Steve Cropper & Felix Cavaliere - Nudge It Up A Notch (2008)

What’s up gang? It’s been a minute or two since I got it together and found my way down to the record store. But I found this gem and felt obliged to share it with yall’. Steve Cropper used to play guitar and write songs for Otis Redding, The Blues Brothers, and Jeff Beck. Also, he played with Booker T & the MGs for a long time, no big deal. He teamed up with Felix Cavaliere the singer for “The Young Rascals”, and needless to say, they cooked up some tasty R&B/Rock gumbo. They have a super soulful, light and breezy sound. The kind of sound where it would be impossible to be in a bad mood and listen to them jam. You could get rear ended in your car and be like, “It’s Okay! No insurance info necessary! I have Cropper and Cavaliere on the stereo!” Also, on a random note, I have no doubt that they would be the best wedding reception band of all time, ever. Tracks like, “One of Those Days” “To Make It Right” “Impossible” and “If I Wasn’t Lovin You” would bring the house down. “Full Moon Tonight” and “Without You” also rip. The only thing I don’t like is their name. It’s too long and complicated. If I were them I would change it to “Chicken and Waffles”. Quickcrit gang, your thoughts?

Audio Out Send - Sharpen The Hours (2008)

I've been casually following this Bay Area band for a while and have always enjoyed listening to their new material, but this is the first album that I've been able to get exited about - the music is more engaging and the songs are catchier. Overall, it sounds awesome. Like Grandaddy and Earlimart, they write hazy, laid back indie rock perfect for fog engulfed mornings. Songs cruise along, the vocals riding over the low level distortion and chugging rhythms. The tone is often dreamy and beautiful, with just enough noise to keep it interesting. Although mellow, it's hardly sleepy - the drums push forward, and songs build and threaten to rock out. "Calling On The Girl" is my favorite, but really most songs on album are worth a spin. A great album for heading into fall.

The Faint – Fasciinatiion (2008)

Let me preface this review by saying that I was a massive Faint fan from about the time Blank-Wave Arcade was released in 1999 to the Danse Macabre Remixes release in 2003. During that time I attended a number of Faint concerts and used songs off of Blank-Wave & Danse Macabre as the centerpieces of all good dance parties, but then my approbation dissipated and I tuned out… so much so that 2004’s Wet From Birth was hardly a blip on my radar. Fasciinatiion, however, has revitalized my affinity. The dance-dance electro-pop beats and voice effects of “The Geeks Were Right” brought back found memories of 4AM dance-offs and concert pre-parties. “Mirror Error,” “Forever Growing Centipedes,” and “Get Seduced” all carry the electro-pop, head-nodding drive that induced my initial affair with The Faint back in the late 90s and early 00s. Although this album has a few of those “experimental” moments that I could do without, overall this album is an excellent effort to break a four-year hiatus.

The Virgins - The Virgins (2008)

Apparently there's a large (huge?) place in my heart for the derivative but catchy pop song. The Virgins seem to specialize in that type of song because every song sounds familiar, but contains a chorus that makes me want to sing along ("she said, well right now you and I were getting high, but we don't have to be this way..."). Some songs sound like the Strokes, particularly "Fernando Pando", but most of the time they just sound like a 80's revival band specializing in poppy new wave, particularly on "Murder". I can see why some people wouldn't like these guys - I'm not sure they bring anything new to the party but a good time, but damn man, that's why I party. Although they can keep their high end drugs, I'll stick to the beer. Thanks though. "Hey Hey Girl" kind of reminds me, in a good way, of those late 90's pop radio songs, the kind that Sugar Ray might write. "Private Affair" and ""She's Expensive" are my favorites. At another, more image-conscious time in my life, they might have been guilty pleasures.

The Spinto Band - Moonwink (2008)

The Spinto Band is back! I loved Nice and Nicely Done, so I was excited to see this come out. However, I think I was expecting to be disappointed because it took a few listens for me to realize that this was exactly what I wanted. Like a slightly less ADD Apollo Sunshine, the Spinto Band writes pop songs that are packed with ideas. Fans of minimalist or mopey pop beware: time changes, decades of pop styles, oohs, ahhs, la la las, and plenty of instruments are all crammed into songs to the point where they practically explode. For all the mid-song shifts, the tone rarely changes - it's all pop at it's most infectious, upbeat, playful, and catchy. However, with so many little hooks, there rarely is enough space for the big hook, which are the ones I usually get stuck in my head, the ones that make the single really stand out. I really like "Vivian Don't" and "Summer Grof". I'm still not sure if they hit the highs of "Oh, Mandy", but they come close.

