CD SPINS

CD SPINS   (Monthly Cd Reviews)

by Staff

Youngstown
Down For The Get Down
(Hollywood Records)

   Those sexy guys of Youngstown – Sammy Lopez, Dallas and DC Yeager – are
back again with their second album for Hollywood Records.

    From what these ears hear on this advance copy of "Down For The Get
Down," this snappy and soulful trio need not fear the dreaded sophomore
slump, because this set of music is a stellar set from start to finish.

    Youngstown had a good deal of success with their first album, "Let’s
Roll," thanks in no small part to their musical connection to the Inspector
Gadget soundtrack. While that album was good, it seemed a bit inconsistent
as it spilled from one track to another.

   That’s not the case with "Down For The Get Down," where the track
placement flows and the songs compliment each other quite well.

   This CD finds that the guys have grown musically and matured in sound, as
they should. While not so far removed from the sound they gave us on their
debut, this latest effort has a wider mix of pop and rock styles. There’s a
nice balance of upbeat tunes and slow groove love songs each capped off with
those sexy voices, which have more timbre and texture than we heard on "Let’s
Roll."

     Representing the softer and sexier side of the trio best are – “Little
Sister,” “Every Single Thing” and “Float Away” – while jamming numbers
like “Machine” and the title track are sure to be faves at dance parties.

    “Little Sister” in particular has hit single written all over it.   Not
only because it sprang from the pen of Guy Roche (who has written for
Christina Aguilera, Brandy and Enrique Iglesias), but because the guys have a
real handle on the song, making it a real stand out on the CD.

   Their first single from this set is “Sugar,” a croon-pop number with a
subtle dance rhythm that helps to keep it looping in your brain.

   These Ohio lads also give a very nice treatment to a beautiful old John
Lennon-composed song called, “Grow Old With Me,” which the late Beatle
himself never recorded for release.

   Although you can rightfully call them a boy band, Youngstown offer much
more to the public than cute faces and snazzy dance steps.

These three talented young men are all remarkable singers who together are
capable of creating harmonies that can move your soul.

- Sarah Lounges

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THE MERKINS
Tumblin’ Chuck
(Independent)

   For their follow up to their debut disc, A Pony For Leo, the N.W.
Indiana-based Merkins give us "Tumblin’ Chuck."

    This sophomore effort is a crisp and jangly pop/rock gem of an album with
elements of folk and a slight Southern-flavor not unlike that of early R.E.M.

     Hailing from Michigan City, the Merkins approach to their music reminds
me of another N.W. Indiana region band I reviewed a few years back called The
Whistling Jupiters (anyone remember their remarkable 1995 release, "Launch?").

    FYI...for those unfamiliar with that band, my comparing them is meant as
a compliment, for the Whistling Jupiters were (and still are) among my Top 5
homegrown Chicagoland bands of all time.

    The Merkins weave an interesting tapestry of tunes that tend to stick
with you long after the CD has finished spinning. Wonderful vocal harmonies
and sophisticated musicianship drive these finely-crafted and well-structured
songs.

    Tumblin’ Chuck’s stand out tunes – “Saint Crispin” and “Suite of
Genius” – are both dead on singles that could/would fit snugly amid the
other rising young modern talents featured on Chicago’s WXRT. (Are you
taking the hint ‘XRT?)

    “Saint Crispin” is pure rock-edged pop with dark overtones that is
complete with top shelf guitar work, orchestral keyboards in the background
and tight vocals. This is hands down the best overall cut on the CD.

    “Suite of Genius” is a southern-tinged more straight ahead pop tune,
which really shows how much this band was influenced by their early R.E.M.
records. This is my personal favorite on Tumblin’ Chuck.

     Though I obviously enjoyed the Merkins second effort, I must voice my
disappointment on it’s clocking in at only 27 minutes and 13 seconds.   I
want more!

    No sophomore jinx here. This is really good stuff. I have no qualms
about saying – “Find it and buy it!”

– David Alan Buco

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HAYSEED DIXIE
A Hillbilly Tribute To AC/DC
(Independent)

    Hayseed Dixie – say it real fast. Does it sound a bit like the name of
another band you’ve all heard of with an equally strong proclivity to play on
words?

   Well, it’s no coincidence since this CD is actually a tongue-in-cheek
“Hillbilly Tribute to AC/DC.” But, although I’ll never outgrow the raucous
pun-laden humor of AC/DC itself (still on the top of my list as the best hard
rock band ever), because of the twisted humor attitude underlying this CD
(Brian Johnson himself is said to have found it “hilarious”), I know that
the targeted audience for this collection of songs is really those that are
right in there with the Al Yankovic and Cledus Judd mindset.

