The Flaming Lips - The Dark Side Of The Moon

Before delving into this review, let me make a couple of admissions. One, I don't really care for the Flaming Lips. Yes, they're inventive and weird and they're not stagnant to any one musical idea. I can respect their existence I just don't listen to them all that much.

Second, and I said this to the Smithereens a couple of years ago (and they keep doing), what's this bullshit about covering an entire album. What makes you think that you can re-record one of the biggest, most important classics in rock history and bring anything to it that sounds like your own or unique? Why, if given the choice, would anyone listen to your version? But then I learn that Henry Rollins is involved, so I give it at least one spin. Let's see if Wayne has an answer...

For me? Not so much. Sure, Wayne and his blotting buddies change some stuff around here and there. The first quarter of the record, for example, is quite crunchier than Pink's original. "Any Colour You Like" dials up the funk to a much fuzzier level. "Money" is creeped out with updated electronic sounds and tweaked vocals, which I think undercut the smooth R&B walking bass coolness of the original.

My fave from the original is the "Brain Damage/Eclipse" conglomerate. Here, the Lips dial down the Damage to a hushed church organ, and do not even play the guitar riff at all. The Eclipse is punked out, aside from Wayne's vocals, which never waver from his standard tin can chalkboard murmur.

The highlight of the album is "The Great Gig In The Sky". The instrumental is faithful to the power of the original. Taking Clare Torry's place on the wailing vocal is, oddly enough, Peaches, a weirdo obnoxious singer known for the youtube hit, "Fuck The Pain Away". To her credit, she delivers a great vocal, as you can hear below.

But at the same time, even with some knob twisting, all the lyrics and melodies are the same. The arrangements are basically faithful. There's nothing ironic here to laugh at. So it comes to, how do you like your psychedelic rock? Classic or Neue Indie? (3 of 5 stars)

The Great Gig In The Sky [feat...

The Willowz - Everyone

The Willowz, whom I have only otherwise known from the Eternal Sunshine soundtrack, is not unlike the Black Lips cd that was just in my car. Garage rock, not as psychedelic>; and the drums were often recorded with the most echo possible.

It's not treading much deeper water than that soundtrack 6 or so years ago. It does seem like they're exploring melody a little more. Also, it looks like singer Richie Follen has come out of some shell, or maybe the producer decided just to get bolder, because he's much more dynamic and much further out in the mix. It's a good thing. It's little more than punk wailing, but but Richie turns left when you expect a right sometimes, and it becomes more interesting.

"I Know" for example, is quite clean. It could be Kings Of Leon at their most raucous. "Destruction" and "Repetition" too are more melodic and upbeat and ripe for a party jam. "Jimmy James" on the other hand is for us beer swilling bastards who want to push over a nerd. If I had to choose, my bully-pulpit in the garage rockness of this album is better served on "Twenty Five" which awesomely adds a subtle barroom piano sounds to follow the chords.

For a swift kick in the Wha-Just-Happened, the Willows pull a damn near Rolling Stonescover with the misspelled, "No Heros". It's got soul, and by "soul", I mean some horns. Definitely worth a listen.

And at 25:34, it's the perfect album length for the new decade. My main complaints with albums that could've been much better is that they tried to max the cd capacity to get people to feel more of a value. Bullshit. The value comes more in this package, where more of your songs are worth hearing. And the Willowz deliver in great style. They have almost completely shed the notion of Jack White late-comers and have shelled out some great West Coast sweaty garage anthems.(4 of 5 stars)

30 Seconds To Mars - This Is War

"Here we are at the start. I can feel the beating of our hearts."

This is a lyric from "Vox Populi" off the latest 30StM record. Which is track 8 of a 12 track collection. So, no Jared, we are not at the start. Timing is only one of your problems.

You know how pretty girls can go on and on with some fucked up story that she heard on Oprah but is currently getting totally wrong- and no one stops her or corrects her because she's beautiful? Jared Leto is that beautiful girl just getting it wrong.

Like song titles.

"Night Of The Hunter"
"Kings And Queens"
"Closer To The Edge"
"Search And Destroy"
"Stranger In A Strange Land"

Jesus, is this the lost Ratt album?

The themes of all the songs revolve around the concept of rallying the troops of the downtrodden kids to overcome their evil oppressive overlords. There are youth choirs ALL over the record to drive the point home that, "we will need you to sing this part at the concert."

