Don’t Worry About Me

(Sanctuary)

 Joey Ramone scared me to death when I was in High School!  Then I bought The Ramone’s “Rocket to Russia” and my fears were put to rest.  He and the Ramones opened up and made accessible a fun, high energy clan of misfits that I could be a part of (remember I had to rebel against my parents C&W records as fast as I could!)  Joey Ramone and his band are still impacting acts to this day.  It is a shame that we had to loose him to lymphoma in April of last year.  However, he left behind a body of solo pieces ( "Don’t Worry About Me") that are a very appropriate in the wake of his “roman candle” career.

The CD is kicked off with a surprisingly proper version of Louis Armstrong’s “What A Wonderful World.”  Now, you won’t see this song underscoring a Lexus commercial, this remake is exuberant and touchingly honest in it’s approach.  Rockabilly licks are peppered throughout making this a standout tune. 

  “Mr. Punchy” is certainly a homage to The Who of old.  Keith Moon “kettle drumming,” Pete Townshend “windmill guitar,” Roger Entwistle “bass that’s all over the place” –– it’s all there!  Dead on breaks make this tribute complete. 

 My number one track is “Maria Bartiromo” –– an amusing love song to the CNBC financial anchor.  It’s bittersweet and moving.  Very reminiscent of The Smithereens (or is it the other way around?)  The final track – also the title track –  is haunting in it’s message.  However, a straightforward rocker that The Stones would be jealous of!  A tight, anthem-like epitaph to a very anti-establishment icon.

 "Don’t Worry About Me" is Joey Ramone the punk rocker all grown up and having a crush on a financial analyst!  This CD is very different from The Ramones albums in that the material is not as brash and Joey’s vocal abilities are not as nasal and out of key.  To the contrary, his vocals are right on the money and the nasal quality has gone away. 

 Don’t get me wrong, the themes of drugs, mental illness, despair and failure are all there, they are just in a different package.

 – Jon Rice 

SMG ALLSTARS

The Nervous Illness Of The Last Man On Earth

(Indie)

 The second SMG Allstars’ album, "The Nervous Illness of the Last Man On Earth," electrifies and pacifies with harmonious melodies, but there were a few disappointments.

 SMG Allstars’ evil introduction, “The Nervous Illness” begins with creepy guitar riffs and satanic distortion.  But, the second track, “The Slave,” breaks into a chorus about ‘saving for rainy days.’  It just didn’t live up to the scary face snarling on track one.  It sounded like White Zombie on Zoloft. 

Track five pours “Salt Water” on the wound, putting the listener to sleep with monotonous drumbeats and vocals.  A well-composed classical piano lead-in merely sets a platform for disappointment.

 Most of the songs are alive with upbeat rhythms.  “Something,” for example, is particularly good for lifting one’s spirits. SMG Allstars also manage to tug a few heartstrings and entice a few tears with some slowed down tunes dealing with less than light-hearted topics.

 Several songs here are comparable to Soul Asylum tunes complimented with Van Halen-ish guitar solos. “Es Cora No Mora,” is an explosive composition reflective of Santana. “M” was aptly titled as it is  “M”agnificent and a “M”asterpiece.

 Their final cut, “The Last Man on Earth” mood-swings back to the spooky riffs of the intro.  

        Overall, this is not a bad set of music, just a little hodge-podge and ill-matched for my tastes. 

 – Adam Madison 

ECHOBRAIN

“EchoBrain

(Chophouse Records)

        It’s refreshing that Jason Newsted’s new project bares almost no resemblance to anything Metallica related. It may also be a bit unfair to refer to it as ‘his project’. In doing so, I’d be leaving out two very talented young musicians: Dylan Donkin and Brian Sagrafena. Having jammed with Newsted for a few years now, the boys have finally put out their first independent album.

      Recorded in “The Chophouse” (Jason’s home studio), the sound is straight ahead rock ‘n roll. It’s full of jazz inspired percussion, a great balance of clean and distorted guitars, and plenty of catchy vocal melodies.

     There’s a noticeably stripped down feel to it as well... very bare bones. Not overly processed, and not sporting too many layers. It sounds more at home played next to a Strokes or White Stripes record than anything else.

