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)

The Rumble Strips - Welcome To The Walk Alone

I have no idea what Cobra Starship sounds like, but reading as much as I have about them makes me think I will hate the record they released this week. So, I'm going for an unknown instead.

Mark Ronson (of Amy Winehouse fame) produces the second album by this UK rock band. The criticism around the record is that it's made too slick, polished and well, Ronson-ed for the ruckus that the Strips apparently showed on their first album (which admittedly, I didn't hear). I'm going to disagree. I was pleasantly washed over by the American soul production on the otherwise Kinks-inspired brit pop-rock.

"Not The Only Person" is a great example of what I'm seeing throughout the record. The verses have a snarl about them, not punk but not Coldplay either. Then the chorus swells like the Animals at their best to include a booming vocal and understated mix of horns and strings backing. See video below.

A couple songs about the fellas are distracting, you may skip them. "Daniel" and "Douglas" both tread water but to me like little more a time to get in a piss and a beer.

"Back Bone" on the other hand is like a James Bond theme. Ronson keeps the strings swirling in the background like we're afraid of the villain entering the room before Bond has freed himself from the laser death contraption.

All in all, I think Ronson very effectively captured some great songs and contributed his style accordingly. It's certainly a different application of Ronson's talents to throw on what would otherwise be pub rock, but I'm glad it was done. Bottoms Up! (4 of 5 stars)