Now, having bitched about that portion of the production, I'll call it more of a band decision. The production otherwise, delivered very purposefully by U2 collaborators Steve Lillywhite and Flood, is the best part of the record. I can appreciate that the Letos want to sound grandiose and "epic" and the producers delivered on what they were paid for. But when every song is trying to be its own "Jesus Of Suburbia" or "The Black Parade" or "Use Somebody", then no, this is not "war"- it's dodgeball at best.

I'm coining a new music genre for Jared Leto now. Pass it on. "Cheesmo" or "Cheesy Emo". It's the only way I can describe Leto's songwriting. I, for one, do not believe that Jordan Catalano has some overwrought hostility for the holy evil of the organized church. I'm saying people don't, I just don't believe he does. And whoever does can describe their emotions certainly way less insipidly than Jared does. "Looking for Jesus/Get on your knees" and "I'm guilty of treason/A Vatican son".

In "100 Suns", he speaks of believing in nothing, not several things that are somehow paired together. And it makes not a lick of sense. I assume he was going for "...except our love". But instead, he says, "but the beating of our hearts"- which is just a biological function. How can you believe in that if you don't believe "in the earth"? Answer that one before the narrarator destroys you.

There are too many lyrical faux pas to take seriously. And I've seen the band live. Jared is especially engaging and lively and oh so very beautiful. And he may have the utmost intention of relating to those kids that he's trying to help. But the failure comes from pandering to a teen mentality, or being too stupid to know how to communicate to them on a greater level. Someone needs to interrupt this guy's story. (1.5 of 5 stars)

The Bravery - Stir The Blood

The Bravery come back to us from the same place they left us at last time... 1982 London. Which is all well and good for me if you're talking about the NWOBHM-ers down the street, but no- I'm talking about the wavers de neue.

Keeping an open mind, the first track, "Adored", could be a lost track from U2's Boy.Like U2's "Rejoice" this song is a celebration of all things youthful.

The second track, "Song For Jacob" continues on with the retro, but this time turns its eyes on a born again friend. But unlike other songs of this ilk, it never passes judgement on Jacob or assumes that Jacob simply had a need to fulfill. It simply lets Jake rejoice in the glory that he's now experiencing. It's defined by a great vocal that could easily have been downplayed without anyone noticing, but Sam goes above and beyond and I for one, appreciate it.

"I Am Your Skin", and to a greater extent, "Hatefuck", I assume the Bravery boys are going for the club sexiness of Franz Ferdinand's Tonight, but they don't cut it here. While I'm all for a satisfying screw to someone who deserves a little disrespect, the bulk of the latter song just comes off rape-y and its pleas to "mercilessly love me" are hollow and shameful for a guy who obviously had a big enough pair to get this far.

We grab a near "Call Me"-via-Muse ripoff with "I Have Seen The Future", but it's still under the umbrella of the general feel of the rest of the album. The only time the Bravery escape the Cure ghost is with the lone track written by the bass player. Hindert's "She's So Bendable" comes off like a Brian Jonestown, who is cleaned up and gone out for the evening. A welcome breather in an album plagues with a little too much sameness. (2 of 5 stars)

Song For Jacob - The Bravery

Tom Waits - Glitter And Doom Live

I'm going to break one of my rules. I don't normally fill my pages here with live albums or reissues or compilations. It's too easy to rave over what you obviously already liked when you started. They generally already include your favorite songs. I'm making the exception here, because, well... for several reasons.

1.) It's late November. People don't release new albums this time of year. That's because the record buying public is only buying the compilations and reissues and packages for Christmas gifts. 2.) Tom Waits is awesome, is awesome live, and I'm really excited to get to this. and... 3.) I'm on it. (I was at the Columbus show).

The album was recorded over his entire Glitter And Doom tour, which was just a random collection of shows that he made well after his latest release, which was a rarities compilation. The set-lists varied a bit, but not too much from show to show. What is included here is a collection of songs from the latest part of his career, all since his last live album in 1986.

Waits parts his time between the two vocal styles that he's used in this part of his career. The cool cat jazz whisperer and the gruff drunk howl. It is a live effort and time has passed, so I certainly wouldn't expect Tom to display the dynamics that he had, but I'm still questioning why he chose to use the gruff style here for a couple songs that was whispy on the studio version.

A highlight is "Falling Down", a favorite of mine which was recently covered quite blandly by Scarlett Johansson. The version here replaces the Northern-Isle folk gospel feel for something more '60s blues, trading the horns for piano. "Make It Rain" absolutely rocks. It's a more desperate "I Put A Spell On You", with Tom's son hitting the shit out of his drums.

