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World Of Gigs-- CD Reviews
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Stattica
MR. SMOLIN: At Apogee
Rachel Arieff and the Smileytown Boys: How To Be Happy All The Time
Dean Strickland
Oozie Blues
Louden Swain: Overachiever
Numira
Carrie James: More Each Day
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STATTICA is a quartet of driven musicians united by one credo, the song is first, and they have proved their mettle by producing an explosive album.
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Each song is devout in its construction, from the poetic lyrics to each musical crescendo. They know they are a top 40 band and deliver as much with infectious melodies full of rich cathartic emotion. The strong and engaging vocal delivery of Dakota Aesquivel is soundly fortified by Gabriel Perez’s gift for melody-driven guitar hooks. Backed by a rhythm section of two bonafide Filipino stars, Paco Arespacochaga from "Introvoys" fame and Patrick Almonia from "Passage", these four men have assembled a collection of infectious and surprisingly personal songs.
"Beautiful Disaster" (Track 1) stands out as the most emotional. About a man who hangs onto a girl who can only destroy the both of them, Stattica performs the song as if conducting an orchestra - A sparse bare-boned beginning climaxing into a sweeping, staccato-filled ending. Paco crashes his cymbals as if representing every stab of the doomed man’s pain.
Gabriel’s razor-edge guitar perfectly embodies "Zone"(Track 2) , an alternative hard rock piece about a man’s self-deluded sense of invincibility. The band’s swagger shines through like a cup full of razor blades, as if answering any naysayers doubting this band can rock with the best of them.
"Good With The Pain" (Track 9) is Stattica’s most personal song. Dakota’s powerfully intense voice perfectly embodies the denial of a character devastated by the loss of his true love. Anyone who's ever put on a tough exterior to hide their hurt from others will embrace this song as their anthem. This is my bet for the band’s first single.
"Queen Without A Kingdom"(Track 7) is the band at their most light-hearted, a ska-rollicking tune with a contagious beat. Complete with a sing-songy melody and a playful bassline, the lyrics are a hoot ("You opening your mouth is the best birth control"). The perfect show-closer, Stattica’s performance is sheer celebration, giving the listener a healthy dose as to why they are the premier live band in Los Angeles to this day.
STATTICA carries their bravado as if believing their music can actually make a dent in the universe. With their penchant for diverse songwriting and energetic performances proves them right. Rumble, young men, rumble.
The Stattica web page is here.
Order the CD here.
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Fans of his LA radio show, The Music Never Stops on KPFK, call him Barry, but the
English classes that occupy his day job hours call him Mr. Smolin. He often calls himself Shmo. Some
of LA's best pop musicians call him a friend, and many of them show up on his debut CD, At Apogee. Among
the rosters represented are members of the Wondermints, Double Naught Spy Car,
Ruby Flux and The Negro Problem, with LA popmaster supreme Stew overseeing the
assembly from the producer's chair.
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With that kind of talent assembled, you know the songs will be presented as well as they can be,
but what of the songs themselves? Well, they're as lyrically rich as you'd expect from an
English teacher with a penchant for poetry, but much better than you might think that sounds. They're
melodically complex but invariably accessible, with enough hooks to outfit a fishing fleet, tap
your toe beats and singalong choruses aplenty. They cover subject matter ranging from the personally wrenching to the comically absurd. And they're terrific, every one of them in its own way. This is a repeat button special, with each song revealing new secrets and joys as you listen again and again. With At Apogee, Barry Smolin kicks off his recording career at an appropriately high point. Check out his website at
www.MrSmolin.com.
Track List:
At Apogee * Angels * The Rodeo * Casper * The Earth Keeps Turning On * Every Shepherd's Tongue *
Lost In You * The Shaming Of The True * Dad Is Dead * Way Back In * I Will Be Home Soon *
Take Me To The Wind
© 2003 - Shaun Dale
Courtesy of: cosmik.com
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If Tom Lehrer and Charles Bukowski morphed together into one really hot gurl, that gurl would be Rachel Arieff. Her new album -- HOW TO BE HAPPY ALL THE TIME -- is fucked-up, dysfunctional fun at its finest.
