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Review # 11: "Still Stuck in Your Throat" by Fishbone

2007-10-09T00:16:02Z

Anybody who owns a Reel Big Fish album should know Fishbone by now, but the sad truth is that few people do. One of RBF's biggest influences, their song "Lyin' Ass Bitch" is featured on the RBF/Zolof split release "Duet All Night Long." Their songs have been in such films as "Say Anything" and "The Mask," yet somehow they have stayed almost entirely obscure for over twenty years. They're not done by a longshot, though, as "Still Stuck in Your Throat" proves:

Truth be told, this album is not ordered at all the way I would have expected. The first few songs ("Jack Ass Brigade", "Let Dem Hoes Fight" and "Skank 'n Go Nuttz") emphasize the band's trend toward silly lyrics and nutty instrumentation, but are just too damn frantic to be enjoyable. I found myself rewinding sections to try to figure out just how many things I was hearing at any given time. Thankfully, the album begins to pick up with the suprisingly lighthearted "Party with Saddam," a song that explains how if we party insanely hard for a really long time, we'll eventually have such a great party that all our enemies will become friends and there will be peace on earth. Wha? I'm not sure how much sense it makes, but you've got to love rhymes about dancing with Condoleeza Rice, Fidel Castro and Kim Jong Il. "Frey'd Fuckin' Nerve Endings" is crazy Fishbone-style punk rock, and this time it's not so frantic that it makes your head spin. "Forever Moore" is the best slow song on the album, bringing more of a traditional ska influence. "Premadawnutt" is probably the most RBF-sounding (though really that should always be the other way around) track, so new listeners should definitely check that one out. "Faceplant Scorpion Backpinch" is a humorous song about bad snowboarding, which I can certainly relate to. Finally, the band includes the cover of "Date Rape" that they recorded for a Sublime tribute album, which I believe actually surpasses the original in many ways. It just sounds like it would belong at a spooky carnival to me.

This album is not that good, on the whole. Certain tracks are certainly worth listening to, but I wouldn't go out of my way to purchase the whole thing if I were you. Still, I suggest you at least sample some of the songs and see if you like them, and if you'll be able to listen to RBF without hearing their influence ever again.

BREAKDOWN

PROS: Some fun, pre-1997 sounding third-wave ska. Definitely a band that influenced Reel Big Fish. Awesome cover of "Date Rape."

CONS: The first three tracks on the album are a cacophony. Avoid them.

RATING: 6 out of 10.

SOUNDS LIKE: Reel Big Fish, Bigger Thomas, Coolie Ranx-era Toasters.

Review # 10: "Dark Passion Play" by Nightwish

2007-10-08T18:16:52Z

Once upon a time, I thought that metal wasn't a worthwhile genre. I believed that it wasn't so much music as it was thrashing around to guitars, with growling replacing actual vocals. Then I went to college, and learned that the Scandinavians have had the metal market cornered with respect to actual music for decades! The subject of this review is one such band from the land of fjords: Nightwish, and their latest release is entitled "Dark Passion Play."

The album kicks off with a 13:54 minute song of epic proportions entitled "The Poet and the Pendulum." While some would argue that this song simply isn't fast or hard enough for the band's first entry after a 2-year hiatus (and with a new lead singer!), I feel that it is one of the most epic compositions the band has ever created. It feels more like something out of the soundtrack to 300 than to a Transformers movie, and it's truly breathtaking at moments. Nightwish uses its technique of overdubbing beautifully, creating the illusion of a massive, John Williams-sized orchestra and a legion of musicians ready to take arms in the battle of Helm's Deep (or Thermopylae, Shipwreck Cove, Cair Paravel, Stirling, Germania, etc.)

By and large, this album is made or broken by your reaction to the band's new lead singer, Anette Olzon. Her vocal style is decidedly different from Tarja Turunen's, and there is certainly no mistaking one for the other. Anette's voice is a bit higher and more nasal, as well as decidedly less operatic. This does not mean that her songs fail to be operatic, merely that she's not singing them in an opera style. As much as I am loath to make the comparison, this is what Evanescence should have sounded like. If they had, they might have been taken seriously.