Gin Blossoms @ Santa Cruz Beach Boardwalk

First, a word to all of you Outsidelands ticket holders who comprised the huddled masses of churning humanity paying gobs of money and straining to hear Radiohead last night: suckas.

Paying only for our tall boys from Days Market, Awmercy (to whom I apologize for the length of this review), Brasilliant, Ancientindianwizard, and I were joined at the Boardwalk by our friends Lacy and Greg (and many other amazing folks) to get rocked by Tempe, Arizona's own Gin Blossoms. In case you lived in an Eastern Bloc country during the early 1990's, and somehow missed out on this band, do yourself a huge favor and download their hits "Hey Jealousy," "Found Out About You," "Til I Hear It From You," and "Follow You Down." You will probably listen to these songs and say "Wow, despite living in the former Yugoslavia in 1993, I totally remember Hey Jealousy!" And it is this infectious pop sensibility that made last night so amazing.

The (disturbingly long) Wikipedia entry on the band reports that "Frontman Robin Wilson is best known for his interaction with the crowd. He often hands off a tamborine to a lucky fan in the front row to strike in sync with the drum beat." And last night was no exception. The band came on around 8:30, and proceeded to spend a boring half hour playing songs no one knew, while Wilson handed out a tamborine, encouraged the rest of the crowd to clap rhythmically, and repeatedly thrust his tamborine-free hand skyward in the shape of rock horns. Then things got interesting.

Wilson disappeared from the stage, leaving his band to engage in an extended jam sesh. It was incredibly boring, but my heart was pounding: where had Wilson gone? Was he having a breakdown? Would I get to hear Hey Jealousy? Whatever it is that Wilson does when he disappears backstage (seems like it might be a regular occurance, as the band barely seemed to notice), it is totally worth it. When he remerged on stage, the Gin Blossoms proceeded to blow us away with hit after hit, touching the adolescent rocker in all of us.

Then their allotted hour was up and the 'Blossoms left the stage. Thoroughly satisfied, the ladies headed to the bathroom before taking off. But they weren't done!! As I emerged from the filthy Boardwalk bathrooms, my ears were seduced by the sound of.... Rocket Man. Yes, the Gin Blossoms were covering one of my favorite songs, apparently for a bride-to-be who was spending her bachelorette party at the Boardwalk (awesome). They finished off with "Follow You Down" a song whose existence I had forgotten. This encore left me deeply rocked, and a two time loser (I bet the Wizard that I would only recognize 3 songs, and that they wouldn't perform any covers. Who knew?). But really, there were no losers last night at the Boardwalk, only people who walked away totally awed by the majesty that is the Gin Blossoms.

The Weepies - Hideaway (2008)

Over the past 4 months, Hideawy has quickly become one of my favorites. Not just a favorite, but a go-to set of songs for when I'm happy, or sleepy, or cranky, or just need to let my brain relax. Suffice to say, if Hideaway were a cassette tape, it would be popping and clicking on its way to a quick death. I love it that much.

I guess I'd categorize The Weepies as folk-pop with songs that catch you like a 3-foot meat hook. At first, you hear the sweet vocals and harmonies of Deb Talan and Steve Tannen that make you feel like a cute little square-headed sperm whale swimming under the stars (seriously, they're that good). Only after really listening to the album a few times did the melancholy lyrics break through, revealing a matter-of-fact undercurrent of life lessons - sometimes things suck, but you gotta put your best foot forward.

Among my favories, "Old Coyote," "Hideaway," and "Orbiting," and "All This Beauty."

Jaguar Love - Take Me To The Sea (2008)

I've never been a huge fan of screamy bands, and although this band specializes in screeching and hollering, every time I listen to this album I like it more and more. At this point, I pretty much like every song, however, it wasn't until I heard the soulful and awesome "Georgia" that I gave the rest of the album a second (third, tenth) listen. Not unlike the (International) Noise Conspiracy or the Make-Up, Jaguar Love make music on the harder side of indie rock, infusing their garage rock with the occasional metal riff and a dash of soul. Also, like those bands they rock the organ. In fact, that might be the keystone for me loving harder bands (Murder City Devils, anyone?). The dudes voices sounds like a girl, specifically it reminds me of British garage rockers The Noisettes. This album is definitely worth checking out if you dig any of the above bands. However, people with a low tollerance for screaming should steer clear.

Never Mind the Pollacks: A Rock and Roll Novel (2004)

More rock fiction! I think as a general rule satires are hit and miss. Neal Pollack does a decent job at skewering rock critics and rock mythology, but sometimes it reminds me a little too much of Forrest Gump, as the main character (a fictional Neal Pollack) influences the careers of Elvis, Dylan, Lou Reed, Iggy Pop, and Kurt Cobain. At its worst it reminds me of one of those Not Another (Teen/Scary/Date/Superhero) Movies where all the clichés, jokes and riffs are smashed up together in more or less a jumbled mess. But just as with Forrest Gump, sometimes it's fun to imagine the little behind-the-scenes moments surrounding historical (and musical) events.