The closer, "Lucky Day" is a divine ending to the story, a train-yard scream-along that is re-done here as a beautiful funeral ballad. The 2nd disc compiles some funny stories that Tom told between some songs. And that's fine, but I wouldn't have minded seeing more of that to break up the show on disc one. (3.5 of 5 stars)

Falling Down (Paris - 07/25/08...

Them Crooked Vultures

You've undoubtedly heard of this collection and have probably heard raves about it before it even started. Even just a look at the album's wikipedia page will show a collection of reviews that are all in the 90th percentile. Don't worry. I'm not going to dash your dreams and really rebuke any of those praises. But I also don't mind saying that such universal accolades are more of an idea boner related to the company we're keeping.

Them Crooked Vultures is, of course, Dave Grohl, Josh Homme and Led Zeppelin's least laid member, John Paul Jones. Two guys who have achieved greatness fronting their own bands, and all of whom who have also sprinkled their career with enough off the cuff jamming and collaborating that each of their seats here are sure to be filled with supernatural ease. Now, I'm a rock guy; so what I hear is what I know of the participants. But even if you're too cool to have listened to Foo Fighters or Queens Of The Stone Age, you can still pretend that you're serving your indie cred hipness by relating this as a recall to Nirvana or Kyuss is some massive new Desert Session project that would only be more alternative is PJ Harvey were singing.

Point taken- we're all excited by the collaboration. How does it sound? They started off with the right idea: Make the first and the last songs the best ones.

The first track "No One Loves Me & Neither Do I" is absolutely vulgar, from the sick riff to the lecherous lyrics. It reminds me of Josh's other side of a side project, Eagles of Death Metal, except there the singer would be Jesse Hughes who would make it sound comical and fun, whereas Josh sings it straight up blasé, just like that asshole that you're probably fucking.

"Spinning In Daffodils" on the other hand is a heady lengthy jam, avoiding the trappings of success OR failure and just relishes in the experience of being high. (Drug references are abound on the record.)

With Josh leading the guitar and vocal, it sounds mostly like a Queens record than anything else. Fuzz toned '70s licks and powerhouse drums. You would be inclined when getting John Paul Jones in your band to just embrace everything Zeppelin, and the influence is there to be sure, but there's certainly no Plant ability in the group (thankfully) and versatility of Page is traded here for the Whole Lotta Love riff. Even when some organic orchestration is blended in from Jones, it's done as a subtle backing for the song than like Zeppelin, which would feature a more instrumental break.

In total, the trio absolutely plays great together (quartet live - shout out to the great Alain Johannes). Great stoner rock from great stoners. But let's be honest, take all those 90% reviews that we discussed before. Package the same songs in a QOTSA album with credits of: Written by Josh, guest drums by Dave, guest bass by John... and those reviews would get knocked down a point. The hype of the whole is greater than the sum of the songs. (3.5 of 5 stars)

Dasboard Confessional - Alter The Ending

There's actually not a whole lot to say about this release. I had come to know and appreciate Chris Carrabba like most everyone else (or at least most teenage girls) when he switched from punk rock to acoustic coffee shop guy and pioneered this emerging "emo" thing. I would never succumb fully to the emo lifestyle, being an adult myself. But the songs rang true to the first love experience and I got to reminisce a little about my pretty little angst-filled broken hearted youthishness.

Since then, he's done very little other than than trying to expand past what people liked him for. Writing songs probably not too unlike his old songs, but adding completely unnecessary and uninspired band arrangements. Counting Crows, for example, works (works better at least) because those guys are steed in the history of Wings and James Taylor and Van Morrisson. Carrabba and surely his band, are old alt. rockers playing to some Adult Contemporary-aspiring young adults. His lyrics are succumbing to his audience instead of his first album where he's scorning his jailbait listeners.

His new album is filled with tales professing his empathy for the "Belle Of The Boulevard" and taking deep breaths from her laundry to bring back her memory. Don't get me wrong, it's not "bad" in that way of something totally sucking. There's totally an audience for this... those times when the Ellen audience wants to get "introspective" while cooking themselves a special dinner after finishing the latest Twilight novel. That audience just isn't me- and it doesn't cost me too much to come back for each album just to see if that last chick has finally broken Chris' heart again so he and I can have a beer and get back to business. (2 of 5 stars)

The Motions - Dashboard Confes...

People Eating People

While this group is female-fronted piano music, you're not going to mistake it for Tori Amos or even Regina Spektor. Maybe there's a bass player in here, but essentially it's piano, vocals and drums.

Nouela Johnston has been in a Seattle jazz-pop combo called Mon Frere for a while. This release probably just strips the jazz off. Her voice isn't unlike Regina's, or Norah Jones for that matter. But the tunes are a bit more riffy and the drums will keep the indie librarian chicks head-bobbing and pogo-ing.