There are nine caustic little ditties on this gleefully-grinning CD, set loosely on Earth as a spinning Hell. The grin is all hers, and it is infectious: quick-witted, adorable, and slopping over with doom.
On stage, Arieff is a savage comedienne, currently working her way up the L.A. comedy food chain. Music is only part of her act, which includes deranged short films, skits, stand-up, and other shenanigans.
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Whatever the form, her core subject matter is the pathos of loserdom; and in the case of this record, it's like Todd Solondz's HAPPINESS set to music, only a whole lot more spritely about it.
In "(That Guy's Gonna End Up) Smacking You Around", she takes a nice Doris Day-like melody on a really bad trip down Relationship Lane:
"He's handsome
In a quite intriguing way.
He's classy
And he never lets you pay.
But if he thinks Limp Biskit's lyrics are profound
This guy might end up smacking you around."
More bad choices await in "Have a Baby!", which details the illegitimate motherly love of a rhymes-with-plucky heroine who likes "to go on benders like a sailor during World War I".
Or how about "The Plastic Surgery Wagon", which services skinny wives and their big-tittied daughters door-to-door?
"It's just like buying an ice cream bar
But you pay a lot more money and you get a scar."
Perhaps the catchiest chorus belongs to "Smoking Grandma" (who "makes John Wayne look like a fag"); but how can you go wrong with the "Internet Porn Polka"? Or the modest proposal "Gun Control Solutions"? Or "Hollywood Shitbox" (my personal favorite)? Or the opening, eponymous song, which actually tells you HOW to be happy all the time?
You CAN'T, that's how!
I must also confess a great personal fondness for "Bob Newhart", which suggests that a five-year-old girl might be so overcome with lust for that chinless, titular middle-aged man that she winds up humping the...
But I'm giving away too much.
The recording is a real home-spun, lo-fi affair: basically, Arieff sat down at the piano with a couple of musical friends and banged out some tunes. That being said, the Smileytown Boys are swell; and their periodic shout-outs recall old Betty Boop and Popeye cartoons, in their raw and bare-knuckled funliness.
Bottom line: I love this record so much that I'm buying another copy for my teenage daughters. Because everything they need to know about the horror of living is right here: HEARTBREAKINGLY HILARIOUS, AND TRAGICALLY DELICIOUS!
Review courtesy of John Skipp
(John Skipp is a filmmaker, musician, and the best-selling author of such books as THE LIGHT AT THE END, THE CLEANUP, THE SCREAM, DEAD LINES, THE BRIDGE, ANIMALS, and THE EMERALD BURRITO OF OZ. He is also happy all the time.)
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His voice is gritty. His songs are simple. His guitar playing is rough and unrefined. Yet, somehow, Dean Strickland's music still manages to captivate and engage even the most critical listener.
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Dean's debut release, Some Girls To Blame, is jam-packed with simple, catchy melodies ranging in emotion from love to hate, death to life, and country to grunge. If he fails to hook you with the sweet soulful melody of the title track, he will most certainly do so with the energetic passion he displays in "I Love You."
The album covers a wide span of musical style, all the way from country on a sweet and tender ballad called "Something To You I Just Wanted To Tell" all the way to the grunge spirit of the early nineties on an aggressive, passionate rock explosion called "I Hate You." Yet, somehow, the album is all very distinctly Dean. Most of the songs on the record may only use three chords, but this reviewer hasn't heard three chords used so well since the early days of Social Distortion. His voice though aggressive and raspy, still possesses a tenderness that anyone who has experienced heartbreak can relate to. Dean's melodies are catchy, simple, and, best of all, singable. Simply put, Dean Strickland can write a memorable song in just about any style. His debut album Some Girls To Blame is a perfect example of this ability.
Review courtesy of John Ritter
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This self-titled, debut CD by The Oozie Blues is rough, raw and full of energy.