   But, though it’s not my favorite brand of humor personally, at least I
happened to have the perfect representative of that niche market right at
home: namely, my 13-year-old son, Adrian, who’s wildly enamored with
Yankovic, Judd, and any sort of warped or bodily function humor, as well as
addicted to AC/DC to boot.

   And what did my resident “expert” for this stuff have to say? Adrian
takes over this review for you from here:

   Overall, it’s an okay album. If you like AC/DC, and you can handle
country/bluegrass too, then you will like this. All the songs were
originally AC/DC songs, which explains the unusual name – Hay-Seed-Dix-ie –
which as my mom already pointed out, sounds like A-C-D-C.

   The only difference between these songs and the originals are the
instruments; the lyrics are the same, only you can actually understand them
better on this CD because they’re sung more slowly by a guy who has a very
exaggerated twangy voice.

    The instruments used here, which are actually played quite well, are
classic bluegrass ones such as fiddle, steel guitar, and banjo. The twangy
style might get annoying after a while for some of you, but because I am a
fan of rock and country, I was able to enjoy the album through and through.
These songs really are pretty funny.

    What’s humorous and cool about them is really hearing them in such an
unfamiliar way. For example, in “Hells Bells,” there’s supposed to be a big
bell sound in the beginning, but instead there this little triangle sound.
“You Shook Me All Night Long,” it is supposed to be a very manly kind of
song, but here it sounds different when played with a lightweight 'hillbilly'
twang and rhythm – kinda goofy I must say, but then that's what’s funny
about it!

    In their take on “TNT,” when the lyrics say – “watch me explode” –
there is a big fart sound! It’s a gut buster. At the start of that song,
where our favorite Aussie boys shout – “Oi! Oi!” – these hayseeds shout –
“Oink! Oink!”

     Since this band’s image and goal is to be a parody of AC/DC, the songs
that actually go best with that “image” are the ones that are already warped
and wicked in the first place like – “Big Balls,” “Have a Drink On Me,”
“Highway to Hell,” “'Dirty Deeds Done Dirt Cheap,” and “Hells Bells.”

    While I wouldn’t replace any of my AC/DC CDs with this one, it’s good
for some weird laughs and to freak out your buds when they come over to hang
at your house!

– Shelly Harris & Adrian Harris

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Low Twelve
Flesh Of The Weak
(HeavyCore/D-Day)

Here’s a CD made to piss off your neighbors, because if you really want
the full Low Twelve affect, it must be played loud –– very loud!

   I ought to know, because several neighbors in my apartment complex knocked
on the door and asked if I could “Please...turn down that awful racket.”

   But by the same token, during the time "Flesh Of The Weak" was spinning
full tilt in my CD player, I soon discovered a half dozen skateborders had
parked outside my door to listen to the whole CD. I became aware of this
when the CD ended and they knocked upon the door wanting to know – “Who the
hell was that?” and “Where can I get it?”

    Hearing these concrete hugging hard guys fire off those questions was
music to my ears, because Low Twelve is worthy of that kind of attention.

     What the Peoria-based band gives you is a hefty dose of straight forward
hardcore metal. But do not assume by that statement, that their sound is in
any way typical. The music Low Twelve plays is a bit more complex than most
of the hard core we are finding out there these days.

   Tim McCleland and Les Aldridge provide the thunderous double guitar
assault, while drummer Wes Pollock and bass slapping Pete Altieri bring the
thump and punch of a great rhythm section.

     Needless to say, the music here is akin to getting whacked with a
two-by-four across the head. Extremely powerful, soul-crunching rock ‘n’
roll with the growling pit bull-like vocals of Altieri leading the lyrical
charge.

     Of the 16 songs on the CD, not one could be considered a weak filler
track. All have merit and are worthy of inclusion. Still, the best song
here, in my humble opinion, is “Trench.” It’s a musical and lyrical kick
in the teeth with steel-toed boots. In other words, it is one hell of a song!

    As a cool added bonus, "Flesh Of The Weak," contains four live cuts. If
these cuts are any indication, than seeing Low Twelve live is a must for any
true fan of hard core music.

    Add this CD to your collection at your own risk. While you will be
getting some damn good music, your neighbors will hate you in the most
passionate of ways!

– David Alan Buco

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Star Patrol
Steps 2 This
(Independent)

   A science fiction concept album of sorts, Star Patrol’s "Steps 2 This" is
to today’s electronica music scene what “The Blob” or “Attack Of The Killer
Tomatoes” is to science fiction cinema – a “B-Movie.