The album contains only a few fast songs, but those are up to the already high standards Nightwish fans hold. "Master Passion Greed" and "Sahara" are significantly faster and harder than the opening tracks, though nothing approaches the breakneck speed of some of the band's earlier releases. "Whoever Brings the Night" is very reminiscent of "Planet Hell" in its tempo and certain themes, but the lyrics this time around deal with a one-night-stand.

The slow songs on the album are far more numerous, and are actually quite enjoyable. Of particular note is "The Islander," sung almost entirely by their male lead, and "Meadows of Heaven," which features gospel-esque backup singers as the song builds to a crescendo.

Blame it on the lineup change or the hiatus if you like, but Nightwish has not managed to surpass its previous album, "Once." Then again, that's no easier than for Green Day to outshine "American Idiot" or the Mad Caddies "Just One More." Definitely worth listening to if you are a fan, or if you ever listened to Evanescence and were disappointed at their lack of rocking.

BREAKDOWN

PROS: Epic power metal on display, especially the opening track. Moving slow ballads as well.

CONS: New lead singer. Not as memorable as previous albums.

RATING: 7.5 out of 10.

SOUNDS LIKE: Epica, Paradise Lost, Kamelot, Blind Guardian, Evanescence (only good).

P.S.: This album is also available in a Collector's Edition 2-disc set, which I recommend to those who enjoy fantasy. If you were ever looking for truly great fantasy background music, disc 2 is all instrumental versions of disc 1's songs.

Review # 9: "My New World" by The Epoxies

2007-10-08T17:42:36Z

It's funny how cyclical the music industry can be. When they started in the late '90s, The Epoxies were trying to be as uncool as humanly possible. A punk-new-wave sound complete with keytar and Devo-esque outfits couldn't be less in-trend, and they liked it that way. Fast forward to the synth-heavy sound of faux-indie bands like The Killers and The Bravery, and suddenly the Epoxies are being dragged back to the cool kids' table in the cafeteria. Throughout it all, Roxy Epoxy and her gang of cyborg/clone/android synth-punk-rockers have given some of the most energetic and rollicking performances around. Their latest EP, "My New World," features a sampling of old, middle and new styles from the band.

Since there are only 5 tracks on this EP, I'll mention each individually. "My New World" opens up with its title track, a post-apocalyptic rocker with vocals heavily influenced by Napoleon XIV's "They're Coming to Take Me Away, Ha-Haa!" Roxy narrates the state of affairs in what's left of the world, when Gen-Y is the Golden Age and the living dead are little more than an annoyance. Gotta love lyrics about killing zombies!

Track 2 is the sensitive, slow "Here in the Dark," which is uncharacteristically sentimental for such a sci-fi influenced band. For those who have their two full-length albums, this song borrows lyrical themes from "We're So Small" and musical themes from "Toys" to create a song you might want to slow-goth-dance with your sweetheart to.

Track 3 is "Crystal Clear," standard Epoxies synth-punk-rock fare. To say it is standard has an unfair connotation, however, as this song is anything but normal compared to what you're used to on the radio. Guitars and keytars making beautiful music together.

Track 4, "Products," is by far the most lyrically innovative on the EP. This is an unabashed love song for the consumerist, and quite chilling when you think about how close to home this hits for many of us. In some ways, this song sounds like a sequel to "No Interest" from the band's previous album. If you're only going to listen to one song from this EP, make it this one.

Track 5, "Tragedy," is more of what makes Epoxies such a fun band. The focus is on punk rock guitars this time around, and even a tiny bit of yodeling from Roxy mixed in for variety. Songs such as this are what help the Epoxies pick up new fans at every show, because you can practically hear the band's visual energy and intensity (but it's still not quite as amazing as seeing them live.)

and that's all, folks! If you want more Epoxies and you already have their two previous albums, rumor has it they're getting ready to release another LP before the end of the year. Until then, you'll have to just keep buying more products to fill that void in your soul.