Still, the format is a bit limiting. Maybe this album is supposed to serve as an elaborate demo. I admit, that I'm am often a minimalist when it comes to the rock scene, but it seems to me that within the realms of pop, I wouldn't mind seeing the chick singers get some larger accompaniment. I certainly am not talking about the Beyoncé autotune treatment. Just more instrumentation, a string quartet, some horns.

And Nouela deserves it. She's written strong songs that the fellas aren't going to be ashamed taking their girlfriends to go see. She never hits the gospel-blues desperate genius of Fiona Apple, but it would be a good replacement to the whiny singer-songwriter dudes recording their coup d'états in isolated forests. (3.5 of 5 stars)

Building Armor - People Eating...

Wolfmother - Cosmic Egg

Okay, while there seems to be nine different versions of this record to choose from, I'll be discussing the "standard" version. Seriously, nine?!?! Even KISS isn't that brazen. While I was generally a fan of the debut, and I have no opinion about the line-up change, I am going to bet that this record sounds exactly like the last one. Maybe it's my Australian prejudice. Let's see...

Starting off right, "California Queen" is a much faster upbeat rocker than the dirgy riff rockers of the past. Kind of like Deep Purple's "Burn". This upbeat-ness sticks around for the first single, "New Moon Rising", which verses are simply unaccompanied drums, which should serve the remixers with some easy tools to cross over the song to some non-stoners. Stand-outs are the near-"N.I.B." ripoff with "Sundial" and "Phoenix", which could have come out the Chickenfoot sessions.

The album has it's humdrum moments too, of course. The title track is an uninspired riff followed by the story of people in a town that "get up but don't get down". I know we're being retro but we can get a little more clever than that. I also didn't care for "Far Away", which is an uncharacteristic poppy keyboard almost-ballad. It sounds like a hit and they'd be smart to get it remixed MGMT-style and release it.

In the end, Wolfmother has some tasty riffage. But they'll never be a Led Zeppelin or a Black Sabbath. The songs certainly don't have the as interesting of structures, the leads aren't nearly as fluid and come of very deliberate and for God sake, Mr. Stockdale- you need to buy a book. Read it. But I'm just being mean now. What is true is that while your "bonus disc" may include 27 live tracks and b-sides, your album proper simply does NOT need to have 14 tracks. Throw away 5, have 9 strong ones, and you'll truly be retro, and a a lot more fun.

Sundial - Wolfmother

Spiral Stairs - The Real Feel

Spiral Stairs is the pseudonym moniker of Pavement guitarist Scott Kannberg. This is first recording under that pseudonym, however. Just in time to throw on the Pavement reunion shows merch table. Good for him.

But Scott, a self-described fan of The Velvet Underground and Echo & The Bunnymen, Scott is completely devoid of those influences here. What he comes off recording is some mix of up-tempo strutting type of Nick Cave sounding stuff and some other far more breezy and relaxed California dreams. Not Christopher Cross, mind you, this is still indie rock, but you get the point. And if any other reviews mention something "Beach Boys"-ish, pay it no mind. They're simply referring to the off opportunities for some vocal harmony lines here and there.

For the best examples of the breezy, steel-guitar fueled stuff, hit up "Call The Ceasefire", "Cold Change" and "A Mighty Mighty Fall".

While none of the songs are what you would call "jammy", I still found them too long. Even at 5-6 minutes, there is simply too many times that there is an additional minute of each song where there's no soloing, no changes, just Scott maintaining the same chord structure in between verses for no seeming apparent reason. The chord is simply a vehicle to get your song moving, no need to spotlight it. "Blood Money" is a fine Wilco-style ballad, but make me producer, I'll cut your eight minutes to four without removing a verse.

My favorite of the bunch avoids most of the trappings from above and provides the best title of the group, too. I don't know if "Subiaco Shuffle" refers to Australia, Italy or Arkansas but I do know that along with the downright Frank-Black-punky "Stolen Pills", it's the best stomper in this otherwise placid collection.

The Pills video is included below, and it's great, but completely uncharacteristic of the rest of the record. In the end, there wasn't enough that felt real (see how i tied that back to the title?) in this collection to keep me coming back for more. (1.5 of 5 stars)

Thao With The Get Down Stay Down - Know Better Learn Faster

I didn't feel like listening to The Flaming Lips this week, so I'm trying something completely different. But that, of course, I mean something that I have never heard of. It's not that far reaching.