      The Fastball-tinged first track, “Colder World” is a standout, as is “Keep Me Alive” which features some interesting stream of conscious lyrics. You can hear the blues influence loud and clear in “Highway 44.”   Even Newsted’s old band mate Kirk Hammett lends his talents to the track “Sucker Punch.”

 With equally impressive string arrangements and plenty of acoustic guitar, the record is definitely moody. Yet, it’s never melancholy. Echobrain sounds like ‘the garage band next door’ and that works heavily in their favor. It’s raw and it’s real.

 At the same time, you may feel you’ve heard all of this before. At its best Echobrain is a jam band taken to the next level with lots of heart and a lots of talent. At it’s worst you may find it slightly unmemorable. I have a feeling it’s a bit of an acquired taste. Give it a chance, though since it’s sure to grow on you a little more with each listen.

 While they certainly won’t win any awards for originality, Echobrain may be a band to keep an eye on as they mature. The ability is there, and once the songwriting catches up, it’s going to mean great things for independent rock.

                          For more info on the band, check out www.echobrain.com

 – Chris Schrader 

ALAN JACKSON

“Drive”

(Arista)

 Alan  Jackson’s "Drive" is really an adept exercise in storytelling. I remember growing up and listening to country radio and records because that’s what my parents listened to and I was a captive audience.

 Of course I couldn’t wait to rebel and listen to the complete opposite of C&W, but I thank my parents now, because through osmosis, I have a real appreciation for this music as a very uncomplicated style that doesn’t interfere with the storytelling.  On “Drive,” you are forced to pay attention to the words.  All the standard C&W voicings are present (acoustic, pedal steel guitar, mandolin, and violin) and are familiar real-life touchstones. 

The title track is an allegory for commanding the motorized modes of transportation told through the memories of growing up and passing the tradition along.  The song does a great drop of eliciting the images of when your parents first relinquished the wheel to the family car or boat.  The fast moving country rhythm moves this song along. 

  “When Love Comes Around”  Mr. Jackson will be READY!  This cut features some excellent Telecaster “pickin” and the pedal guitar work is right on the mark.  Smart breaks, dynamics and tried and true song structure make this song what it is. 

  “Where Were You?” is an honest, straightforward, “common-man” approach at dealing with the 9-11 tragedies.  Simple, pristine music backs up the imagery of a very tough subject to tackle.  Tastefully done, I found this to be the highlight of the CD.  “The Sounds” features wonderful piano, violin and guitar that ebb and flow to the heartbreak story that Jackson croons so eloquently. 

 The CD ends with “That’d Be Alright,”  a perky R&B ditty infused with zydeco flavoring.  The song preaches about the ever-illusive “good life.”  The track has a mind-boggling James Burton style guitar outtro – wow!

 Jackson’s “Drive” will make you want to do just that – get in your car, truck, boat...whatever... and drive.      

 Let the imagery of his delightful story-songs take you away. Good stuff.

 – Jon Rice 

 FAIRPORT CONVENTION

XXXV: The 35th Anniversary

(Compass Records)

 When you get right down to it, there should be a law against any band being as good as they are.  To celebrate their thirty-fifth anniversary as a band, those mother-folkers, Fairport Convention, the band who gave birth to British folk/rock as we currently know it, have released a CD which has some incredible new songs, as well as reworked versions of several “vintage” numbers. 

 From the speaker-shaking baritone of Simon Nicol to the blithe tenor of Chris Leslie and all instrumental points between, this is finest new CD I’ve heard this year. 

 Bassist and mainstay Dave Pegg told me in a phone call heralding this release, that the entire CD “was recorded in about three weeks.”  Quite impressive.  Also, the engineering by Mark Tucker is impeccable, giving the entire CD a warm, inviting, and bright sound.  

 On to specifics.  To start with, two older songs, “Now Be Thankful” and “The Banks of Sweet Primroses” are given the Chris Leslie vocal treatment, and his delivery just might bring a tear to your eye, if you’re not careful. 

 The disc’s opener, “Madeleine,” is too much fun, all about an evening where two people dance their way to love.  A song called “The Crowd,” penned by annA rydeR (an incredible all-around musician who plays the French horns and whistles on this tune and who is virtually unheard of here in America), is the best musical definition of concert-going ecstasy that I’ve ever heard, and from a distinctly folkie point-of-view. 