BREAKDOWN

PROS: Clever lyrics and manic energy to spare. Even a touching slow song!

CONS: Too short! If you don't like synthesized f/x, stay away.

RATING: 8 out of 10.

SOUNDS LIKE: New Wave meets Punk Rock, with female vocals. Make your own comparisons.

Review # 8: "Addicted to Bad Ideas" by the World/Inferno Friendship Society

2007-10-02T02:59:24Z

I could probably do you all a favor and just paste in the band bio and latest reviews for this release, but since that's plagiarism, I'll endeavor to do these myself. If you want to know about the band, their myspace.com page really says it all. As for the album, let's get to it!

The first thing you should know about "Addicted to Bad Ideas" is that it's a concept album, and a rather unusual one at that. Mr. Jack Terricloth and his band of anarchic circus/cabaret performers have put together a musical tribute to the life and times of one of the greatest German actors in films (both American and German) of the twentieth century, Mr. Peter Lorre. Make no mistake, however, this is not a punk rock opera or even a punk rock musical. There is no direct narrative thread, more a series of vignettes each telling one portion of Mr. Lorre's life story.

The album begins with an overture, giving the listener a taste of what's to come in the classical style before exploding into the latest iteration of "Peter Lorre," a high-energy introduction to the man of the hour. From here, the story moves to the streets of Germany in Peter's vagabond days "With a Good Criminal Heart." Then we learn of the beginnings of Peter's love affair with the drugs that would claim his life in, "M is for Morphine." This song is particularly uplifting and positive when taken out of context, and I personally would love to see a music video montage made using clips from the TV show "Heroes," but that's just me. Consider these lyrics, though, and see if they don't match that show:

"I believe the unthinkable can come true, if you want it to.
I am capable of anything & so are you, if no one's watching you.
I can't help the things I do.
Well, is that true?
Then every man for himself, all against you,
and God against all..."

Anyway, enough about "Heroes." World/Inferno then treats us to one of their genre-breaking waltzes in the form of "... and embarked on a life of poverty and freedom," as Peter delves deeper into the world of movie-making and drug addiction. Some of the lyrics here are reminiscent of "Hothouse Flowers" from their previous album, but work even better here. The song dovetails beautifully into the following track, a re-recording of one of their first odes to Mr. Lorre, "Ich Errinerre Mich an die Weimar Republik." It really is amazing how World/Inferno can turn a song about the days leading to the Nazi takeover of Germany into the most fun, energetic song on an album. If there were piano parts in the original recording, all memory of them is forgotten here as pianist and sometimes accordionist Franz Nicolay practically burns his piano with musical intensity. The song is improved all around from its days on "East Coast Super Punk Sound of Today," including new inflection on Jack's vocal solo. The hits just keep on coming, as they say, and "I Just Make Faces" takes an actual Peter Lorre quote and turns it into a bouncy diatribe against the motion picture industry and American culture in general. Just for fun, see if the piano intro to this song doesn't remind you of the "welcome to the stage of history" music at the beginning of each Soul Calibur video game. "Faces" is followed by another song fueled by quotes, "Everyone in Town Comes to Rick's." This time around, the quote is a rather relevant one to this day: "The world is falling apart / and you want me to make a picture?" I'm sure many actors would be saying the same thing if they cared as much about hot-button issues as they want us to think they do. "Cathy Catharine" highlights the difficulties in Peter's personal life as he slips deeper into addiction and away from his loved ones, while "Thumb Cinema" is a scorching indictment of all things commercial and soulless in society. This song in particular feels more appropriate for the world of today than the world of Peter Lorre, but it's so very catchy and so very biting in its lyrics that all is forgiven. "Addicted to Bad Ideas" is perhaps the most dreary song on the album, but not necessarily the saddest. It sums up Peter Lorre's life, from his passion for performance to his romance with morphine to his unfortunate fall from grace. Finally, we are treated to a new version of the band's farewell salute to their favorite actor, "Heart Attack '64." This time around, "Heart Attack" loses its drums and adds a few string instruments for increased emotional depth. It works like a charm, and while I won't be retiring the original version anytime soon, this new one certainly is a more appropriate requiem for Mr. Peter Lorre. The only thing missing from this album is the band's twelfth Lorre-centered song, "Fiend in Wien," which tells more of Peter's riotous days in Austria. It is speculated that this song was left off the album because it had just been included on the previous full-length album and the last two EP releases, and the band did not wish to re-record it. Feel free to add it to your own mix, however, as I will.

