comment about their live show describing Declan as “the bastard child of Iggy Pop and Scary Spice,” I would seriously like to see these guys perform.
Chelsea Condos has the sixth sense that makes the boys cry.
Hard Luck
Hard Luck
Self-released CD
By Chris Parizo
You have to give credit to a band who has no fear in getting up onstage and singing these lines: “She takes off all of her clothes/ and she goes all the way down/ down that only road she knows.” Damn! I think I need to take a cold shower!
Hard Luck’s self-titled debut album has all the qualities of a classic rock outfit: hard and crunchy guitars yanking out glorious solos and letting it rip on those huge choruses, with enough oooohs, aaaahs and yeahs to make Vince Neil envious. Vocalists Mike Pelkey and Mike Ledoux take turns with the front vocals, while Pelkey and other guitarist Dan Birdsall switch bass duties from song to song.
“Just The Way It Goes” was a favorite song until I unconsciously started to sing “Knockin’ On Heaven’s Door” and it fit way too well, so I dismissed it and named “Live For The Moment” as my favorite track. “Gerbil Farm” made me scratch my head for a while trying to figure out what it means when he says: “I’ve got a gerbil farm.../ but still I’m thinking about you.” A Richard Gere reference maybe? Maybe he can’t pleasure himself as much as the person who the song is written for, even with the aid of small furry critters? I don’t know. “Gerbil Farm” gets this year’s “Huh?” Award at the 1999 Good Citizen Music Awards.
All and all, this record is fun. Enough power chords and guitar licks, oral sex/ pot references and punching tunes to keep me listening. And besides, Mike Pelkey is holding a Flying V guitar in the band photo — Hard Luck is fucking rock and roll, man!
Chris Parizo use to make fun of the Flying V that Daryl Rabidoux owned when they were in high school together. Now, Chris has grown up a little and has come to appreciate the Flying V. Chris apologizes to Daryl for making him cry all the time.
Dovetail Joint
001
Aware/Columbia
By Megan Bohler
So, Chris Parizo (Good Citizen co-publisher) stops me on the street and reaches into his bag. “I’ve got a CD for you to review.”
“What?” I reply.
“They’re from Chicago. You’ll love them” he says as he hands me a CD and walks away.
“I’m going to like them because they are from Chicago?” I yell back.
“Yep, “ he turns around to face me but walks backwards, widening the distance between the two of us. “That’s where they filmed The Blues Brothers Movie, ya know.”
“Oh,” I reply, quite confused and holding Dovetail Joint’s 001 in my hand. “Oh.”
So, I bring the CD home and put it on my desk, leaving it there for a couple days to collect dust and eventually camouflauge itself into what I refer to as “clutter.”
I received six phone calls from Chris, asking me to review the CD and then give it back to him or just plain give it back to him so that he can listen to it. Now, I have only had the CD for 48 hours and Chris has already called me six times to get it back to him, so I figured the album must be sort of okay.
I found the case under a pizza box and put it into my CD player. Let me say this: I was blown away.
I was expecting another Counting Crows- clone. You know, that “I-am-so sensitive-and-depressed-that-I-should-be-shot-and-put-out-of-my-misery” music with the occasional state name thrown in there every now and then. But what I got was a fullblown balls-to-the-walls rock band that brings images of The Replacements mixed with some So-Cal Eve 6 thrown in with that mid-western sensibility. Every now and then, that early eighties XTC shines through — especially on the first single “Level On The Inside,” a straight up hard rocking pop song that says: “Add me to your radio station’s play list or else you are an asshole.” Yeah.
So, Chris was right. I am pretty sure that I liked the CD because of the music and not because of the hometown of the band, so he was kind of right.
Megan Bohler is a UVM sophomore who has seen The Blues Brothers movie eighteen times.
The Stockwell Brothers
Leave My Dreams Alone
Self-Released CD
By Richard Clayton-Ayers
With a hint of reggae and bluegrass, The Stockwell Brothers’ second album Leave My Dreams Alone is a gentle listen of their families homebrewed Vermont folk flavor. Riding funk and Latin rhythms, with high flying harmonies, The Brothers dance across a wide spectrum of musical planes. It’s the perfect amount of banjo, warm acoustic guitar and samba jams that is needed to make an impressive release.
Tight, original and uplifting, The Stockwell Brothers deliver.
Richard Clayton-Ayers lives in Shelburne with his family and is a volunteer at Shelburne Museum.