It is packed full of familiar blues tunes played with genuine enthusiasm. The band is both electric and eclectic.
These guys are the Real Deal. Most of the vocals are sung by an L.A. bluesman who goes by "Mr. Blues". His smooth laid back voice can be heard on tracks like: The Blues Are Alright, The Next Time You See Me and Steppin In/Steppin Out. The slow blues tune Open House at My House tells a sad blues tale of a cheating woman with a set of lyrics that will have you laughing your blues away.
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Mitch "Ham Bone" Hammond's lead and slide guitar work is featured throughout. He steps forward and sings lead vocal on; Little Red Rooster, Stop Breakin Down and Crosscut Saw. He sings with a tenor shout that makes for a good contrast to Mr. Blues vocals. The bandleader/bassist, Norm Pingrey, handles the lead vocals on Built For Comfort and Sleepin In the Lyons Den. He sings bass in style comparable to John Lee Hooker and Howlin Wolf. By rotating the vocal duties among the members the CD really kept my interest. The rhythm section of Norm and Bob Winn is very tight and hard driving. Mr. Blues piano playing is simple, yet affective. The guitar is up front in the mix and hot. He is not another Stevie Ray Vaughan clone. He has his own style but I if one must compare his style to some other guitarist Mick Taylor comes to my mind.
I could tell that this CD was recorded live in studio and not an elaborate studio production. I believe that this band probably sounds the same at their club gigs. I am looking forward to their next release to see how they do with writing their own material and to see if they can raise the production quality a notch.
The Oozie Blues will be recording most of the month of April, making a new CD of originals, which will also be videotaped. The video and CD will be available in June 2003.
Review courtesy of Thaddeus Marx
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Whenever I see the words "independent" and "EP" in regards to a new CD to
review, I can usually assume I am getting something that has been thrown
together by a group that still has a ways to go. Occasionally, however, a
cd comes across my desk that stands out from the crowd. A group that makes
you question why everyone with a transistor within their reach isn't being
treated to these rocking sounds. Louden Swain's "Overachiever" is one of
those CDs.
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There's no other way to put it. These guys just sound great. From the
first tune ("Cast Off") you realize you're dealing with fellas that know how
to rock. Calling on influences ranging from The Cars to Weezer, the songs
take you on a joy ride; you're back in high school (or still in high school,
depending...) cruising down the strip. The musicianship is tight, the tones
sound anything but "independent" and the song-craft is just that...crafty.
Drummer Stephen Norton's production and Kirk Wheeler's mixing is top notch.
This band knows what they're doing. And you can feel it. Norton's rhythms
are tight, bassist Borja¹s runs are electric, and Rob Benedict's vocals are
unique and refreshing.
And thankfully, this is one of those bands that after you sit down with the
lyrics, you fall in love with the music all over again-- when you realize
what they're saying. Benedict's lyrics, at once hilarious are also tragic,
and thoughtful. These words weave together stories of the broken hearted,
the underdog. In "Codependent", Benedict sings, "I'm like the coffee
cup/behind your favorite mug/I sit alone/Get dusty on the shelf..." And the
moody title track seems to be a cry from a boy to a father who split: "go
away, go away, but not too far away/living like a dad/it's no big deal that
he's never here/and he's never coming back".
This is no mere EP. This is no unsigned band. There's just no way. They
are way too good. But don't just take my word for it. Pick up your own
copy of Louden Swain's "Overachiever". And then, tune your radios. It won't
be long before the world knows about rock's best kept secret.
Review courtesy of Carla Davis
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Numira is one of the best unsigned bands currently on the LA scene. This power-trio writes exceptional tunes and has loads of talent to back them. If you were to look at the past, future and present of great rock & roll coming out of Los Angeles and abroad, the sound will be found on this impressive CD release. Numira (pronounced new-meera) is a heavy, grooving power trio that draws on elements of both the Seattle sound and the 70's hard rock sound. They utilize thought provoking lyrics and an arena sized sound to create a totally unique blend. The word out of the mouths of fans that see them live or hear this CD is that Numira serves the best melodic riff-rock sound in Southern California, and has many songs with heavy potential for a hard alternative smash hit.