One final note: This album sports some of the most impressive artwork I have seen from an independent release in years. The cover is designed to be a clever take on a poster for Fritz Lang's classic suspense film "M," widely considered one of Peter Lorre's greatest films. Here, the M is flipped vertically into a World/Inferno W. If you're going to buy this album, I recommend you spend the extra few dollars and purchase a physical copy rather than downloading it. At the very least, pick up the case in your local music shop and see it for yourself.

BREAKDOWN

PROS: Moving orchestral numbers, rollicking cabaret tunes, still-appropriate social commentary. Impressive for a period concept album. Re-recordings sound even better than the originals. Bold, memorable artwork.

CONS: "Fiend in Wien" was excluded from the final release. Some fans may resent the inclusion of re-recordings instead of original songs.

RATING: 9.9 out of 10.

SOUNDS LIKE: Other World/Inferno Friendship Society releases, Gogol Bordello. Influenced by The Hold Steady, Leftover Crack, Sticks & Stones and Grand Guignol.

Review # 7: "Schematics" by Zolof the Rock & Roll Destroyer

2007-10-02T00:50:12Z

I recently came to doubt my own reasons for loving Zolof the Rock & Roll Destroyer as much as I do. It occurred to me that while I enjoy the band's music a whole hell of a lot, I saw them live before I heard their recordings, and the fond memories of Rachel's adorable Final Fantasy-esque pixie hair might be coloring my musical tastes. Thankfully, Sam pointed out an important fact to me: You can't see her hair when you're listening to the record.

I've heard it said that you can't be sad and listen to Zolof at the same time (except for their poignant slow songs, of course) and I wholeheartedly agree. Their sound can be compared to what you would imagine hearing if you could inject yourself with pure pixie-stix youthful energy and go bouncing along the streets in the Saturday afternoon sunshine. But they've got real musical chops, too, and those really come to the forefront on "Schematics," the band's second full-length release.

The album kicks off with their characteristic bad-ass pop guitar riffs on "The Way It Goes", reminding me more than a little bit of one of their favorite show-closers, "The Hot Situation." Vince and Rachel are both in top form throughout the album, from first riff to last. "Can't Stand It" is the next track, and one that they had been offering on their myspace page for several months. It sounds even better than the demo, of course, and makes it plain to hear that Rachel has begun to drop her cutesy voice in favor of all-out rocking. "Way Away" hits very close to home for me, being a veteran of long-distance relationships. It's awfully cute, and you've got to love a song that name-drops Tetris. "This Briskness" is an updated version of their relaxed pace b-side "Java," complete with electric guitars and a new chorus. "The Moon and Mars" has a positively diabetes-inducing chorus, and it makes you wish you could hit the high notes the way Rachel can. The last two tracks, "Rock & Roll Mess" and "So Scared," really show how much Rach can push her voice for maximum rocking, and it's pretty damn far. I found my mind back in the place I've been so often at their shows, silently cheering the band on as they pull off what could conceivably be quite a strain. They're definitely worth listening to, so don't turn this disc off until it's completely over.

One weird thing for Zolof fans: This is the first album to drop F-bombs, on the first and last tracks. So skip those if you're playing them for the kiddies.

BREAKDOWN

PROS: It's sunshine, rock & roll, and good (mostly) clean fun.

