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© Robert Barry Francos / FFanzeen, 2017
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from the Internet
Reviews
are in alphabetical order, not by ranking
Against
the Grain
Road
Warrior
Self-Destructo
Records
First of all, I am assuming they’re
named after the Bad Religion album. That being said, AtG are an interesting mix
between punk and metal, and on their fourth full play release, they keep
flipping between the two from song to song. For example, “Til We Die” and
“Afraid of Nothing” are nearly hardcore speed with guitar solos, yet “What
Happened?” and “Sirens” is total headbanging metal crash of guitars. It’s all very
mid-‘80s SoCal, even though they’re actually from Detroit. The band is pretty
damn tight; from what I understand, this was recorded after a tour, the best
time to hit the recording studio when you’ve got the songs right where you want
them (though many bands do it the other way around, to promote the record
rather than to practice them). Nice growl, two buzzsaw guitars, and down and
dirty licks.
Antique
Scream
Two
Bad Dudes
Self-Destructo Records / Pyramid
The group sounds like so much more than having
only two members: Christopher Rutledge on vox and guitar, and William Fees on
drums. Their sound is definitely metal. For example, the opening cuts, “Golden
Goddess I” and “Golden Goddess II” have a riff that is reminiscent of Cream’s
“Sunshine of Your Love.” Come to think of it, “Black Magic I” and “Black Magic
II” are reminisce of the bridge to “White Room” (other than a really long drum
solo in the first, and a weird effects-laden guitar in the second). In fact,
Cream is a really good reference point for much of what they do, if J Mascis
replaced Clapton. Basically, it’s two bad dudes bashing out some tunes in a
studio instead of on a corner with a hat, except with some decent songs like
“Thee Intimidator,” though I wish they had turned the vocal reverb down; then
again it does help give it that full-volume 1960s psychedelic blues rock sound.
By the end it was feeling a bit tedious, but I’m not sure if that’s because
guitar solos tend to wear on me, if the echo was overwhelming when trying to
make out the lyrics, that the songs tend to be 4 or 5 minutes long, or that most
of the songs are repeated in different versions. It’s not bad, but definitely
needs something more. Bet they’re fun live, though.
Audioscam
Audioscam
3
www.audioscam.com.au
This 4-song EP is by is a fun Aussie
band that has a strong early ‘70s pop sound. Picture a cross between the Beach
Boys and the Raspberries. The songs are upbeat and what Howard Kaylan once
called “Good Time Music.” Songs about attraction, smiles and other upbeat
notions wrapped along some catchy riffs makes this a breezy and fun listen.
Dave
Nelson & the 32nd Street Quintet
32nd
Street
Self-released
/ facebook.com/dave.nelson.52090
I met Dave through his work with the
Oral Fuentes Reggae Band. He stands out as the older white guy on trumpet, but
fits in so well. But it did not surprise me when I found out he fronts his own
jazz combo. Recently I reviewed his latest release, but this one which is a bit
older still deserves some attention and love. Also recorded in my home ‘hood of
Brooklyn, this is a mixture of originals and covers, focusing on Nelson’s horn,
which especially shines on the title track. It’s easy to tell that John
Coltrane is an inspiration, and not just because this group covers his version
of “My Favorite Things” here, but the level of experimentation and taking
chances carries it beyond the “Easy Listening Jazz” descriptor on the cover.
Honestly, I’ve never been a fan of “Lite” or “Easy Listening,” but this is much
better than that describes, and certainly goes beyond that. Sure, a couple of
numbers come close to that (especially the two with vocals), and there are some
nice rhythmic riffs in pieces like “20th Century Blues,” but, there
is so much interesting stuff going on throughout that you really get a feel for
the Quintet (who all get their individual share of the spotlight), especially
the pushing of Nelson’s horn envelope. He plays well against Joel Frahm tenor
sax, much as Satchmo did with Higginbotham on my favorite Armstrong version of
“St. Louis Blues.”
Feed
the Kitty
Westbound
& Down
I had a brief moment of country music
love in the late 1970s, possibly a reaction to the Nashville soundtrack, but though it was a passing phase that ended
with the “pop” influence on the style, I learned to appreciate it as a form.
Most of modern country is, well, bland, but every once in a while a musician
(such as Angela Easterling or Laura Cantrell) or band catches my attention.
This is true of Feed the Kitty. While it’s not all pure country, it mixes a lot
of other elements from rock to funky wah-wah
guitars to give their songs some power. But it’s the harmonies that I think
stand out the most. It’s hardly surprising it’s so tight, considering they play
300 shows a year. Though situated in SoCal, their Tucson background shows in
such numbers as “Road Less Traveled,” “California Country Girl,” “Westbound,”
“Human Race,” the ballad “I’m to Blame,” and the humorous “Sorry.” Lots more of
the cuts are worth listening, with little filler. If you like country or a variation
thereof, it’s a smooth listen, like a Jack and cigar.
