Wait For It ~ by: The Condors
A previous effort by these fellows was entitled “Tales of Drunkenness and Cruelty,” which harkened back to a song by The Kinks during the British Invasion of the Sixties. This four-man band from Los Angeles obviously owes a lot to many bands from that same period, as heard from the very beginning, with the “Pipeline”-like intro to the “Waiting Half the Night.” Calling their sound a blend of pop and punk (think Elvis Costello and Plimsouls), The Condors rely on still more tales of dysfunctionality, told in an appealing manner that’s partly sweet, partly cynical. Featuring vocalist/guitarist Pat “Pooch” DiPuccio, drummer Jay Nowac, bassist Dave Soyars, and guitarist Sandip Dasgupta, The Condors have garnered some recent notice with a track entitled “Don’t Want a Girl Who’s Been with Jack,” which includes a brief, tasty harmonica solo. Listen through, and you’ll hear echoes of Cars, Romantics, Smithereens, and so forth, more power-pop than punk, and pretty well done, at that.
Blowback ~ by: Slow Burning Car
Here’s another variation on the power-pop theme, from a San Pedro-based project that features lots of sound-effects in a collection of 12 textured tunes. You get bird-chirps and phone-rings and background dialogue, and lots of “ooh-oohs” and “la-las” also. The disk’s opening yell of “Fee-Fi-Fo-Fum” before the opening track, “King Con” (featuring Tracii Guns!), might lead one to expect a more aggressive brew, but this effort leans more to Fountains of Wayne than Children of Bodom. Oh, a little bit of lead guitar busts in during songs such as “Formula I” and “A Little Sign,” but then a bit of Fastball-infused Jackson Browne bubbles into “Respect” – which turns refreshingly crunchy as it builds. Written and masterminded by a multi-instrumentalist named Troy Spiropoulos, the disk features a different ensemble of players on just about every track. Troy is more inclined towards philosophical and socio-political musings than standard love songs, to be sure, at times expressing his feelings with a frankness more often encountered in harder-edged bands. Troy is a melodic visionary, whose speculations can bend your head without hurting your ears. And the CD cover-image, like a roadsign of a slow burning car, is worth a chuckle.
Untamed Spirit ~ by: Blue Tiger
Talk about coming back from the crypt. Blue Tiger is a band from New England whose first incarnation took place during the late Eighties, enjoying mid-level success until breaking up in 1991. The band’s sound was forged in the big-hair era of acts such as Kix, Warrant, and Great White, and this new disk, appropriately released on Retrospect Records, is bringing that sound back alive, in all its glossy glory. “Untamed Spirit” features driving, rhythmic progressions that provide foundations for sing-along tunes such as “Stop Playing Games,” “Masquerade,” and “Feel the Fire.” What’s so cool, for those who enjoy spinning old Ratt and Poison records, is that this CD has an abundance of tunes that feel like they’re long-lost cousins who’re just being met for the first time – new, yet familiar. Recent revival tours have shown that there’s much interest and support for this kind of vintage feel-good music, and word is that Blue Tiger is working on fresh material, hoping to unleash updated versions of their jungle jingles, ready to roar anew. In the meantime, for those with a taste for glam, “Untamed Spirit” growls just fine.
My Private Hell ~ self-titled EP
A hard-hitting quartet of crunchy nu-rock anthems, by four guys from L.A. Gian Erguiza and Jigger Ferrer play guitar on the disk, choosing to lay down solidly punchy tracks without going overboard on speed or shredding. Plus, Gian’s vocals are aggressive but not shrieked, permitting full perception of the lyrics, which can be a rare pleasure these days. . Eric Cuarez does an admirable job on the drums, while Blue Palacol is a potent bass player whose chops are up to the challenge. Listening to the melody in the opening track, “Barry’s Song,” one might be reminded of System of a Down, which is not a bad thing. And the final cut, “Selfish Pig,” is a vividly aggro screed about respect and the lack thereof, and seems certain to spur chant-alongs when performed live, F-bombs and all. To sum up, then, “My Private Hell” is in fact a glimpse into a hard-rocking inferno that screams to be made public. Keep your ears open for these guys.
New Protection ~ by: Ride the Sky
A tightly-progressive compilation from a creative crew of Swedes. The dozen tracks on this excellent effort feature full-bore production that brings multiple textures to life. The sound is driven by electric guitars from Benny Jansson, but fleshed out to fullness with the keyboards of Kaspar Kahlqvist. Bjorn Jansson sings in a rich, full voice that is complemented by choral and orchestral support, plus rhythmic backup by bassist Mathias Garnas and drummer Uli Kusch. From the title cut on, Ride the Sky delivers majestic melodies and compelling beats, in a package that exemplifies the best aspects of contemporary progressive rock. “Silent War,” “Break the Chains,” and “Heaven Only Knows” are just a few of the well-crafted tracks on this entrancing album, from a truly fine group of artists from Scandinavia.