   For those born after the heyday of the classic B-Movies, they were the
kind of film they used to show at drive in theaters before the main feature.
To be kind, it was primarily a time killer.

     Keeping that in mind, Star Patrol consists of Commander Stellar Tellar;
synths and drum programming, Major Isis O’Neill; synths, and Major Mark
Slagknuckle; synths and drum programming. And I must not forget the loyal
spaceship mechanic, Bonsor of Pugtooine.

    These four loyal Star Patrol members are here to “save the earth from the
evil Bionosaur threat.” You see, they realized that simple synthesizers and
drum programming could put the evil Bionosaurs to sleep.

    As you can see, Star Patrol are simply trying to save us all from mass
destruction. If taken for what it is – a B-Movie equivalent of the audio
world – this effort has some cornball entertainment value.

    To the credit of the band, this disc is full of some interesting drum
programming and live synths, but the snippets of cheesy dialogue that sound
like classic Star Trek narrations on acid, turn it rather cornball.

    "Steps 2 This" is pretty good if you like sci-fi “B-Movies.” But to be
honest, I personally prefer the main feature.

   “2001;A Space Odyssey” this is not!

– David Alan Buco

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RADIOHEAD
Amnesiac
(Koch International)

        Radiohead still remain the “riddle inside a mystery wrapped in an
enigma” band that make their appeal so massive. With their fifth major
release, "Amnesiac," Radiohead is dedicated to following their experimental
music spirit.

    The disc picks up where their critically acclaimed 2000 release, "Kid A,"
leaves off. In comparison, "Amnesiac" employs more rock structured songs
with the guitar making a come back (the guitar was a no-show on Kid A).
There is plenty of nihilism, techno and avant-garde flavors to engage a wide
audience.

    The lead track, “Packed Like Sardines,” punches out a percussive,
electronica landscape with Thom Yorke’s airy juxtaposing vocal on top of the
track. The advance single (if you can categorize it that) is “Pyramid
Song,” a sparse piano-driven tune that employs a jazzy, odd time signature
and passionate vocals.

    The diversity in this disc is quite remarkable. Although there are
several techno sound-design pieces – “Push/Pull Revolving Doors,” “The
Morning Bell” and “Spinning Like Plates” – the remaining songs visit such
camps as “Route 66” with the disc’s strongest track being, “I Might Be
Wrong.” This song could be the soundtrack to a David Lynch movie with it’s
great aural landscape.

   The band even treads on Benny Goodman’s ground with the track, “Life in a
Glass House,” a smoky jazz ballad replete with a full swing orchestra
sticking true to the genre.

   For those dyed-in-the-wool Radiohead fans, there’s the tune “Knives Out,”
which is very reminiscent of “No Surprises” from their 1997 release OK
Computer or “Fake Plastic Trees” from their 1995 release ñ The Bends.

     As I wrote earlier...this set offers a little something for everyone.
Overall, good stuff.

– Jon Rice

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Meredith Edwards
Reach
(Mercury Nashville)

Country music has never been a major place for young artists, but over the
last few years, young artists like LeAnn Rimes, Lila McCann and Jessica
Andrews have become major country stars. Mercury Nashville now offers
Meredith Edwards the same chance with her debut album "Reach."

   Meredith has already started off strong with her first single “A Rose is a
Rose” getting strong air play on CMT and at country radio across the US.
It’s a melodic ballad about a couple growing in two very different directions.

    Edward’s second single “The Bird Song” is a strong lyrical song and more
upbeat. The song is a metaphor about a bird looking down on the world below,
like a child looking down from a tree house. The song should do well for
Edwards at radio.

    The strongest song on the album is “You Get to Me,” a coming of age
love song about a girl who’s unable to control herself when that special boy
looks and talks to her. This would be my pick as her third single.

    The weakest song on the album is, without a doubt, “Slow Learner.”
Starting off with a great beat, it goes into a horrible chorus. The song is
lyrically lame and gets rather exasperating as it trudges on.

    Overall the album is a mixed bag of strong and weak cuts. Among the
former are “This is a Heartache,” “In Any Given Moment” and “You Get to
Me.”

    Overall, "Reach" not a bad first effort, but this won’t be the album to
put Edwards into the LeAnn Rimes league. She's certainly got the pipes and
the potential, but she will need better songs if she’s to beat the sophomore
slump.

– Brad White

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MUSHROOMHEAD
XX
(Eclipse Records)

    While it’s pretty close to the same time, I believe Mushroomhead was
doing the costume thing before Slipknot. Secondly, similarities in image
between the two bands it clearly has nothing to do with the music each
creates.

    That being said, hopefully some of you will judge this release simply on
the merits of the CD itself.

