CD SPINS

by Staff


STAIND
Break The Cycle
(Elektra)

    This is certainly one of the stranger releases of the year.  Not because
the music is bizarre or anything like that, but because of the amount of
interest in this release.  There is a ton of enthusiasm surrounding this
band, yet as a band they really haven’t captured the hearts of that many
people out there. 
   Their last release, Dysfunction, was brilliant but extremely
underappreciated.  Yet, based solely on the single “Outside” from the Family
Values tour album, Staind vocalist Aaron Lewis has single-handedly created a
major buzz for his band.  That being said, it’s definitely time to deliver. 
Clearly, Break The Cycle does just that. 
   Break The Cycle is a moody, brooding rock/metal release sure to please any
fan of heavier, modern rock radio.  From start to finish, this band rocks,
but not so much in a balls out, blasting fashion. Instead, the band tempers
their aggressions constantly here, picking their spots within many of the
tracks to blast intensely, before settling back into more melodic, controlled
tones. 
   It works on all levels here.  “Change” is a great example of this. Lewis
and company mournfully lure you deep within the bridge before blasting you
back with a killer chorus. Fantastic stuff.   “Fade” is in a very similar
mode.
   Unlike Dysfunction, the majority of this disc carries a subdued tempo. 
That’s not to say this material is any less intense. It is a lot more
controlled however, balancing the pace, the aggression, and the angst. 
    A great example is “It’s Been Awhile.”  Easily the best song on the
disc, this extremely powerful ballad showcases the brilliance of this band.
Simply put, it’s addictive. For this, Lewis has an angry tone to his work in
the bridges of the song, yet during the chorus he goes for a more subdued,
clean style.  By contrast, guitarist Mike Mushok does the exact opposite. 
His playing is soft to the point of being nearly acoustic while Lewis is
raging, and blasts with tremendous fury while Lewis is subdued.  Very unique
and very interesting approach. 
   The question should not be – “How did this band get so popular off of a
solo song from their singer?”  It should be – “How did this band not get
huge when Dysfunction was released?”
   Break The Cycle is one of the best modern rock/metal albums of the year,
if not the best.  While they are not given just credit in this arena either,
they are one of the best live acts on the road this summer.  You just can’t
go wrong with Staind!  Good stuff!

– Chris Akin

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THE RED
Let’s Not And Say We Did
(Bella Records)

     The acoustic pop-rock sound of Let’s Not And Say We Did is an engaging,
earthy journey, a journey of characters, relationships and the observations
of this band’s singer/song writer/bassist, Victor Langhaar and lead
vocalist/guitarist, Marco Aiello.
     With the help of no less than ten guest/studio musicians, this “dynamic
duo” known as The Red, have put together a CD brimming with emotion, humor
and intelligence.
    Influences ranging from the crafty sense of humor and simplicity of the
Violent Femmes, to the vocally engaging, musically potent and emotive World
Party, are evident throughout this impressive release.
   You know that feeling you get while reading a really good book?  Where you
feel you just can’t put it down?  You know it will be there later, but you
just can’t tear yourself away from it.  “Just one more chapter,” you say,
and before you know it the words “The End” appear.
    Well, Let’s Not And Say We Did is the CD equivalent to just such a “page
turner.”  As well written lyrically as it is musically, you won’t want to
press the stop or pause buttons until the final note fades to silence. 
   There are no certain songs to  praise of chastise here...it’s just a solid
set of wonderful music from start to finish. And that’s how it needs to be
heard.

– David Alan Buco

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VINCE DiCOLA
In-VINCE-ible
(Damn Swell Garage Records)