Alive ~ by: Glendora’s Box
Open up this crate of nuggets and get a load of gold on your plate. A song called “Heavy Metal Heroes” pays homage to a slew of godlike figures from the past, and Glendora’s Box emulates these bygone deities quite well. Recorded “live,” the disk is devoid of overdubs or over-production, which will be refreshing to many listeners. Each glam-infused track comes across with an in-your-face fury that has to stand on its own merit, and luckily for this band, their chops are competent. Singer Bobbi Meikel has studied well under such tongue-in-cheek champions as Freddy Mercury and Steven Tyler. The thirteenth song is “Dose of Rock and Roll,” and that’s what everybody needs, and that’s what you’ll get on “Alive” from Glendora’s Box.
Never Look Back ~ by: Midnight Reign
So you look at the CD’s cover and see that the band features two women, one playing violin and the other cello, and you expect something “progressive” or “arty” or “avant-garde.” Nope. This is straight-ahead hard rock with a serious edge of thrash, but what a surprise, this disk also contains a decent power-ballad (“The Mourning After”) and some innovative keys here and there. The effort is spearheaded by New York singer-songwriter Joseph Michael, who sings while strumming both guitar and bass on the disk (presumably not at the same time), and who also plays keys and percussion. He is joined by drummer Adam Gust, cellist Starla Baker, and violinist Alma Cielo, and onstage the band is supplemented by Mark Dayton’s bass and Paul Sternquist’s guitar. “Playground” totally rocks with a new-era glam vibe, including a bluesy ending that could have been built by a drunken Van Halen or Crüe-member, while other songs smack of elements ranging from goth to nu-metal. As Mr. Spock said, “Fascinating.”
A Tribute to Thin Lizzy ~ by: Rude Awakening
Anyone who’s interested in current-day versions of the songs that made Phil Lynott and the boys in Thin Lizzy such perennial favorites should be well-pleased with this 13-track compilation. Rude Awakening’s Mitch Urban is right there with the same wry Irish vocals that forged Thin Lizzy’s signature sound. As you read this, some rock station somewhere is playing “The Boys Are Back In Town,” and since poor Phil passed in 1986, a victim of his appetites, a tribute band such as Rude Awakening is just about the next best thing, given the high quality of their interpretations on this disk as well as in live performance. The disk opens with an admirable reconstruction of “Jailbreak,” wherein guitarists Bill Sablan and John “Gumby” Goodwin pretty much lay down the same musically lines originally crafted by Celtic axemen Scott Gorham and Brian Robertson. And consistently throughout, Rude Awakening delivers high-quality interpretations, delivering sincere tribute by imitating admirably.
Man Versus Machine ~ by: Sacred Storm
This is a great thrash-rock album by a very promising So-Cal band. Led by guitarist-vocalist Kenny Krenzin (quite the growler, but he does it well), Sacred Storm has already proved notable enough to open for big-name acts such as Kamelot. The band also features drumming phenomenon Lux, who is reputed to pound out her double-bass rolls while wearing spike-heeled shoes. Those beats resound mightily throughout the entire disk, from the cautionary title cut through to a spiritually-laden closing song called “The Revelation.” Kenny and Lux are supported by Dave Maciel on bass and Everett De Bree on guitar, to produce a satisfyingly chunky spread of metallic nuggets. Sacred Storm’s debut disk has the roar and ring of accomplished thrashers who have even greater heights yet to achieve.
Torch Rock ~ by: Wensday
She spoons, she swoons, she croons sweet tunes – Wensday is a tattooed torch-song singer who also knows how to make you move, like a Jessica Rabbit come to life. Rising like a fiery Phoenix out of the city of the same name, it’s only natural that Wensday ended up working with longtime Alice Cooper sideman Dick Wagner, since that’s where the Coop also comes from. Wensday has crafted a sweet, sultry disk that echoes with the smoky tones of bygone eras, shaded by the spark and spirit of tragic blues figures such as Billy Holiday. Want some fire? Check out “The Rise and Fall of Love,” or how about the good ol’ boogie of “Bulldog Blues,” baby! And then there’s “Predatory Gentleman” – ooh, watch your fingers, folks! Not to mention her smokin’ cover of Alice Cooper’s “Only Women Bleed,” which has been garnering some airplay in recent times – now that’s one torchy track, oh yes!
Around Our World ~ by: The Towels
A curious yet tasty collection of pop-infused offerings from an offbeat trio whose roots reach back to Akron, Ohio (can you say “D-E-V-O”?). Nope, singer-instrumentalists Noral Squizz, Doug Deringer, and Roy Hardinge aren’t donning rubber suits for the road, they’re more like jester-troubadors than devolved animatrons, but they, like their spud-boy predecessors, are adding a somewhat jaundiced glance at various traditional musical themes. Supported by an ample cast of session players, The Towels touch some nerves lyrically, while gelling into various smooth musical grooves. “Million Guitars,” for instance, is a look at a wannabe rock star (a theme also ably explored in “Sunset Boulevard”), and the song itself does have a bit of boogie to it, but it’s a flowing boogie, not a hard-edged boogie. And as for relationships, well, you’ve got the provocative lyrics of “From the Top” and “Pretty Pussy Cat,” and the yearning of “Girl In Green” and “The One for Me,” and the wistful reminiscence of “Call You My Friend.” Even while the melodies are harmonious, the lyrics are thought-provoking, so if The Towels have intrigued as well as entertained, then they have achieved their musical mission.