Thao is a chick singing over an indie rock band. Fans of the Yeah, Yeah, Yeahs or The Raveonettes should have no problem jumping on board this collective (who, unbeknownst to me, have actually been around a few years)

Thao has written an album about relationships and the inherent trouble with them. Lyrically, the best summation of the album's themes can be heard on the title track, which you can hear below:

"But I need you to be better than me and you need me to do better than you"

"Body" is another highlight. A sexy beat and a quaint girly voice asking me to touch her. However, my demeanor and cynicism is such that I could totally ignore Thao's wiley ways, had it not been for the reckless abandon that kicks in when the Get Down Stay Down start wailing.

And that's true of the record as a whole for me. Thao's a good singer/writer/performer and that may be why the band bills her first in the name. But what sells it all to me is the jam. Not just indie guitar rock, but screaming violins and moaning horns keep Thao's otherwise lilting voice afloat. Conversely, when left seemingly to her own devices, like on "Good Bye Good Luck", she repeats a verse twice and the song just peters out.

So band: stand your ground. Thao: check yo self. You make a good band. (3 of 5 stars)

Know Better Learn Faster - Tha...

KISS - Sonic Boom

I mentioned a couple of weeks ago that I'm a huge KISS fan. Now, I don't normally do a track-by-track review. Today I will. Eat me. Important stats before we dig in:

This is KISS' first studio record in 11 years since their "reunion" record, Psycho Circus.
Peter & Ace have been replaced on tour and record with Eric Singer and Tommy Thayer, respectively.
Paul Stanley produced.
They're old. Don't expect miracles.

"Modern Day Delilah": The first single from the album and a strong opener. Paul's written a heavy riff, almost an upbeat Black Sabbath, "N.I.B."- especially when he kicks it off with the "Yeah, yeah" ala Ozzy. The song's about a predatory beast of a woman who gets her come-uppance when she makes Paul her target. Great Tommy solo.

"Russian Roulette": Another heavy one. AC/DC type-riff with such a great bass grumble that I wouldn't be surprised if Gene was not playing. What does surprise me is that Gene is singing with a strength and a cleanness that I haven't seen in him since some of the '80s stuff. Compliments aside, the cocksman lyrics leave a little to be desired. "The "Russian Roulette" chorus has absolutely nothing to do with the "I know you want me/Your knees are weak" lyrics.

"Never Enough": Another AC/DC-inspired strutter. Or maybe closer to an '80's hard rock AC/DC inspired band. Because this has a huge singalong chorus that Paul is famous for. It sounds so much like something, it's on the tip of my tongue. Plus, it's way under-produced, which I like. Lyrically, it's typical Paul. Living life to the fullest with no one standing in your way. That's a good way to be "typical".

"Yes I Know (Nobody's Perfect)": I almost blew this off as silly filler, but by the end, the chorus was sticking and I felt pretty good about it. Gene is definitely having fun with the lyric, which is about, what else- being awesome. He laughs at the end, but not in a cheeseball evil predator laugh. It really seems like he's enjoying himself. The song itself has a very retro KISS feel. This could easily have been on Rock And Roll Over. Right down to Tommy's pitch-perfect Ace-like solo.
"Stand": A Gene/Paul collaboration which sounds like other Gene-Paul collaborations. Specifically, "Stand" is modelled after "God Gave Rock And Roll To You II". Or maybe a composite of last album's "Raise Your Glasses" and "We Are One". Complete with the same Beach Boys inspired harmony break down followed by the big firework A-chord explosion. Sounds very late-'80s.
"Hot And Cold": This throwback to "Calling Dr. Love" exists only to add the KISS t-shirt slogan to a song: "If it's too loud, you're too old". But I can't give too much shit to a song whose lyrics also include the gem: "I've got the power any hour/Baby, feel my tower of power" Awesome.
''All For The Glory": Eric Singer takes the vocals on this and makes a strong showing. Not unlike Peter at his best. Another type of song about the camaraderie of being in a band that rockers just don't sing about anymore.

"Danger Us": "Danger you/Danger me/Danger us" Get it? Eight songs in, they haven't slowed down yet. Another strong Paul-rocker about gettin' down with the bad girls.

"I'm An Animal": Clearly my favorite song on this record. A Black Sabbath-y kinda riff mixed with some old "War Machine" or maybe "All Hell's Breakin' Loose" Gene put together a great sing along devil finger raiser. I hope they can nut up to play it live.

"When Lightning Strikes": KISS managed to do Tommy a solid and got him his own song. It's done in a very Ace-style and fits the character's persona. The song itself employs the cowbell to a greater extent than most KISS songs do. The verse makes me think of "Never Been Any Reason" by Head East.