   Interestingly enough, you might’ve heard Vince DiCola’s music and not
known it.  He composed the music for all of Transformers: The Movie, and some
of Rocky IV and Stayin' Alive (the less-than-successful sequel to Saturday
Night Fever). 
    What you might find even more interesting about DiCola is his sound. 
This disc is culled from several years’ worth of recordings, yet a
distinctive “DiCola Sound” permeates regardless of the year, project or
players involved.  To define that sound (always a difficult thing to do),
I’ll just say that it’s very keyboard heavy, with a twist. 
    There are two sections to In-VINCE-ible!, one instrumental and one vocal.
 Some of the songs, in the vocal section especially, sound like they would
fit rather comfortably on a WNUA playlist.  However, just when you think you
know where the song is going, it takes an unexpected twist, raising the
eyebrows and perking up the ears in the process. 
    DiCola is an incredible keyboard player. When he attacks some of the more
technically demanding sections of his songs, the precision with which he
plays is amazing.  The notes themselves, as well as the spaces between them,
are as bright and clear. The melodies and motifs that DiCola works with are
by turns engaging, pleasant and sometimes quite challenging (in a good way)
to listen to.
    The instrumental section holds some of the true gems of the collection,
particularly the piano solo pieces.  “Montauk Moon” (from his Piano Solos
release) is a beautiful, thoughtful piece that will enable you to get inside
of DiCola’s heart.  As far as his digit dexterity, some of the more
technically impressive pieces, such as “Concerto,” illustrate his ability to
take several right and left turns during a single composition, all the while
holding fast to a theme which the listener may hang his hat on and get it
blown off all at the same time.
    The best songs on the disc’s second section feature the vocal stylings of
Ellis Hall, who has such remarkable vocal control that it  seems elastic at t
imes.  Along with Doane Perry, drummer with British rock legends Jethro
Tull, DiCola and Hall formed the band Thread, which released their debut a
few years ago.  “Hands of Kindness,” from that disc, is included on this
collection.  Another standout Hall vocal performance is the hook-laden “Just
Hangin’ On.” 
     One of the most intriguing songs is the closing track, “Far From Over,”
from the Stayin' Alive film. Co-written with Frank Stallone, it’s recorded
here with a new, very intense vocal by Dick Reincke and it seems more sparse
than the version I remember.  Reincke’s voice, although not as pliable as
Hall’s, provides a solidity to the song that takes it beyond a mere
soundtrack song to a mediocre film. 
   There is nothing on this collection that approaches mediocrity from any
direction.  It’s all excellent.  Fans of keyboard-oriented music will love
this collection.  Listen to this and let the “DiCola Sound” work on you.  In
this age of “assembly line” music, this is one of the most truly substantive
discs you’re likely to hear.

 – Ben Likens

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THE CHURCHILLS
You Are Here*
(Abrupt Records/Universal Records)

     I haven’t really heard much from the power pop music scene lately, and
what I have heard has been rather bland.
    Enter New York’s Churchills with their debut CD – You Are Here* – which
turned out to be a most pleasant surprise.  I’m glad my expectations of
another Matchbox Twenty were not realized.
   While probably fitting in quite nicely with bands like The Gin  Blossoms,
they also show influences from bands like Chicago pop rockers Material Issue,
Australian pop giants The Church and even a tad bit of the legendary Todd
Rundgren’s Utopia.
    The Churchills are making waves.  You Are Here* is working it’s way
through the college radio circuit; they have appeared twice on ABC’s “Spin
City;” and on the HBO mega smash, “The Sopranos,” the character of Medow
Soprano has been known to sport a “Churchills” t-shirt.
    That having been said, do these guys have the staying power to eventually
“make it big”?  I suppose only their next release will answer that question,
but I think they do.
     Getting back to the present, You Are Here* is a fine album.  With the
exception of tracks one and three (“Beautiful” and “Headstrong,”
respectively) the first five songs are average, garden variety power
pop/rock.  Not bad, but not remarkable either.
   After that though, the CD picks up dramatically with the Beatle-esque
“Cars” and the rock gem “Mysticated Girl.”
   Even with it’s slightly above average start, You Are Here* proves to be a
damn good CD, worthy of your collection.  By the way, the final cut, “Maybe
Make Me Okay” is a perfect pop/rock song.  If it’s not a single, it should
be!

– David Alan Buco

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LORRAINE FERRO
Languishing In Turbulence
(Indie)

    Lorraine Ferro has captured quite a few awards as one of the newer kids
on the women’s singer-songwriting block.  She’s earned the coveted
Songwriters’ Hall of Fame “Abe Olman Award,” and was a finalist in the
“John Lennon Songwriting Contest.” 
    Her solo CD, Languishing in Turbulence, shows that she’s got what it
takes, particularly when it comes to songs from a women’s point of view. 
There’s quite a bit of assertive, New York attitude on songs like the weird
and trippy title cut, as well as “Thank You,” one of the most memorable
songs from a uniquely American talent. 
    I particularly like her “Happy” and “Be Kind to Me,” as they are two
great songs that showcase a new American voice. 
    Languishing in Turbulence is well worth seeking out and picking up.  
Lorraine Ferro’s got the chops and the songwriting talent to last a long,
long time.

 – Eric Steiner

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EMITTER
Emitter
(Blue Wookie)
                                                                             