Jeffland
12
No
Condiments, PLEASE
Jeffmpa24@aol.com
Jeffland is essentially poet Jeff
Mastroberti. Much as Patti Smith and Lenny Kaye did in the early ‘70s, Jeff
does some newer readings of a dozen of his poems from his book by the same
name, which came out in 2012 (the text has about 40 pieces), set to music.
Jeff’s a great guy, and I’ve had the opportunity to hang out with him a couple
of times, including once when I was kicked out of a Starbucks (but that’s
another story). I’ve read the book of poetry, and it’s definitely a mixed bag.
Some of it is quite meaningful and touching, and some is, well, okay. Now, I
fully admit that I am not a poet nor an English major, so I’m looking at this
more as how it affects me, since poetry tends to be more abstract than most
writing (especially more than my own). With this CD (or whatever medium you
play your music), the poems take on a fuller shade than just on the page.
Having the artist read his own material definitely helps. There’s quite a bit
of angst in here (e.g., “I will be a clown when my death comes,” or “My brain
is cotton candy sitting by the drain”). A couple of songs in a row are lists
based on the questions “Why” and “What is Reality?” “Kimberly” is one of the
stronger cuts, and even the written version is nicely done with a secondary
message. “Post 9/11” is another strong cut and poem. Come to think of it, the
whole second half is pretty damn good. Jeff has a good voice for this kind of
speak/singing reading, with a voice that’s musical without being too lulling.
Johnny
Winter with Dr. John
Live
in Sweden 1987
Everything is stripped down on this
show, with Winter’s band made up as just a trio, featuring Jon Paris (bass and
harmonica) and Tom Compton (drums), with Dr. John jumping in for a few songs.
It starts off strong, with them belting out a bluesy version of the zydeco
classic “Sound the Bell.” The band has obviously been playing this number a
while because they seem quite at ease with it, yet never letting its proverbial
throat go throughout. This is also true with Lee Baker Jr.’s “Don’t Take
Advantage of Me” where, they add some solid rock into the mix towards the end. They
swing into a slide version of J.B. Lenoir’s Son House-meets-Nawleans-style
acoustic-gone-electric slow burn boogie Blues of “Mojo Boogie,” which is a
perfect way to set up the introduction of Dr. John’s version of the boogie that
made him so popular among the Creole set. A few rattling tinkles on the keys,
they break into a Dr. John original, “You Lie Too Much.” Even with the mixing of
some of styles, Winter and John fit like two gloves with fingers intertwined.
John does take the lead on the vocals for these numbers, with Winter and Paris
doing back-up. Together yet, they break into the slow burner “Love, Life and
Money” (originally recorded by Little Willie John), again sharing duties by
alternating the song, split down the middle, growl for growl. There needs to be
some kind of rave up after a soul pulling number like that, so to rev it up for
the finale they cover “Jumpin’ Jack Flash.” I’ve always wondered if Keef was a
bit jealous of Winter’s agility on the fretboard. John and Johnny both sing on
the chorus and it’s a not always a pretty blending, but they play it so well,
it’s easily forgivable. There is also an extended DVD of this show available.
Jonny
Manak & the Depressives
Cold
Pizza & Warm Beer
Self-Destructo
Records / Reach Around Records
Wow, nice throwback to the ‘70s New York
Scene. Imagine a possible cross between, say, the Dead Boys, the Ramones, and the
Mumps. Yeah, it’s that weird a combination, and then add in a measure of
adolescent mentality with songs like “Vegass,” “You Give Me Goosebumps,”
“Powder to Blow,” “Monsters” (which has a Ramones’ “Chainsaw” chorus of “Oh no
/ Oh yeah”), and “Motorpsycho.” Then there’s covers of the likes of GG and the
Jabbers’ “Don’t Talk To Me” (done like Manak, not Allin) and the Saints’ “New
Race.” Like an LP, this is broken up into two sections (rather than sides). The
first, Cold Pizza, are more throwbacks, but it’s the second section, “Warm
Beer,” that stands out as more energetic, again more Ramones-like, and more
enjoyable (that’s more, not instead of, as both are fun). “Weapons
of Mass Destruction” is a good example of how entertaining they can be.
Junkyard
High
Water
This is the band’s first release in over
a quarter of a century, after being dropped by a major label in the early
1990s. I can understand why they get associated with the band Rhino Bucket (see
review below): they follow a similar timeline including their hiatus period,
reforming in the new millennium in a revised personnel format, and now they’re
both on Acetate. Junkyard tends to be also associated with the sound of
Southern Rock. While I can see that to some extent, I think that is
exaggerated, since they come across as more metal with just a smidge of punk
thrown in. The songs are catchy (and mostly about drinkin’, not surprising
considering the CD art), with repeatable choruses, such as “Cut From the Same
Cloth,” “Hellbound,” “Hell or High Water,” and “’Til the Wheels Fall Off.”