Dude of Life
Under the Sound Umbrella
Phoenix Rising
By Chris Parizo
The Dude of Life has to put up with a lot of shit. So what if he is viewed as a Phish tag-along? So what if his career is seen as an extension of Trey and the boys? Some people feel that there would be no Phish if it wasn’t for the Dude of Life — and then of course there are a lot of people who think that there would be no Phish if it wasn’t for themselves. Go ahead, ask someone. I’ll wait.
But, the Dude sold 100,000 copies of his first album — Crimes of The Mind when he was on Elektra Records — and that is one-third of the album sales that Phish rakes in for each release! Not bad, not bad.
Under the Sound Umbrella goes beyond that of the Dude’s Elektra release — however not that far. Needless to say, I was expecting more from the man. His voice tends to be too shaky and lacks the passion in which it should be delivered. The songs are obvious reflections of the influences of the Dude — the songwriting and production approach of “Puppydog Named Madness” is way too “A Day in the Life” for my taste. And of course, one must look at the ramifications of the death of Princess Diana and realize the worst one of all is that a song like “Paparazzi” was written.
Maybe there is a reason as to why the Dude of Life stays close to the Phish camp. It might help him gain some respect if he distanced himself from the Piscean bretheran and struck out completely on his own — like having his CD inside photo not be of him backstage at a Madison Square Garden Phish show with those fairy dancer things (including the lovely Mindie Kinzie) would be a good start... maybe a picture of him and his band would more appropriate. But maybe it’s better that he stays under Phish’s umbrella — for now.
Chris Parizo plays bass for Chin Ho!
Hotplate
Hotplate
All You Can Eat Karate Ride Records
By Julian Wilkins
Testosterone soaked funk is what this band is all about, a la Red Hot Chili Peppers and any other form of rock music where a wah-wah pedal is the primary instrument used. A strong resemblance to Boston’s Canine.
Lead singer Collin Daiber’s growl is somewhere in the middle of the annoying Dicky Barrett from Mighty Mighty Bosstones, Eddie Vedder of Pearl Jam and the throaty rumble of Godsmack’s Sully. His lyric content touches upon the vulnerability of a break-up (“Silver Lining”) to the — either his own or society’s — ignorance and general callos-ness of the homeless (“Nickel”).
The other musicians shine. Drummer Dave McGraw proves himself to be the mitochondrion of the band — the powerhouse of the cell. Bassist Tom Dorathy has some great bass lines and guitarist Tom Vermillion knows when to throw in the rock and when to pull back with some sick clean channel licks.
All and all, Hotplate is an in-your-face rock band that drips testosterone. I’m sure they put on a great show and hope to see them in the northeast soon.
Julian Wilkens lives in Burlington and drives an ambulance... how cool is that!?!
Justin Pardy
Fun With Humans
By Charlie Messing
Folks, this isn’t gonna be one of the more positive reviews you’ll read here, and I say this without have read any of the others. To start with, it isn’t much fun, so the title of the CD is a sort of a joke. Mr. Pardy is from Lewiston, Maine, and these tracks were produced between 1989 and 1998. Did he play all these songs for people and get a good reaction first? There’s no photo, so we can only guess that he may be cute enough to get away with such shenanigans.
He calls it a collection of “mid-fi songs”, and it is. He starts off sort of intimate and ironic, not much range in his voice, ends lines with spoken words, like Jonathan Richman or a dozen others, being a little precious about his words. (And I’ve done the same thing myself at times — it’s a youthful mistake.) He moves on to strummy metal grunge guitars, then a full band sound, then back to acoustic arony thing, back and forth through 12 songs. He has a 6-minute piece of noise called “Salte”, dedicated to H.P. Lovecraft, one of my own favorite authors. I don’t see (hear) the connection.
Without going into more sordid detail, I’d just say Mr. Pardy needs to move out, get a crappy little apartment and a hands-on job in the fresh air. Song 13 is his version of “Goodnight Irene”, sounding like he sang it through a telephone. Whoa. Check, please.
Charlie Messing is the leader of the band Be that Way and he just released his first solo album.
The Neural Groove
Gorilla... In A White T-shirt?!?
Self-Released CD
By Chris Parizo
One of the most impressive music scenes in the northeast is most definately Syracuse, NY. The fresh, young talent that is exploding from this mid-sized college city is finally gaining some recognition throughout the rest of the country. Such bands as Johny Vegas, Sugarhigh and Jamus Breed are steadily making names for themselves outside of the Syracuse city limits.