To cap it off, fiddle player Ric Sanders is in fine form with his joyous “Everything But the Skirl” instrumental number, and all of the tasteful, winged playing he does throughout the CD.  Most notable here is his “Portmeirion,” an older number of Sanders’ augmented by drummer Gerry Conway’s percussive effects and a guest appearance by Jethro Tull’s Ian Anderson playing a gorgeous flute solo. 

Somehow, even with hand-in-glove rhythm section of Gerry Conway and Dave Pegg laying down the drums and bass with absolutely no apologies, Fairport’s sound retains a sweetness and light that most bands today can’t grasp, let alone play.  What sells this band is the fact that even the ballads and love songs tend to have an upbeat quality to them. 

 It’s no fluke that during most Fairport concerts, even in America, you’ll always see several folks just jigging and reeling away, and it’s not just the Guinness.  At any given Fairport show, there are a lot of smiles, which seem like an all-too-rare commodity these days. 

 Listen to this CD and hear what has kept Fairport going through numerous personnel changes, shifting popularity, and the coming and going of musical fashions.  Here’s to 35 more years!

 – Ben Likens 

EDENBRIDGE

“Arcana”

(Massacre Records)

 Where do I even begin? I can honestly say this is one of the most unusual album’s I’ve heard in awhile.

Edenbridge is an Austrian band that mixes gorgeous string and piano arrangements into its slightly clichéd heavy metal. While that part is nothing new, the voice of lead singer Sabine Edelsbacher is certainly not  run of the mill.  Admittedly, it takes some getting used to for most ears. 

 At first, her soft and operatic voice sounds criminally out of place among the heavy guitars and thumping rhythm section. After awhile, you begin to appreciate the sheer audacity of such a mix. While comparisons can be made to the band Nightwish (which also features a female lead singer), Edenbridge uses their formula without the gloom and doom. It’s less goth and more melody. It’s like a night at the opera on speed.

 This is not background music. Each track begs for attention. Those familiar with the German band Therion will find something worth their time here. Even if you don’t like this type of music, you’d be a fool not to appreciate the complex arrangements of the songs and the incredible guitar work by Lanvall and the unbelievable drumming of Roland Navratil.

 Now let’s tackle these vocals. They work for and against the record. With typical macho screaming, there wouldn’t be too much to make this band stand out from the sea of other foreign heavy metal imports. There’s a certain sensitivity the vocals give the music, but as previously mentioned there are times it just does not fit.  This is most noticeable in tracks like “A Moment of Time” and “Into the Light,” which would almost work better as instrumentals.

 If you accept the unusual vocals, the only other real problem with the record is its length. By the eighth track, it begins to get a bit tedious and slightly repetitive. If you can sit through all twelve tracks in one sitting you deserve a medal. For more info. go to: www.edenbridge.org

 – Chris Schrader 

KIM WILSON

Smokin’ Joint

(M.C. Records)

 Kim Wilson’s “Smokin’ Joint” was one of the nominees for the Grammy in the “Traditional Blues Album” category, along with fellow former Fabulous Thunderbird Jimmie Vaughan. If there ever were an opportunity to vote for a tie with two winners sharing the stage, I would’ve voted early and often.

 While Jimmie Vaughan won, “Smokin’ Joint” is no second place finisher in my blues book.  Kim Wilson’s first-ever live recording showcases some fine vocals and harp playing from the former T-bird. His third solo CD features Kim live in front of two different bands in two different blues venues.    

At Phoenix’ Rhythm Room, he’s got Wisconsin’s own Billy Flynn and Rusty Zinn on guitars, with Larry Taylor on bass and Richard Innes on drums.  Flynn and Zinn are two of the best blues guitarists riding the circuit, as Flynn’s played with Pinetop Perkins and Willie “Big Eyes” Smith, among other blues legends, in addition to playing Chicago’s near north side with the Smoke Daddy Band.  Zinn’s no slouch either and has bent notes on three original recordings and sat in with Kid Ramos, Pinetop Perkins, and Dave Meyers.     

At Café Boogaloo in Hermosa Beach, California, Kim’s got Kirk Fletcher and Troy Gonyea on the six strings and Mark Stevens on piano, along with Larry and Richard reprising the roles they played in Phoenix.  