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If you are a rock band in today's music world and trying to make a name for yourself in the hectic "take a number and pay up" performances in Los Angeles, you better have the goods live as well as providing an outstanding sound on your CD, plain and simple. Numira is one band that definitely delivers a unique sound on record and truly impresses and excites even the most jaded music ears. The band is John Stack (vocals and guitars) who studied at Berklee College of Music and brother Tim Stack (drums and vocals) who both played together the Boston club scene before moving to L.A. in 1992 ~ there they joined with Jeff Walendy (bass and vocals) to form Numira in 2000. With Tim on drums and Jeff working the bass they provide together the deep rhythm section that is solid and provide the band's rhythmic foundation. Incredible vocal harmonies provided by Tim and lead singer John, a truly gifted vocalist, at first his sound makes you feel like you're hearing Chris Cornell, but honestly…how bad is that? One of the greatest rock singers to grace the airwaves is being heard again in John's vocals only to create awe by actually sounding richer and smoother with a rockin' sound of his own; then John stuns you further with his talent on the guitar that most strive and work for their whole life.
CD tracks:
Indio
Fall Apart Together
Slow Burn
The One
Dead to Right
2001/2002 Over/Under Records
Review courtesy of Arthur Achenbach
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I recall well as a teenager in the 60's when I first heard the song "Different Drum" by a band unknown to me at the time, the Stone Ponies. While I cannot say that I was a big fan of that particular song, I did fall in love with that voice, which belonged of course to a young Linda Rondstadt. Rondstadt was one of those pure and honest voices that come along every now and then, just to remind music fans that guitars, keyboards, bass, and drums are splendid instruments, but so also is a gifted human being. I have often speculated that, had Linda Rondstadt come along in this day of "new country" music, she would have easily become the greatest and most popular female vocalist in the history of the genre.
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While California based Carrie James may not be the second coming of Rondstadt, she nevertheless embodies many of her similar qualities. James' latest release "More Each Day" finds her expanding beyond her blues and rock boundaries of the past and delivering a work which should appeal to many fans of new country. Her remarkable voice is well suited for this type of recording, as it is simultaneously both genuine and innocent, yet at times saucy and with attitude. She is also an excellent song writer, with 8 of the 10 tracks on the CD either penned or co-written by her.
While most new country recordings these days feature Nashville session players, I find it most refreshing that this one does not. The backing musicians are much more than capable, anchored by the multi-talented Will Ray, who plays several instruments, co-authored many of the songs, and provides backing vocals on the set. This gives the recording kind of an early Highway 101 feel, which is one of the reasons I like both this CD and small label and independent recordings in general, as these artists thankfully do not sound like everyone else.
There are many fine tracks here but "Life's Too Short" is without a doubt the best of the bunch. I also enjoyed the up-tempo opening track "Part Time Love", the honky tonk sounds of "Wrong About You", and the smooth and sultry "Sparks". It is all in all a very pleasant recording, one that fans of new country, country/rock, or folk/rock should enjoy owning.
The Players:
Carrie James-Vocals
Will Ray-Electric Guitar, Acoustic Guitar, Dobro, Backing Vocals
Jay Dee Maness-Steel Guitar
Candy Girard-Fiddle
Bob Glaub-Bass Guitar
Danny Timms-Keyboards
Rodney Curtis-Drums
Molly Pasutti-Backing Vocals
The Tracks:
1. Part Time Love
2. She Don't Love You
3. Brand New Day
4. Life's Too Short
5. You Could Change My Life
6. The First Time
7. Wrong About You
8. More Each Day
9. Mustang 69
10. Sparks
2001/2002 Back Door Records
Review courtesy of Tom Branson
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All contents ©
Blue Highway Publishing, 1999-2008.
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