"Say Yeah": Our producer gets to wind down the record with what is clearly the weakest song on the record. Sounds like Dokken or something from Paul's last record or 1983's "A Million To One". Whatever, it's no way to end an album. This is a "track 07" kind of song. The album is filled with anthems that would be perfect closers, but this one about the object of a girl's fantasy is filler.

Ultimate review, it definitely exceeded expectations. I wouldn't have minded if the band stepped outside and got some writers to help them find a wider net to fill some different lyrical topics. But, it rocks, it's not over absurd or pretentious. It's not written, for example like the last album, around a stage show theme which pushes the songs to a predetermined direction. It's got teeth, balls and it's loud. At least I know I'm not too old. (4 of 5 stars)

Langhorne Slim - Be Set Free

I was introduced to Langhorne Slim at Lollapalooza this year. It was easily one of the most intense, fun and deep performances I saw all year. Langhorne started as a solo blues-folky and added some accompaniment along the way. At Lolla, he had brought his upright bass player and drummer. (The former of which I had the great distinction of having a fairly frightening way drunk conversation with at a Chicago bus stop.)

On this album, Langhorne throws in the kitchen sink. Various percussion, keyboards, strings all serve to change dusty black and white photographs into rich colorful landscape paintings. Sean's songs, like many folkies, focus around the travelling vagabond's life. The one who's always looking for a home and is never truly satisfied. The one who falls in love with every woman he meets, but not enough to stay. It's not a new concept, but Langhorne's lyrics have an originality to them, ("I don't wanna break your heart, but I probably will."), and his Ben-Harper-like voice (or maybe an American Cat Stevens) really sells the romanticism of the trip.

And before I sell his folky-ness (folkivity?) too much, let us not forget what I said about throwing in the kitchen sink. Some of these songs, "Say Yes" and "Cinderella" for example, could easily be loved by your average fan of Arcade Fire or Modest Mouse. A lyric like the former's, "We're in California, but it might as well be the moon." mixed with it's group vocal dynamic could probably swing the Polyphonic Spree into doing a cover.

The only unfortunate thing is that this album was released in October. The vibe is clearly a May release. Now, we have to enjoy this music while fighting the cold and the snow. A perfect example is the country waltz barn dance "So Glad I'm Coming Home", but pretty much the rest of the album should be enjoyed down by the crick in the sunshine. (4 of 5 stars)

Monsters Of Folk

Monsters Of Folk is a an indie supergroup. Much more so than the Dead Weather, even. Singer-songwriters Conor Oberst, M. Ward and Jim James of My Morning Jacket join Conor's Bright Eyes partner Mike Mogis for this alt. country collaboration. Something must have changed in me, because I remember first hearing Bright Eyes, and thought that it was pretentious and bitchy. And now I see Conor as a pretty awesome songwriter. Jim James too, I was fortunate enough to get recently acquainted with having just heard the Evil Urges album. And since I saw She & Him as more of a Zooey showcase, I have little previous relationship with M. Ward.

The album kicks off with, "Dear God", which, with its electronic drums, began to remind me of Clap Your Hands Say Yeah. However, by song's end, soaring harmony echos and string sections, I was more inclined to hearken this to some '70s adult-contemporary throwback. 10cc or the slow Hall & Oates. Also, tell me if you don't feel a little Dave Mason's "We Just Disagree" when listening to "Map Of The World".

A single, "Say Please", was much more of what I would expected from the supergroup principals. All it needs is a British voice like George Harrison to make this sound more like the Traveling Wilburys. Which is true also of "Whole Lotta Losin'", a fantastic country-blues dance jam.

I don't mind saying that sometimes, this album crosses further over into the country side than I need to be comfortable with. "Temazcal" and "The Right Place" are wrought with barroom piano and steel guitars. If this Wilco influence is your kind of style, then these tracks will probably be your favorites.

On the other hand, though (I AM a man of contradictions) "Goodway" is straight up country western, with some barely intelligible poem recitation at the end. "You taught me everything I know about takin' other people for a ride". It's a short blast of freakiness.