No matter which band’s behind him, Kim finds his groove on standout cuts like “Got to Let Go” and “Telephone Blues.”   This disc captures the blues like they were meant to be heard: live at a blues club, with no overdubs, and with Kim Wilson’s smokin’ harp.  Smokin’ indeed! 

– Eric Steiner 

 DOWN

“II”

(Elektra)

 Purveyors of stoner/doom-metal before it was the rage of the unwashed underground DOWN are back and fully fueled with their second tank of swamp gas ditties to smoke, drink and screw by. 

The players names and their “other” bands you should already know –– Phil Anselmo and Rex Brown of Pantera, Pepper Keenan and Jimmy Bower of COC, Kirk Windstein of Crowbar, for the benefit of all the “homies” out there –– and you have undoubtedly heard the first record but you are not at all likely to be prepared for what I will confidently refer to from this point forward as the ultimate metal album of 2K2. 

This collection of eminently vital metal tracks is the biscuits and Budweiser alternative to the Sweet and Low/Tofu Backstreet Boy-metal of Linkin Park and the rest of the “metal pretenders” crowd.  Midway through the first listen of “II” my mind was already forming elaborate scenarios where the men of DOWN all hopped into a rusted out Chevy, double-barrels loaded with buckshot in hand, and set about tracking down those who defile the name and spirit of Metal. 

 Oh, there was this bit about Phil impregnating Britney Spears but that was only after the song, “Doobinterlude,” which gets us a little off track but such is the grand beauty of the disc, by the time you realize you are drifting you still have half a disc’s worth of prime fuel to burn.

 Speaking of burning tracks, here are some thoughts on a few of the fifteen numbers contained herein.  “There’s Something On My Side” is perfectly paced plodding metal that will inflict all listeners with shin splints from all the stomping that will be done to it.

  “The Man That Follows Hell” is a Black Sabbath “Sabatage” – era flavored charger that has some of the most smoking guitar since Tony Iommi put his mangled fingers to a fret.  Between Pepper Keenan and Kirk Windstein you have the only guitar tones available on disc to offer the true flavor of Sabbath’s Iommi without actually ripping the man off.

 The last thing that you thought you would be hearing much of here is acoustic picking with Phil actually singing instead of grunting, but that is what you get with “Landing on the Mountains of Meggido” and lord is it beautiful, all eight minutes of it. 

 Comparisons to Zeppelin are easy and justified simply because they where the trailblazers in the “heavy acoustic” field but with all due respect to my British brothers they were limey’s glomming on to Southern Blues, whereas this is the real shit-kickin’ deal here.

  “Stained Glass Cross” is so perfect that you have to wonder who in this band it was that still had ownership of enough soul to leverage the Devil out of the track.  This number is beyond anything Pantera, COC, or Crowbar have ever done, and on its very own justifies the purchase of this disc.  The Hammond organ, (yes organ on a pure metal disc), and guitar weave in and out of each other like two heads of a single snake and it’s impossible to figure out which is the more lethal of the two. In the end, they both bite you on the ass.

 In “Flambeaux” you have a Cajun-ization of John Bonham’s solo track from the Coda album and something cryptic about stolen Kool-Aide, funky and funny.

  “New Orleans Is A Dying Whore”  is a highly critical, sociological examination of the changing culture of the South’s Grande Belle city that impacts all previously held notions of normalcy in a climate of technological/industrial expansion.  Either that or it is Phil and the fellas smokin’ a lot of weed while they jam but the result is total brain damage either way you go. 

 The fact is that there is nothing out there that could even remotely hold a candle to the energy and passion that metal music has inspired in these five Southern gentlemen.  The fact that these guys somehow managed to caste this much power and glory in solid metal and then transfer it all to disc is just blessedly brain bashing brilliant.  If you ain’t down with DOWN than you ain’t shit, punk. 

– David Lee Wilson 

 CHAOS

Therapy

(Indie)

      Chaos has released their third record and it is tangible evidence of the band’s growing proficiency in what I consider a very limited musical genre.  Chaos’s "Therapy" uses a wide palette of musical colors and styles that bleed through their contemporary’s humdrum attempts.

 Compared to their previous efforts of “Down by Design” and “Thoughts of Release,” this third CD is hands down their best to date.  If you need a reference, here you go –– they have a little Mudvayne, Faith No More and classic rock influences.  Their new addition, guitarist Wes Bane brings a freshness and multiplicity to the band’s output. 