The Black Ghosts - The Black Ghosts (2008)

Ready for some electro dance-dance music? Ok, here we go. I am nearly certain that any rational person will be unable to listen to The Black Ghost’s single, “Anyway You Choose To Give It,” and not feel like dancing. In fact, I challenge each and every one of you quickcrit readers to do so, and since the song is offered for free at virb.com, you really have no excuse. Many of the tracks off of this self-titled album have a Hot Chip-esque electro dance-dance base; with a hint of The Faint’s (review to come) synth sounds; finished off with surprisingly wide-ranging harmonizing vocals. What’s not to like. There are a few tracks that derail the upbeat dance beat (unce! unce! unce!), but with songs like “Face” and “Repetition Kills You” spread throughout the album, the bedroom/lounge electronic digressions, like “Full Moon” and “Some Way Through This,” welcomely please the senses and set a more intimate mood. A solid debut from a creative UK duo.

Check it…

Earlimart - Hymn and Her (2008)

Earlimart is quite the prolific indie rock band with Hymn and Her coming out just one year after last July’s Mentor Tormentor. Subtract a few previous members and Earlimart is now a duo. Specifically, Aaron Espinoza and Ariana Murray make beautiful hymns together while keeping the ‘him’ and ‘her’ in, well, Hymn and Her. Aside from winning the award for "Album Title Pun Of The Year," they share vocal duties. Although he mostly sings lead while she offers backup vocals, this record marks Murray’s debut as capable female lead vocalist, as well. Hopefully, this becomes a signature mainstay. Starting my indie rock reconnaissance six records in, I'd say HAH is an excellent introduction to their sun-kissed brand of California dream pop. If you're a fan of bands like Pedro The Lion, Rogue Wave, Camera Obscura, and American Analog Set, you'll be adding Earlimart to that list.

HAH is incredibly fluid, with each song flowing seamlessly into the next. Boasting a sunny disposition and easy-going feel, this record is great for a long drive along the coast or a laid-back evening at home sipping wine on the couch. Thematically speaking, these songs don’t exactly span continents, but no worries-- soothing melodies coupled with relatable lyrics is a musical formula that never gets old. And the instrumental arrangements form sound pieces that are warm, mellow and intimate... much like the prelude to a really good kiss. Sometimes it’s Espinoza’s silky smooth tone, other times its Murray’s wispy coos in an ocean of “ooh’s” and “ahh’s,” but either way… when their vocals collide, you’re in for some sonic sensuality.

Remember when Hope Sandoval (of Mazzy Star) and Jim Reid (of Jesus and Mary Chain) unexpectedly wrote the romantic duet, "Sometimes Always," that left the masses wishing they'd collaborated on an entire album afterwards? Well, this might be the album they never made. Much like Reid, Espinoza occasionally rocks the cool guy, quasi-spoken word vocals (and actually gets away with it) and as Sandoval, Murray could teach the Feists, Jenny Lewis-es, and Emily Haines-es of today what it is to be sultry. In fact, when Espinoza and Murray’s musical chemistry comes together, they produce gorgeous results. With his resonance and her sensuality, together they "really make babies when the mic’s on" (quoth Kanye West).

The record opens with "Song For," a great driving tune that hits you... much like a song on full blast when you turn the engine and realize you left your car radio on. The Camera Obscura-esque break-up gem, "Before It Gets Better," is simply serene and quite possibly a song we’ve all written in a past-life. Like a newfound relic of love fallen from grace, this song is hauntingly beautiful and allows Murray’s voice to shine. But it’s "Face Down In The Right Town" that showcases Espinoza crooning along with Murray’s soft “ooh’s” and “ahh’s” that reminds us how harmonious male/female vocal interplay can be. Plus, the surprise trumpet at the end adds a jazzy mariachi feel to mix things up a bit. On "Time For Yourself," the electronic beats sashay around with simple piano and add a nice contrasting touch that works alongside her dreamy voice. "For The Birds" and "God Loves You The Best" are, at best, watered-down Rogue Wave, where "Teeth" is a slightly less irritating, cheap imitation of The Dandy Warhols. But "Great Heron Gates" showcases Espinoza’s whispery vocals a-la-Snow Patrol, plus the usage of bird sounds is the cutest thing since Tom Petty did it on "Learning To Fly."