"My Master's Voice" is a great way to close the album. An ironically pseudo-gospel tune that infuzes all of the country/alt. country/indie pop/rock influences and rolls it into one. This album proved to be a great example what can be accomplished when some surely egocentric frontmen share the spotlight for the greater good. (4 of 5 stars)

Say Please - Monsters of Folk

Ace Frehley - Anomaly

Being a lifelong KISS fan, I was actually half-hearted prior to checking out Ace's latest. Like the Beatles (yeah, I went there), the output of each member's solo career has been pale in comparison to what they accomplish as a group. Now, Ace has had the most prolific solo career outside of KISS, and yes his three post-KISS outings have had some definite highlights. But the last effort was 15 years ago, and his contribution to the last KISS reunion album was little more than a "Rocket Ride" sequel.

But, let us not forget Ace had what most fans consider the best of the 1978 solo collection- so the potential is there. How did he fare?

Pretty well, actually. To his credit, Ace brought out long-time collaborator and nearly flawless drummer, Anton Fig. Keeps it tight. And Ace's production value I would call top notch. When the riffs are dirty, they sound dirty. And Ace has also musically created a stellar batch of riff-rockers. "Foxy & Free", "Sister" and "Genghis Khan" are all almost perfect for the auto commute from work to the bar.

Where Ace lacks, and this is nothing new, are his vocals. Some vocalists have a non-ability coolness about them: Ozzy, Bon, Brian Johnson, but I've rarely felt like that with Ace. I always just hear him talking and emphasizing sentences on the wrong word. Also, Ace could stand to hire a writer. Sometimes, he says very trite and cliché rock anthem sex stuff and other times it doesn't make much sense at all. "Genghis Khan" is primarily an awesome rock instrumental, but Ace decides to throw a wrench in the jam by repeating "So long, Genghis Khan / Now you're gone, so hold on" What the fuck are you holding on to?

Another complaint is when Ace goes rogue. Tries out some new styles that he hasn't before. "A Little Below The Angels" is some kind of "Mama, I'm Coming Home" reflexive prayer ballad, that even includes his daughter on vocals. Totally doesn't work and sounds like he's apologizing to us for singing it while he's singing it. "Change The World" fares better, and while it's not an Eric Clapton cover, it kind of feels like some glossy 80s Clapton production.

Still, Ace resurrects some of his trusty strongholds. First- with another '70s glam cover. While I generally distrust a new version of something as famous and as previously-covered as Sweet's "Fox On The Run", Ace pretty much nails this. His vocals are tight and snarly and it's all true to form. Also up as a sequel is the fourth installment of Ace's instrumental "Fractured..." series, which have always expanded on the root feeling of Ace's "Rock Bottom" intro and built on it in quite prog-rocky. This one may be my least favorite of the four, but I've always held them in some regard.

In the end, this should serve as a perfect audition tape to get Ace a slot in the next rock supergroup. Ted Nugent can take a backseat. Get Ace up with a dynamic singer with a thought inside his head, and Ace could rival KISS' newest output. (3 of 5 stars)

Sondre Lerche - Heartbeat Radio

A Norwegian indie pop artist that has existed for five albums completely under my radar releases his sixth this week. Apparently, he was a prominent player in the soundtrack to the movie "Dan In Real Life". And in a week that will be overwrought with the Beatles' remasters, I decided to go for an unknown.

My first impression is the Thom Yorke kinda voice. Except more pronounced and light. Sondre sounds like a happy person, which could very well annoy the shit out of me. But it doesn't, it's a nice sunny day as I type this and the music fits.

Also, at least at the start, Sondre basically writes songs that start with simple acoustic guitar chords. Then in the 3rd act of the songs, he throws in some sweeping orchestral string lines. It makes me wonder why he doesn't employ their use throughout the song, since they give the end a kind of excitement that isn't shown in the rest. Now I'm feeling like Sondre is trying to channel some poppier version of Rufus Wainwright.

Another song, "I Cannot Let You Go", with it's jangly electric telecaster and bouncy maracas, sounds straight out of a 1972 AM radio. Oddly, it's not a Captain & Tennille cover. "Almighty Moon" has such a straight ahead pop melody, that I was waiting for him to say that he loved the nightlife and wanted to boogie on the disco round. Other tracks though, like "Easy To Persuade" feel like a Lemonheads hold over, except with more Solid Gold-era synthesizers.

"Like Lazenby" has the rhythm and melody of something off of a showtune, like Little Shop Of Horrors or Grease. But with lyrics about fucking up and getting back on the horse, it makes for what should surely be my favorite song on the record. The version included below is live solo acoustic, which makes it sound more like Death Cab For Cutie, but don't be afraid it's still a great song.

In the end, I would say that Sondre has made an album somewhere between Rufus Wainwright and Jason Mraz. It's very light and poppy with little bursts of confused excitement. Maybe I'm just an "all or nothing" guy. (2.5 of 5 stars)

The Black Crowes - Before The Frost...Until The Freeze

Here's a concept- basically, the Crowes record a double album live in the studio. They release one disc as a hard copy and the other half is available for free download. Great promotional tool, now- onto the music.