CONS: If you don't like sweetness, stay away.

RATING: 9.8 out of 10.

SOUNDS LIKE: ...

Review # 6: "Dirty Jersey" by the Hub City Stompers

2007-10-02T00:32:45Z

It's hard to sum up the Hub City Stompers' attitude any better than they do themselves at the beginning of many shows:

"We came to wreck everything and ruin your life. GOD sent us!"

HCS are truly the most unapologetic, rude and crude oi!-ska band to ever come out of the fine state of New Jersey, touting their sound as "ska for people who hate ska." More proud of the Garden State than some would argue they have any right to be (but I say right on! Represent!), their second full-length album, "Dirty Jersey" showcases the band's reputation for being both dirty AND from Jersey. If you've ever heard their stuff before (either as HCS or in their former incarnation, Inspecter 7) you have a pretty good idea what to expect here. They open it up with their title track, an unabashed anthem for all the things we Jerseyans probably shouldn't be proud of, but they'll be damned before they let the rest of the country tell us how to behave. "Sissyfist" continues their stomp through familiar territory, but the big surprise comes from some of the creative stylistic departures on this album. Saxophonist Jennifer "Jenny Whiskey" DiSantis steps up to the mic for two fantastic songs, each a definite departure in sound from the normal HCS mosh pit fodder. The first, "Skinhead Boi," is the tale of a dejected rude girl who feels jilted by her skinhead boyfriend, who may or may not be cheating on her. The second, "Johnny Date Rape," flips the storytelling p.o.v. of Sublime's "Date Rape" and the Gadjits' "Johnny," with an even more violent and painful ending for the antagonist. Don't mess with the Ska Familia, gentlemen. Unfortunately, while this song is very entertaining and sports a catchy sax line, it also has some of the most unappealing lyrics I've heard since my days of listening to GWAR and Blood for Blood. Jenny describes the antagonist's desires to "want[ing] some stank on your hang-low" and "want[ing] a peek in my meet drapes," which I really found downright unappealing. If you've got a stronger stomach than I, you'll probably really enjoy this track.

There's plenty more fun to be had on the album, including a love song of sorts about a half-black, half-asian temptress (Bumbl-B), a clever oi!-style reimagining of a popular Cure song (Skins Don't Cry), a song about how much the band hates one of my favorite Jersey venues (Fuck Hamilton Street), and a ramped-up version of some of your favorite irish drinking anthems (Fuck You, You're Irish.) I'm not a big fan of the last track, "Diamonds of the Ruff", which is a slow, rap-feeling song featuring guest vocalists DJ Greene Goblin and Bombtown's lead singer, Tommi Infamous. Nothing against the vocals or the lyrics, really, I just don't care much for the pace.

There's no mistaking HCS's unforgiving, kick-you-in-the-head attitude (in fact, they have a great song all about it called "I've Got a Boot.") It's pretty polar, and either you like them or you don't. I doubt the band could care less, but if you're up for some old-school stomping and a great Jersey time, you can't find much better.

BREAKDOWN

PROS: If you love Jersey, HCS loves you. Great boot-stomping, oi!-yelling, blood-pumping skinhead ska, with plenty of fun departures thrown in to keep you interested.

CONS: If you don't love Jersey, HCS will kill your family. If you're an oi! purist, you might not like some of the more diverse songs on the album.

RATING: 8.5 out of 10.

SOUNDS LIKE: Inspecter 7, The Business, Bad Manners.

Review # 5: "The Ramblers" by Deal's Gone Bad

2007-10-01T00:21:18Z

As some of you probably know, Deal's Gone Bad is the Chicago-based soul/blues/ska band that wrote one of my all-time favorite songs, "Games People Play." This was the first non-show-title song to make the Rude & Reckless all-star list, back in the days of Drea's and my radio show. It's quite a tough act to follow, especially after the major lineup change that the band has undergone since that song was written.