                                  
    “Every song here could be a radio a hit,” I found myself thinking, as I
listened to the eponymous debut disc from the region band – Emitter.  I
waited for the next song to be filler, but such a song never came.  I spun it
a second and third time only to hear again that there was some kind of
“hitsville” phenomenon happening with Emitter.
    Musically in the area of such keynotes as Tonic, Goo Goo Dolls and Eve 6,
Emitter’s tune mill is mainly comprised of the ever illusive
singer/songwriter animal, Jason James.  Well hewn songs that shows  they have
formula pop down to a science. Outstanding production was turned in on this
project by Elemental & El.  It’s evident that much time and  some big $$ were
spent to achieve the sterling sound here. 
    With Dave Schoon (ex-Riversevenswell) on bass and Steve Van Den Griend on
all guitars, Emitter’s sound is incorporates that wonderful oil/water mixture
of acoustic and distorted electric guitars for that powerful wall of sound.
    The CD kicks off with “I’m Told,” a slice of power pop at it’s finest. 
Dynamics, great harmonies, melody – it’s all there.  My favorite is
“Dreamgirl,” another well executed pop song with an unforgettable chorus. 
    “Fallen for You” is punctuated with a nice string section (albeit a
synth) which accents the song wonderfully.  Jason James’ vocals are clear,
concise and able to convey the story the lyrics are begging to say.  Unique
without a trace of emulating another artist, James’ voice is one of the many
highlights of the CD.
    Along with great song crafting goes great instrumental phrasing and
arrangement – Schoon and Van Den Griend are aces at that task.  Arpeggios in
just the right place, full stops, simple riffs, dynamic use of effects, etc. 
“Shine” is a fantastic example of this – nice build up to the climax of
chorus and the meaningful lyrics. 
    Look for this band to snag the brass ring one day...they are all-around
way too good to be ignored.

 – Jon Rice

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CHICAGO BLUES POSSE
One Shot Deal
(CBP Records)

     The cover says it all:  The Checkerboard Lounge, the Home of the Blues. 
    When I think of Chicago, I think of the blues and rooms like the
Checkerboard, and few guys play the blues better than the Chicago Blues
Posse. 
    You may not have heard of the Chicago Blues Posse, but I’ll bet that
you’ve heard of the bands these guys have supported as sidemen. 
    Glenn “The Wiz” Wierzbicki has played the drums for Son Seals and Pop
Staples, while Mike Boyle’s bass has fueled the music of Son Seals and John
Primer.  Mike “Music Man” Gallemore has worked with Sam Lay and the Kinsey
Report, not to mention his newest project, Chicago Rhythm Oil.  Nelson Keaton
has played harmonica with the Chicago Kingsnakes, and the Gene Kilty has bent
notes with the Steepwater Band and Bottles of Wine.  Rounding out the posse
are guitarists Johnny “Butane” Johannes (The Rhythm Flames) and Dan Ferris
(Freddie Cales and Jo Jo and the Bluestrain). 
     One Shot features a dozen great cuts, including “Mercury Blues” and
Lowell Fulson’s “Little by Little.”  My favorite is the Posse’s cover of
Charlie Musselwhite’s “Up & Down the Avenue,” but there’s so much to like
on this surprising release that my favorite cut seems to change with every
listen.
     These guys aren’t amateurs:  They’ve spent more than 25 years in smoky
bars and on the road, and they’ve surely hit the target with One Shot. 
     One Shot Deal is an amazing and vibrant set of music from some of the
best bluesmen in the Chicago area.  They are too good together to leave us
wanting like this, so I’m hoping and praying that they reload and squeeze off
a few more “shots” our way sometime soon.
    The Posse Wants You!  C. B. P. hosts a summer blues jam every Sunday
evening at Bottoms Up (1696 Thornton-Lansing Rd.) in Lansing, IL. 

– Eric Steiner

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JENN ADAMS
In The Pool
(White Boxer Music)

   While the women’s music bins are crowded, I’ve discovered a gem from the
hills of Montana.  She’s Jenn Adams, and she’'s released one of my favorite
CDs so far this year, In the Pool.
    The picking “Speed of Light” and the lilting “Joliet” showcase Adams'
talented acoustic guitar. 
   Jenn’s clear and crisp vocals remind me of long-time Midwestern folksinger
Bonnie Koloc or Bitchin’ Babe Megon McDonough. I thought I didn’t need
another version of “All Along the Watchtower” but I was wrong.  Jenn’s duet
with Geffen recording artist Malcolm Holcombe convinced me otherwise. 
    In addition to some fine acoustic music, Jenn works it with a full band
on “Not Tonight,” buoyed by Steve Conn’'s B-3 and Kirk “Jelly Roll”
Johnson’s harmonica. 
    Given it’s indie and folky status, sadly, In the Pool, may be hard to
find in local stores. So, because I really want you to experience this
talented woman’s music, I’m making sure to equip you with access to her web
site – www.jennadams.com .  Now you have no excuses.

– Eric Steiner

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ROBERT CRAY
Shoulda Been Home
(Rykodisc)

     This is a great new set from one of the more popular blues acts of the
last quarter century.
    Cray takes some risks with two long songs on Shoulda Been Home.  Jim
Pugh’s “Out of Eden” clocks at nine-minutes plus, and “Far Away” is over
six minutes of love and loss. 
    Longtime fans of Cray’s smooth, soulful take on the blues will enjoy
“Help Me Forget” and “Already Gone,” two slow numbers featuring Cray’s
smooth vocals and sharp lead guitar.  While the Cray Band continues its
exploration of blues flavored with Memphis R&B, my favorite cuts here are two
gritty send-ups of Elmore James’ urban Chicago sound:  “Cry for Me Baby” and
 “The 12 Year Old Boy.”  

– Eric Steiner



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