The Neural Groove’s debut CD Gorilla... In A White T-shirt?!? is a great example of a young and talented musical outfit that isn’t afraid of showing what they can do. Their music jumps from a tight hardcore riff to a country two-step. Craig Costello’s throaty growl has the rasp of a sixty year-old hard whiskey drinker.
However, with a young band comes early mistakes. The band seems to be at a crossroads. The CD is musically all over the place, which could be cool if a common thread could be found, but the music on Gorilla... doesn’t seem to gel. Big Joe Albicelli’s percussion set seems to be completely erased from the mix and the low volume of the loud screaming guitar of Michael Carbone truly takes away some of the power that The Neural Groove possesses.
The Neural Groove is impressive. A solid rock outfit that isn’t too shy to flaunt their musical abilities. The problem with a band like this with such eclectic tastes and styles of music is the inability to find a comfortable middle ground. Once this ground is discovered... The Neural Groove will be unstoppable.
Chris Parizo gave rock and roll to you. Gave rock and roll to you. Gave rock and roll to everyone.
Percy Hill
Color in Bloom
Self-Released CD
By Mark Hamm
The fourth CD from this New Hampshire based band has given Percy Hill one more fan. I will admit that I didn’t jump and down screaming about how I had a “spiritual experience” from the CD, but I did get caught up in this CD mroe than a few times.
Color in Bloom has a little of the post-Police Sting (“Beneath The Cover”) and a little Steely Dan (“Fallen”) at times. The musicianship is top-notch and singer Joe Farrell’s voice pours like liquid. The four part harmonies on the disc flow together with ease.
The highlight of the album was “Chrissy Reid”, a low and smooth tune that made me press the repeat button. Definitely worth checking out when they hit Burlington again.
Mark Hamm is getting a little tired and deserves to get a good night’s sleep.
Various Artists
WWPV’s Burlington and Beyond Vol. 1
By Charlie Messing
This is a good collection in many ways, exposing its audience to samples of the local scene, a scene which branches out in at least these eleven directions. Live in-studio shows by local musicians is a great idea. Some of these tunes were recorded at WWPV, some at the late Club Toast, and one at the Ross Sports Center. I like it.
It starts with Invisible Jet, and they’ve got a real authority from the very first note. It’s gutsy, dancy with a primal urgency. Jesse’s trademark wild high vocal is great, and I wish I could hear the words. Live from Toast, it’s got that club’s own tradmark blur. Like being in a music storm. A good track, a good start.
Then comes Currently Nameless (what a name), with an obscure sort of romance tune. Nice dynamics, a little top-heavy for my taste, with celestial chimes, a good touch.
Rik Palieri does a folksy song-story to awaken some sleeping minds. It’s determinedly folky in that some words are sung, some spoken, over a traditional-style guitar. Noble.
Next up, Construction Joe do “Reason.” A little overstrummy but great, vocals bare and passionate, and as usual Nicole’s harmonies put it way over the top. The only song on this CD that has reappeared in my head afterwards. Unarguably one of the best bands in town, possibly right now the best.
Then comes Chad, with a boogie, the first extrovert-style tune on this disk. Attitude song about a monster truck. Busy.
After that. it’s Chin Ho!, with their earnest post-grunge and personality vocals. Good rendition, even with that live at Toast sound. Sounds most like the radio of anything on this disk.
Then Chainsaws and Children. Pro job. Aggressive psycho-Devo with mean metal vocal noise. I wonder what their other grooves are like.
Boy Pie, complaint rock. Busy guitar, thin sound, vocals could be warmer and up front. They could get good.
Rebecca Padula, acoustic folk, nice song, nice voice. Sounds like an Ovation guitar.
Next Bloozotomy, second extrovert-style tune, kinda of a hectic blues groove, bursting with almost-captured energy. As usual, Jim Branca is a heck of a guitar-player. A facetious spoken intro. Nice bass and drum solos toward the end.
Then Strangefolk do a 12-minute song at the Ross Sports Center. They are very tight for all the experimenting they do. Personally, I can’t understand this type of groove, but the crowd loves it. The band really gets along well. It’s a song about a weird personal situation with a neighbor. Huh? Anyway, they do plenty with it. There’s a long gloopy guitar solo, and a lot of wild vocal harmony work near the end.