   On their debut release, Mushroomhead has compiled their greatest moments
from their three Midwest-released demos, and added a new track to sweeten the
mix. They’ve remastered the material, and it sounds much better than the
originals versions.

   Mushroomhead is a thrash-like band, although they mix their vocal styles
between spoken and growling sound, and temper the entire sound with alluring
keyboards.

   At times, they are reminiscent of Faith No More, like on “The Wrist,” for
example. But their sound varies from song to song. Their first single,
“Solitaire/Unraveling,” has a pulsating ooze that creeps forward before it
turns aggressive. Other songs, like “Before I Die” and “Bwomp,” simply rage
with blistering intensity.

    In reality, most of the music from "XX" is not performed at hyperspeed.
Instead, the band just continually pummel and pummel and pummel. “Xeroxed”
flat out roars, all the while never getting past a mid-paced tempo. “Chancre
Sore” showcases Mushroomhead’s unique ability to infuse raging guitars with
high-end keyboards, creating a sound distinctly metal, but not the ‘black
metal’ sound that most are accustomed to when keyboards are present in heavy
music. It’s good.

    But probably the best tune on the disc, the spot where they put it all
together, is on “The New Cult King.” This song is a searing heavy music
masterpiece that could cross a lot of barriers. It could find commercial
radio success, yet it’s heavy enough for real metal radio and those
metalheads who generally shun anything on the radio.

    "XX" is solid. For me being a Clevelander and used to seeing these guys
in local clubs here, it’s not really anything new, but on the national level,
Mushroomhead are treading some new ground.

    They may look like escapees from a horrifying Halloween bash, but their
strange image is matched with powerful metal of a caliber higher than most
national bands of their ilk. Here’s hoping that people will look past the
garish costumes, make-up and image as actually listen to the music. Good
stuff!

– Chris Akin

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MARY FAHL
Lessons Of Contact
(Rough Mix/Redeye)

     Mary Fahl was the lead singer of October Project, and I can still hear
her haunting and lilting vocals soaring on the popular “Wall of Silence,”
even though it’s been five years since I last heard that song or any cuts
from the two Epic releases from that 90’s cult band.

    Mary’s debut four-song solo EP, Lenses of Contact, gives her a chance to
explore her own songwriting and wrap the listener with her sultry, soft alto.
Mere words can’t describe it when she hits those extended low notes on
“Redemption,” or when she tries to say what she “Meant to Say” on this
record.

    For vocals, think Bonnie Koloc or the Cowboy Junkies’ Margo Timmins, but
more sultry. I just wish "Lessons of Contact" was a full CD, as it leaves me
wanting.

– Eric Steiner

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STABBING WESTWARD
Stabbing Westward
(Koch Records)

    Wow! I’ve been a Stabbing Westward fan since the 1994 release Ungod. To
say their self titled release is a departure is an understatement...geez!
It’s not a bad departure at all, it’s a musical space shuttle flight in the
land of the living!

   Hey, I love nothing better than putting on a Stabbing Westward CD and
getting lost in the pain, hate, dark, gothic, angst, black and powerful world
that they are masters of creating. Their new disc is like they have opened
the chained doors of their nebulous and dank Industrial Factory and have
exposed themselves to the sunshine and blue sky.

    The CD opens with “So Far Away.”   O.K., here we go – lovely acoustic
guitar, happy melodies, great harmonies, natural space (vs. digital), the
signature haunting vocals and great “modern rock” drive. It’s a love song
for **cks sake!

   Now don’t panic, there are some tracks that will pacify Stabbing Westward
fans of old – “High,” “Wasted” and “The Only Thing” – all of which retain
the same ingredients as older Stabbing Westward.

   “Perfect” and “I Remember” are refreshing uplifting rock tunes that both
use essential acoustic guitars, beautiful harmonies, and interesting
melodies. The track, “Happy,” starts off with a xylophone, pop beat and
yep, you bet, an acoustic guitar! The song asks the question:”Are you really
happy?” and it would seem that Stabbing Westward would answer with a
resounding YES!

   The CD ends with a psychedelic homage to the ‘70s with wah wah, Hammond
organ and a driving guitar (electric this time) riff.

    Stabbing Westward’s new release I believe is a statement of survival.
There is a new breed of industrial, hard rock bands that have taken what they
created in the past and made it into a new hybrid. This new disc, I believe
will balance the old fans and their prospective new audience. It seems to be
a transitional piece between an old sound and new sound.

    With past albums titled – "Ungod," "Wither Blister Burn and Peel," and
"Darkest Days" – it’s no wonder they kept this departure CD self-titled!

    For more information: www.stabbingwestward.com.

– Jon Rice

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