The lead track is a doosey!  “The Only Way” battering guitar attacks your senses as it bashes out a powerful, visceral and spinal cracking chronicle.  Great primal double bass drum work and sub-sonic bass guitar root this song into solid concrete. 

 “About Time” intertwines prog-rock riffs and timing with full-on “hammer of death” choruses.  Clean and shimmering guitar work.  A fantastic mover.  My favorite track has to be “Buried Alone” --  this tune shows the band in a different light.  Slower, ambient and atmospheric, this has the courage to put well-built themes right up front in the mix.  A nice showcase for some great vocal work and harmonies. 

 “Sad September” starts off with some very uncharacteristic “jazzy” overtones.  Superb play between the bass and drums.  All of that hemorrhages into a mash of angry, angst-ridden effrontery, only to give into the release of returning back to the opening phrase.

 "Therapy" is a clean, tight and precise production.  I have reviewed countless bands in the same ilk and I try to look for the ones that have the ability to punch through the monotony.  Chaos turns in some genuine “songwriting” in that they thought about how the song should “feel” and created space for things to breathe and get kicked down.  Solid effort.

 – Jon Rice 

RIDDLIN’ KIDS

“Hurry Up And Wait!”

(Columbia)

 Somewhat in the accessible punk vein of Sum 41 and Blink 182 the Riddlin’ Kids transcend the straight pop music formatting of other groups by not stopping at the floor when they put the pedal down.  Energy squared in a fashion that not even Einstein could hope to understand, this record makes a wreck of anything that comes close to the speaker.  Dance music for a slamming society who isn’t afraid to get their piercings ripped in the pit, and Oh yes, there are some “ballads” as well. 

Each track is its own king, ruling without challenge, but there are a few that seem to have a wee bit more radio menace potential than the rest, “I Feel Fine” for instance –– a “One, two three four...” power-pop classic in the vein of Green Day or Cheap Trick.  I predict TRL abandonment of Backstreet-Britney in favor of these Riddlin’ Kids and I nearly want to buy two copies just for them doing us all the favor.

  “Crazy” and “See the Light” will each likely reach stratospheric status on radio and MTV and probably make us all sick, but so does this beer I am drinkin’ and that never made me stop before. 

 If the first fourteen originals where not enough to warrant dropping some of your expendable cash on the Kids, check out their take on REM’s “It’s the End of the World as We Know It.”   Not only do they do the  track justice, but I say they do it better than REM!  Hang on at the end for a few seconds and you get a nice surprise bonus as well. Brilliant!

 The Kids have already toured with everyone from Goldfinger and the Voodoo Glow Skulls to Fenix, TX, and they have appeared on a couple of WARPED tours which is where you will be able to catch them this summer, unless of course they drop that in favor of playing the bigger halls as this record explodes.

 – David Lee Wilson  

 TINSLEY ELLIS

Hell Or High Water

(Telarc Blues)

 Tinsley Ellis’ Telarc Blues debut CD has two songs that I’ll remember for a long, long time:  “Real Bad Way” and “Ten Year Day.”  

The soulful “Real Bad Way” and the revved-up “Ten Year Day” touch me in the same way that classics like Lonnie Brooks’ version of “Sweet Home Chicago” or Fenton Robinson’s original “Loan Me A Dime” (or Boz Scaggs’ fine remake with Duane Allman on guitar) did when they landed on vinyl many generations ago.

 On this record, they serve as bookends to Ellis’ command of the blues guitar, which ranges from soul-tinged funk to full-out rock ‘n’ roll.  Actually, there are 10 other very listenable and radio-friendly  songs with a Southern blues accent on this CD, but these two cuts really bring Tinsley’s guitar pyrotechnics home for me.

 Ellis has recorded on many top-notch blues labels, including Alligator and Capricorn, but I’d like to think that he’s found a real home with producer Eddy Offord (that name should ring a bell for older rock fans as Offord was behind the soundboard for Yes for a long time) and Telarc.

 Again, there’s a dozen cuts ranging from soulful shuffles to full-tilt boogie and hard-driving blues, on "Hell or High Water," but I keep turning up “Real Bad Way” and “Ten Year Day”  because Ellis truly hits his stride on those epic cuts.

 – Eric Steiner