I'm very pleased to report that, while now sporting a substantially different sound than exhibited on their earlier albums, Deal's Gone Bad has delivered yet another breathtakingly fun, soulful album. Their new singer has a very different vocal style, and a voice worthy of the best that Motown might offer, were they so inclined. With a broader vocal range and downright soulful sound, DGB really shows off their chops as essentially a ska version of the Blues Brothers (who also were supposed to be from Chicago, if I'm not mistaken.)

When I was listening to the album, my computer had misplaced the first track and put it in a different album (I still don't know why), so the first thing I heard was the second track, "Movin' On." Ladies and gentlemen, I could've never heard the rest of the album and still felt that my money was well-spent. I literally started shiver, I was enjoying it so much. I have a theory that certain music just resonates with individual people, as if we have very specific strings that only certain songs can pluck. Well, I was royally plucked by that one!

The whole album is quite inspired, to be honest. The only other band that I've heard blend soul and ska so seamlessly is the Pietasters, who tend to add a bit more rock & roll where DGB adds a Chicago-style bluesy feel. Standout tracks (though they're all quite stellar) include the aforementioned "Movin' On," the powerful album opener "Messin' Around," the love song to Chicago "City City," and the classic DGB-sounding "You Get the Keys."

BREAKDOWN

PROS: Motown soul, Jamaican roots, and good-old-fashioned American fun.

CONS: If you don't like any of the above, this obviously isn't for you.

RATING: 9 out of 10.

SOUNDS LIKE: "Oolooloo" - The Pietasters; The Blues Brothers - original motion picture soundtrack.

Review # 4: "Strictly Rude" by Big D & the Kids Table

2007-09-30T21:50:10Z

This review connects directly to # 3, in which I explain the connection between the songs on this CD and those on "Beijing to Boston."

Big D & the Kids Table are one of three major ska bands today that blend a very hardcore element into their sound (the others being Against All Authority and Streetlight Manifesto). Having been to Big D shows both early and lately in their career, I have seen the attitudes of the fans go from slightly rowdy to VERY rowdy, and this has been reflected in their music, up until this album.

"Strictly Rude" is a departure from the curse-laden, angry ska-punk the band has been cultivating over the past three albums. As the name implies, this is a return to their ska roots for better or worse. Now, normally I'd be all about a return to ska from a band that has been known for great songs, but this release just seems lukewarm. It starts off great, though, with the rude boy anthem "Steady Riot." For laughs, try switching the words in the verses and chorus to "Time Bomb" by Rancid in your head, and see if it doesn't integrate rather seamlessly. Their second track "Noise Complaint" is even better, and probably the most stand-out recording on the album. This is Big D at their most quintessential: A fun, bouncy, upstroke heavy party song with just enough rowdiness to get everybody jumping without all that messy violence. "Shining on" is the turning point for the album, showing much more what the band had in mind for the album. A slow jam with uplifting lyrics, and a very catchy chorus. If the rest of the songs were as memorable, this would be a great album. Sadly, I started to drift off after this track each time I listened to the album, and it takes until the ninth track, "Hell on Earth" for things to wake up. I still don't quite get the point of this song, other than its call to action to make a better world, but the pervasive sarcasm makes things a bit confusing. The next memorable track for me was their twelfth, "Raw Revolution," a mid-tempo ska song the Planet Smashers would be proud of, both for its music and its scene-restarting lyrics. Sadly, that's about it for standout tracks on the album. I suppose I would recommend it for Big D fans, and it's better than their "Salem Girls" EP, but "Strictly Rude" is nowhere near the quality of the band's other full-length albums. I would, however, recommend that you get your hands on the songs that I mentioned. If only we could have combined the great ones from this with those from "beijing to boston" and the other unproduced album, we might have a release to rival "How It Goes" or "Gypsy Hill".

BREAKDOWN

PROS: Big D moves away from the thrash to concentrate on happier, more danceable music.

CONS: This band is far better at fast songs than slow ones.

RATING: 6.5 out of 10.