There’s just the right amount of harmonies to fill out David Roach’s razor
tenor vocals (which occasionally sounds weirdly like he’s from the Psycotic
Pineapple). There is a bit of a dichotomy when it comes to styles. For example,
“Styrofoam Cup” and “Don’t’ Give a Damn” can be seen as new Country rock, but
then there’s “We Fuck Like we Fight (WFLWF).” I was taken by surprise how much
I enjoyed this, especially the hyper “Wallet.” Man, my tastes are adapting, and
I’m glad.
Peter
Pan Speedrock
Buckle
Up and Shove It!
Self-Destructo
Records / Steamhammer
A really nice punk metal release from
this Dutch band that had been around for two decades. The sound is a bit like a
steamroller with a chainsaw on front. Sadly, this was their last album before parting
ways last year. It’s no nonsense, though tongue is kept in cheek as far as
lyrics go, but they are a powerhouse in sound. Wow. Great stuff that is more
than just a reliance on Motörhead, especially with Lemmy-ish vocals. After a
meh opening cut, “Get You High,” the bar gets raised and stays there in full
thrash mode. Okay, well, I may have to explain that a bit. First, there is a
couple of great covers here, including the Damned’s early “New Rose” and a
strange version of the Yardbirds’ “Heart Full of Soul.” The other point I
should note is the title cut is an astoundingly great pop punk piece that puts
bands like Blink 182 and Green Day to shame. Even with a couple of silly
drinkin’ songs, his is a fun collection and is highly recommended.
Randy
Woods Band
Randy
Woods Band
Randy used to front a Saskatoon-based
band called Absofunkenlutely who were fun, even though they tended to dip a bit
into disco territory. His new material is better. In fact I have just come from
seeing the band perform less than an hour ago. The RWB is excellent and tight, and
this collection is a good representation. The production levels are pretty
high, but that’s what Randy does, produces and engineers music (such as the
Oral Fuentes Reggae Band). For his new collective, well, it seemed appropriate
for him to open with “Me and Julio Down By the School Yard,” because that
“chica-chica” and horn sound can give you some idea of what’s on the album
(though that song isn’t). In fact, “Charisma Free” feels very similar to
“Julio.” But the funk/reggae beat is still there in a few numbers, such as the
closer, “Faded American.” There isn’t a bad or filler cut on here. Randy
experiments a bit with the sound and effects in the studio, but rather than
overdoing it, he keeps just the right amount to enhance the sound rather than
override it. This is definitely one I’m likely to listen to again.
Rhino
Bucket
The
Last Real Rock N’ Roll
The SoCal band has been around in some
form since the late 1980s, except for a nearly decade long “hiatus” in the ‘90s
that led to some personnel changes. They are described as “hard rock” and yeah,
that’s pretty accurate. But they also have a very dated feel, like they’re
still on the Wayne’s World
soundtrack. That’s not meant as an insult, just an observation for those who
are sentimental for that sound. The songs are catch-riddled, with foot-pounding,
fist-pumping rock riffs that are perfect for air guitar, such as with “Last
Call” and “It’s a Sin” (as well as many others). Despite the changes, vocalist Georg Dolivo remains constant, so there is
a consistency through the decades. The heaviest song, “The Devil You Know,” is
held for last. The subtle level of pop that runs through most of the riffs
between the guitar solos makes this radio-friendly, and really should be there,
as they have a very marketable sound, even if they’re getting’ up there in
years.
The
Supermen
Back
with a Gang Bang!
Self-Destructo
Records
Do you ever think back and miss those
days of punk bands that purposefully tried to offend in as many ways as
possible? Some did it in ways that felt like it was a show, but bands like this
one seem to come by it naturally, which gives some credence (or at least
tolerance) to songs like “Girls Like Sperm,” “White Women in Distress” and
“Fitness Model Mother Fucker (FMMF)” Musically, the band plays pretty straight
forward punk songs with chantable choruses, especially “Blood, Honor & Pussy,”
and “Devious One.” If you’re tolerant, this is actually a pretty decent piece,
in some ways reminding me of Motörhead for style – though without Lemmy’s
vocals; that being said, Mike Tyson’s vox do just fine for this. It’s kick ass,
even though, as someone else once said, he gives the same tone and energy in
every song which have very similar feels to them (people have also said that
about the Ramones, remember?). That is to say, enjoy it or get the fuck out of
the way!
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