You'll find the same warm, electric blues southern rock that you have came to love about the Black Crowes. The Dylan-like lyrical storytelling of people wrestling through hardship to find love. Except that unlike Dylan, the Crowes always get back to the chorus. Which is fine, but you know, except on their more psychedelic stuff, you can basically count on: verse/chorus/verse/chorus/solo/chorus/chorus. Even on the 8 minute song. It just adds an air of safety around the band.

And then on track 5, they break out a disco number. It seems out of place. So much so, that Rich - the brother that doesn't dance - takes his name off the writing credit. But it's only out of place until the lyric kicks in and you realize it's a coke tune.

By the time I finish disc one, while I've had a very pleasurable listening experience, I realize that I'm not going to be purchasing any of these songs. It's really just the failing of double albums in general. The good songs end up sounding too similar to themselves, while they fight against clichés like being set adrift on an ocean searching for the safety of shore. One song sounds just like "She Came In Through The Bathroom Window", another song, "Dixie Chicken".
The second disc gives us an interesting sitar-Irish-jig thing in "Aimless Peacock" and "Garden Gate" is straight-up country hoe-down. And that's how it is for most of the 2nd disc. Pretty straight-forward old-time country. Slow ballads, waltzes. I could see this getting great accolades from people who are bigger fans of this kind of music. But I'm going to stick with their higher velocity stuff. (3 of 5 stars)

Arctic Monkeys - Humbug

For their third studio album, the best of the hooligan Brits actually get a little nutty. Hiring Queens Of The Stone Age leader, and all around freak-out desert tripper, Josh Homme to produce and contribute. About the sessions and his peyote use, Homme said, "...I didn't tell them, so there were just a few days when they were like 'Why are you being so weird?' I didn't think it was weird, I just said the word 'Ham' 4,000 times."

The album kicks off with a bastard of a Nick Cave desert western movie opening credit kinda tune. "My Propeller" even has a vaguely Robert Pollard-esque (read: drug-induced) lyric: "Coax me out my low and have a spin of my propeller"

They further the desert feel for the sound and video of the first single, "Crying Lightning", while I continue to be both baffled and impressed with the lyrics. And the theme keeps repeating itself with "Dangerous Animals", although this time, I become a little annoyed with the letter spelling repetition.

But other than that, I really can't say enough about the lyrics. I'm very much a man of words. And when you cram as many vague ideas into 3-4 minutes spaces as the Monkeys do, you give yourself the opportunity to either, like the Beatles, paint a picture that whether or not you identify with all the pieces, you can still somehow get it. Or you can, like other psychedelic followers, just create a ridiculous fingerpainting mess. "Potion Approaching", which has a riff so Queens-like, I can't believe that Josh didn't co-write it, is a great lyrical example of the former:

Then we fell asleep in the car

Until the bumps woke me up in your grip

And the tide took me to your mouth

And then swept me back down to your palms

The album shows a real progression and I'm glad Josh brought it out. "Pretty Visitors" is the lone track that stays completely true to the Monkeys post-punk roots. All in all a great release that shows musical and songwriting growth. The songs lay a foundation of earnest trippiness while the lyrics show a real imagination towards the romantic. (4 of 5 stars)

Brendan Benson - My Old, Familiar Friend

The co-leader of The Raconteurs proves that he's the most retro influence in that group with this solo release. My Old, Familiar Friend is littered with pop elements straight from your 1970s A.M. radio. Whereas the Racs seems to take these pieces and fuse them with Jack's modern indie-rock brilliance, Brendan here stays all pop all the time.

It actually seems a little too specifically derivative at times. While all originals, "Eyes On The Horizon" for example, sounds like it was lifted off a Todd Rundgren album. "Gonowhere" sounds so much like Wings, that I think that he might be stealing a riff from Band On The Run.

The opening track, "A Whole Lot Better" employs an Attractions-like organ, but moves along on its own, and I can totally get behind the manic-mind-love tune lyrics. The similarly new wavey "Poised And Ready" should get your hipster party jumping.

The only modern sounding track is "Don't Wanna Talk". Unfortunately, it sounds like Brendan's version of an uptempo Shania Twain song. The only rocker of the bunch is the closer, "Borrow". So- overall, the album plays up the pop too much and has little to offer the average rock fan. If this is your bag, by all means, Have A Nice Day. (2.5 of 5 stars)