My only real criticism is: you strip a band down to a male/female duo, name the album Hymn and Her, but where is the obvious duet? On the uber-romantic title track, this was a potentially amazing duet that never happened. They sing so gently here where it's almost as if she's blowing air on his vocals adding to the sweetness, but she never got the chance to shine on her own, alongside him. An acoustic cover of, say The Postal Service’s "Nothing Better," or an updated spin on Jesus and Mary Chain’s "Sometimes Always" would have been stellar avenues they didn't explore. I was also irked they closed with "Tell Me" when second-to-last track "Town Where You Belong," with its blaring vocal outro and slow hand claps, makes more sense as a closer... But when you find yourself criticizing just for criticism’s sake you know you’re reviewing one helluva solid album.

The Final Verdict:
In a world of noise-based indie, sometimes it's nice to discover some great make-out music that's perfect for getting your horizontal sway on. Earlimart crafts atmospheric mood music that's meant to be enjoyed by every him and every her during life’s more tender moments. So before you turn out the lights, be sure to turn this record on ;-)

DragonForce – Ultra Beatdown (2008)

DragonForce may be the most distinctive band in the galaxy, or perhaps, I simply don’t pay enough attention to modern metal. Personally, I feel both statements are true, but regardless of DragonForce’s pure uniqueness, they deliver machine-gunning double-bass drums, soaring dueling lead guitars, featuring mind-blowing solos of exhausting lengths, and wailing, sing-along vocals that tell tales that could make up any adolescent, Dungeons & Dragons fanatic’s wet dreams. As I mentioned in my First Impression on July 10th, DragonForce doesn’t saunter far from their established formula, which suggests repetition and limited longevity, but Ultra Beatdown delivers 9 more high-energy epics that stretch the boundaries of guitar solos (lookout Guitar Hero players), beats per minute, and intergalactic vocals. In addition to the 1st single, “Heroes of Our Time,” I highly recommend “Heartbreak Armageddon,” “The Last Journey Home” & “The Warrior Inside” for everyone’s next workout mix.

Note: The above may seem silly to the general public, but DragonForce plays genuinely FUN music, and I have yet to find someone who legitimately disagrees… and who’s opinion actually matters.

The Builders And The Butchers - The Builders And The Butchers

The Builders and the Butchers captures the loose feeling of a bunch of guys getting together on a porch to drink, carouse and otherwise have a good time while playing shambling and rootsy acoustic indie rock. However, as fun as that sounds, these songs are dark and forboding, with lyrics full of broken hearts, death and dying. Like the Boggs, the percussion propels the songs forward, this time onward towards destruction. "Bottom At The Lake" describes a theif's "new home among the fish and grass and stones". Other songs, such as "Find Me In The Air" are peppered with call and response, playing with overlap of gothic and gospel. "The Coal Mine Fall" and "Black Dresses" are also worth checking out.

Nighthawk Blues: A Novel (1980)

Peter Guralnick is my favorite music writer. His book Sweet Soul Music led me deep into a southern soul fixation that cost me more money than I'd like to consider and kept me removed from indie and alternative rock for most of the 90s. He mostly writes roots music-related biographies or histories, so this fictional book is a slight departure from his usual work, and likely why I never picked it until now. As a story, it's just fine, detailing the life of an aging blues guitarist much the way he does in his other books. But since this is fiction, he uses the complicated relationships between the artist, his white fan/manager and white female protege to explore authenticity, reverence, and performance. While those concepts are still relevant, they're discussed differently now, making the book feel a bit dated. Then again, maybe I've read too much cultural theory.

The Streets - "The Escapist"

Do we do singles? well anyhoo..

Mike Skinner has this ability to create songs and albums where consistently upon first listen I think I don't like them. For this reason I always approach each Streets offering with some trepidation.. I'd mainly only heard talk about the long walking video that was being made for this song and hadn't really read much else about what the Streets were up to. When I saw that you can download this song for free it seemed like a worthwhile investment.

True to my word upon first listen I thought it was weird. However listens number 2-10 have been great. If this song is an indication of how the new album will sound I'm stoked..

Here's the aforementioned long walking video.

Sam Roberts - Love At The End Of The World (2008)

I've been a fan of Sam Roberts' melodic 70's rock ever since finding his first album in the dollar bin a couple years ago. It's not edgy or complicated, but it's perfect for road trips or when I wish I was on one. Like a Canadian Ocean Colour Scene, Roberts mines classic rock radio for feel good rock 'n roll. It's familiar, comfortable, and satisfiying. He wouldn't be able to pull it off if he didn't write good songs with catchy hooks, singalong choruses and chugging guitar riffs. Even when he plugs in and rips out a couple power chords, he never loses his warm pop sound. While neither this or his previous follow up have reached the same highs as We Were Born In a Flame it's still a solid album and worth picking up. Check out "End Of The Empire", "Them Kids" and "Stripmall Religion" for a quick taste.