SOUNDS LIKE: "Shot By Lammi" - Big D & the Kids Table; "Unstoppable" - The Planet Smashers.

Review # 3: "Beijing to Boston [Split CD]" by Big D & the Kids Table and Brain Failure

2007-09-30T20:39:49Z

In the great tradition of NOFX/Rancid and RBF/Zolof, this review is of a split CD.

Side A - "Beijing" by Brain Failure

When purchasing this CD, I knew absolutely nothing about Brain Failure and didn't really care. I was in this for the Big D & the Kids Table songs that hadn't made it onto their latest release, "Strictly Rude" (soon to be review # 4). I was a fool to dismiss this band out of hand, however. They are truly a mighty musical force to be reckoned with from the land of the Great Wall and delicious take-out. That's right, folks, Brain Failure is one of China's prominent punk rock bands and they're poised to take America by storm. At least I hope they will.

The first thing I noticed when popping this album into the ol' stereo was their special guest vocalist, none other than Mr. Mighty Mighty BossTones himself, Dicky Barrett. Talk about a powerful guest voice! Brain Failure refuses to be overshadowed, however, and keeps Mr. Barrett from eating the song out from under them (so to speak). It really is amazing how perfectly the singer has replicated Tim Armstrong's signature incomprehensible drawl (with a dash of Joe Strummer thrown in). I had to look up the album info for myself to make sure it wasn't actually Tim singing lead vocals on the first track! The band manages to emulate both Rancid and the BossTones' later sounds (as in "Indestructible" and "A Jacknife to a Swan") and even a bit of the Clash, while adding their own unique elements to the mix. To be honest, I'm a little jealous of China right now. They don't have to pay the extra fees to get import releases from this fantastic band. Highly recommended to fans of Rancid (post-"Let's Go"), the Mighty Mighty Bosstones (post-"Let's Face It") or just great punk rock & roll.

Side B - "Boston" by Big D & the Kids Table

Rumor has it that these songs were written for a three-album project that Big D was working on, with "Strictly Rude" being the first disc (eventually released on its own). These songs were supposedly written for the second disc, "Strictly Thrash," which makes a lot of sense given their thrashier, more punk-rock sound compared to "Strictly Rude". Up to their old tricks again, Big D's entries on this split deal with such tried-and-true topics as the sad state of the current music scene and how much they love their native Boston. These are the type of songs that made so many of us fall in love with the band, and they continue to turn out great anti-scene and pro-Boston anthems. In fact, "I'm Yours, Boston" is pretty much their own attempt at a love letter to their home after the success of their cover to "New England" on their Gypsy Hill LP. Personally, I feel that once the three-CD project was abandoned, the band should have tossed a few of these songs onto the single release in order to mix up the pace a bit. Mosh pit anthems like the crowd-friendly (but annoyingly repetitive) "Digging in Your Nails" would have spiced up "Strictly Rude" and kept it from lulling me to sleep at points. A good sampling of what may have been a great album.

BREAKDOWN

PROS: Dicky Barrett, Rancid-esque punk rock, Big D's characteristic slamming pit anthems.

CONS: Only 6 tracks from each band, Big D's choruses are often very repetitive.

RATING: 8.5 out of 10 (combined).

SOUNDS LIKE: "Indestructible" - Rancid; "A Jacknife to a Swan" - The Mighty Mighty Bosstones (Side A).
"Gypsy Hill" - Big D & the Kids Table; "24-Hour Roadside Resistance" - Against All Authority (Side B).

Review # 2: "New Maps of Hell" by Bad Religion

2007-09-30T20:12:49Z

What can I say about Bad Religion that hasn't already been said?