So — this CD is good. Hope I get to keep the review copy.
Charlie Messing just released his new solo album titled bit and it is reviewed in this here issue of Good Citizen. You know it to be true!
Psychotic Larry
Masters of Synthcore
Self-Released CD
By Chris Parizo
Boston’s Psychotic Larry CD Masters of Synthcore is one rad album. Without a guitar in the record, one might take a step back and say: “Now wait a minute, I hate these bands that have a drum machine! I like my guitar rock!” Well, to that I would say: “Hold on one minute there buddy! Psychotic Larry don’t need no damned guitar — and they didn’t use any drum machine, or tape loop or sequencers or samplers on this entire album. And you know what — you’re going to love it!”
“Well, how did you become so wise in the ways of what music I like and don’t like” you would smugly reply.
And that’s when I would push play on the CD player. The loud and aggressive prog-core of Psychotic Larry would make your mouth drop wide open. The painfully distorted keyboards of Mr. Etto Green will convince you that guitars are not necessary anymore. As the band lightly brushes by their influences of Korn, Red Hot Chili Peppers early stuff and anything industrial — I would have to yell out over the wall of noise: “You see! Pyschotic Larry beats the shit out of any hardcore band around! It’s like a soundtrack for an evil carnival or something!”
“Yeah,” you would yell back as you hang from my ceiling. “You’re right, this is fucking rad!”
“I know,” I would say. “And don’t doubt me again. Besides, we never talk anymore.”
Chris Parizo has full-on conversations with himself.
Train
Train
Aware Records
By Chris Parizo
You’ve got to give props to those people over at Aware Records. In their six-plus years of being in the record business, this label has discovered bands that have gone on to change the face of American rock and roll — whether you liked the change or not. These people have their fingers on the pulse of the nation’s taste in music. VH1 ought to dedicate an entire Before They Were Rock Stars episode to Aware Records. They have acheived the goal of every compilation label out there, they broke a band into the big time... they broke handfuls of them. I envy them, and any other indie-label owner should.
And now, Aware has stepped out of the compilation game and has released its first full-length album of an Aware artist; that lucky band is Train.
The band’s self-titled debut release already has a radio hit; the first track on the CD titled “Meet Virginia” was at #13 on the Billboard modern rock charts last I checked and it is no surprise. This is the ultimate sound of the band. Smooth, strummy guitars fill the verse that could be the very definition of the genre called Americana if it appeared in the dictionary. The chorus of the song explodes with an emotional punch in the chest. Van Morrison, John Mellencamp, Boston’s Mindflow and The Counting Crows (Crows guitarist David Bryson was at the mixing board for this CD) come to mind... you get the idea.
With a song on the radio and plenty of other singles loaded and ready to go, this Train is no where near of running out of steam.
Chris Parizo plays bass for Chin Ho!
PUYA
Fundamental
MCA Records
By Chelsea Condos
PUYA is trying pretty hard to be Bad Brains. Unfortunately, their attempts at mixing their Latin culture (Puerto Rican if I recall correctly) with hardcore is just not cutting it for me. I love hardcore more than any other musical style, but this band sounds a lot better when the lead singer, Sergio Curbelo, is singing a Latin pop melody. His voice is just not suited for hardcore. It needs to be more gruff, angry and overbearing. The song “Retro” was the only time on the album when he sounded assertive. Otherwise it sounds like the band tries to make up for the lost voice in the choruses when the other members join in and make the songs sound more like anthems. The band also dabbles in a little light rapping in “Keep It Simple”. Again, it just doesn’t work. Maybe it’s because I’m not a huge rap fan, or maybe it’s because when his voice is that monotone following the same backing music and beat, I just got bored. The only time I really liked his vocals was when he was actually singing and proved that his voice is good for something.
I really did like the bass and guitars in this band. They bring in a pummel-core sound much like that of Sam Black Church... and I love SBC with a passion for those of you who didn’t already know. On some parts, the bass got pretty jazzy which I also liked. It had a good groove without sounding like a hippy-jam-rock band. With some horns added in, I actually had moments where I thought I was listening to a jazz CD. That became a problem though. I found it hard to tell the songs apart because I’d hear jazz, then SBC and then Ricky Martin all in one song. They might be better is they could choos one genre for each song, or combine genres throughou the whole song instead of changing every forty-five seconds.
Chelsea Condos just graduated from South Burlington High School and she is right when she says that she now knows everything.