Well, I suppose I can mention a few things for the uninitiated: Bad Religion is one of the premiere punk rock bands of the modern age, and has been shaping the genre with its breakneck pace and intense, topical, provocative lyrics since 1980. Lead singer Greg Graffin (that's Dr. Greg Graffin, professor of History for those NYU students out there) has been indirectly teaching punk rockers the meaning of words such as fecundity and repudiate for nearly thirty years, and his partnership with guitarist Brett Gurewitz has provided some of the most driving and politically unforgiving punk rock anthems of this generation. While Brett took a break from the band to serve as president of premiere punk label Epitaph Records, Greg and the rest of the band continued to inspire thousands of dicontented and disaffected youths across the globe. When Brett rejoined the group for 2002's "The Process of Belief," the band was arguably better than ever before. The Bush Administration has only sharpened the band's already razor-edged music and lyrics, and 2005's "The Empire Strikes First" was a scorching indictment of the way America is headed.

Now that you're caught up, it's time to cover BR's latest release, "New Maps of Hell." The album begins with the ominous, yet super-fast "52 seconds" and only lets up the intensity briefly throughout the album. Unfortunately, I found myself agreeing with some of the more prominent critics for the first time during sections of this release. There are points where I forget which album I'm listening to, as tracks tend to sound similar after 30 years in the business. However, this is not true of the entire album, and in my opinion it makes the standout tracks stand out all the more. Of particular note is the album's hit track, "Honest Goodbye," which actually feels downright poignant at moments. It's heartfelt melody and lyrics are a definite departure from the typical BR sound, and they pull it off remarkably well. It has been quite a few albums since they have achieved that particular mix on a song: Both new listeners and long-time fans will be pleased. Other stand-out tracks like "Grains of Wrath," "New Dark Ages," and "Fields of Mars" continue the progression of punk meets orchestral that the band began to explore on "The Empire Strikes First."

My final thoughts are that this is a great release, but not every track is a gem. After all, the saying is not "A diamond in the diamonds," is it? Even if you're not interested in purchasing the album, at least give a listen to "Honest Goodbye." I suspect that you won't be disappointed.

BREAKDOWN

PROS: That Bad Religion super-sonic punk rock goodness, with a few lovely experiments thrown into the mix.

CONS: Gets a bit repetitive at points.

RATING: 8 out of 10.

SOUNDS LIKE: BR's last two albums; Flatus (music); Anti-Flag (lyrics).

Review # 1: "Keys to the Building" by The Architects

2007-09-30T19:49:58Z

Allright, let's give this whole reviewing thing a shot:

Some of you may have been familiar with a Rock & Roll band with heavy ska and soul influences from the '90s known as The Gadjits. It's more likely, though, that you never heard of them. If so, you're missing out! The Phillips brothers (sort of like those boys from Hanson, only talented and rockin') have been turning out fantastic releases since their 1996 debut album "Da Gravy on Yo' Grits." As the years progressed, they grew and matured in style and sound from garage third-wave ska to soul- and indie- influenced classic rock & roll, creating a sound that puts bands like the Strokes to shame.

But what does this have to do with the Architects, you ask?

Well, the Gadjits more or less are the Architects, with a few lineup and stylistic changes. Gone are any hints of their bouncy ska days, but for once I don't mind a bit. They're straight up great soul-rock, complete with a new, female backup singer and keyboard player. Their first album under the new banner, "Keys to the Building," is a return to everything I wish radio hits would be.

(and here's we hit a snag. Normally, a real reviewer would be able to talk about the nuts and bolts of the music itself. I have no musical education, however, so this section will have to remain blank)

Even without the ska, this album manages to retain the fun of their Gadjits releases. Songs like "Heat Shield" and "Sixty-Eight Gold", among others, will have you wishing they were coming to your town to blow the roof off your local venue. But they are not without multiple dimensions to their music, of course, and the final track "Day of My Relief" is a surprisingly moving gospel-ish tune.

As Billy Joel says, "You can't get the sound from a story in a magazine," so I strongly encourage you to check out samples of this album for yourself.

BREAKDOWN

Pros: Rocks out with its c*ck out. Great use of piano & backup vocals.

Cons: No ska :-(

Overall Rating: 9 out of 10

Sounds similar to: The Gadjits, (to a lesser extent) strokes, hives, vines, arctic monkeys, etc.