Mark Bacino

The Million Dollar Milkshake

Parasol

http://www.popjob.com

There is an anecdote in Mark Bacino’s official biography, perhaps an apocryphal one, which claims that he was conceived to the strains of the Partridge Family’s “I Think I Love You.”

The suggestion that this tale is perhaps apocryphal occurs not because there’s any real reason to think that Bacino’s mother (for it is she who revealed this nugget of information to him) is lying, but, rather, simply because it’s one of those stories that’s just waaaaaaay too good to be true.

Still, once upon a long ago, when this writer dutifully reviewed Bacino’s full-length debut (appropriately entitled Pop Job…the Long Player!) for another publication, the Partridge Family were indeed one of the points of reference used to describe the happy-go-lucky bubblegum fun of the disc…so, y’know, maybe she isn’t yanking his crank…erm, so to speak.

When Pop Job emerged, Rolling Stone wrote, “Steeped in the sparkly, head-bobbing melodicism of classic mid-‘60s pop, (Mark Bacino) has yet to release a song that hits the three-minute mark. Twice on Milkshake, however, Bacino passes that vaunted mark. Not by much, mind you. It’s only by a single second on “Sunny Day,” and it’s hard to describe “This Little Girl” as a real epic when, as the longest song on the album, it’s still only 3:19.

The Million Dollar Milkshake is, as suggested by its title, sugary sweet and slides down smoothly. (It also apparently inspires alliteration in music journalists.)

Things start off rather oddly, however, with a snippet of a song…all of 25 seconds…entitled “Bubblegum Factory” (which bears no resemblance to the Redd Kross song of the same name). There’s not much to the track, other than to say, “Bubblegum factory / That’s where I want to be / Bubblegum factory / Let’s go, you and me / That’s where I wanna be / Bubblegum factory, yeah!” It’s a bit of a strange way to get things rolling, since the album isn’t actually entitled Bubblegum Factory, but if the goal is to set the stage for Bacino’s music, it serves its purpose handily.

“Want You Around,” the first full track, makes it clear that The Million Dollar Milkshake isn’t going to be too much of an evolution from Pop Job, but the muted horns in the chorus, straight out of Bacharach 101, are certainly a nice, new touch; they pop up again on “How About Always.”

The spirit of Burt more seriously infects “Milkshake Bossanova (Love Theme From The Million Dollar Milkshake,” a track which, despite its brevity at a minute and forty-three seconds, is the perfect length: it never drags on, and, yet, by the time it ends, you wish there were more songs like it.

The general structure and melodies of the songs on Milkshake tend to echo Pop Job to such a degree that, after the first listen, one might think that the two albums were recorded back to back in one lengthy recording session. Closer inspection, however, shows that Bacino has expanded his musical palate considerably, with various tracks including a veritable orchestra: trumpet, flugel horn, cello, flute, piano (a toy piano here, an electric piano there), castanets, pedal steel guitar, and, to be sure, many others here and there.

Bacino has said in the past that, “if people don’t walk away humming the melody after the first listen, then I haven’t done my job right.” No worries there. “Want You Around” is one of, oh, about 11 potential hit singles…well, in another era, at least. “All I Want” has a bit of a country feel to it, “How About Always” is one of the purest pop nuggets you’ll hear this year, and “Sunny Day” is the perfect song to end your next compilation tape / mix disc with.

Just as the album fades to a close at the end of “Walking On Air,” what emerges from the speakers is the very audible sound of someone sucking up the last sip of, one presumes, a decidedly-pricey milkshake. After such an enjoyable treat as this album, there’s little point in avoiding one last temptation, so go ahead and say what you’re thinking: The Million Dollar Milkshake is good to the last drop.

---originally written for PopMatters.

The Barrys

Who Else

Barried Treasure Music

http://www.angelfire.com/va/thebarrys/

Precise figures aren’t readily available, but there’s definitely been a certain percentage of the Hampton Roads population waiting for the release of the Barrys’ debut album, Who Else, with great anticipation. Lead singer/guitarist Barry Scott is a notorious perfectionist, so there was little doubt that, when the album finally came out, the sound would be positively sparkling.

Now that it’s finally hit stores, those suspicions have been proven correct.

Who Else spotlights the impeccable ‘60s-styled harmonies of Scott and his co-conspirators, Peter Pope and Andi Helfant, as well as the 12-string jangle of that decade. From the McCartney-inspired “Love Is One Of Those Words,” to the openings of “All It Took Was You” and “A Message To Me,” both of which are reminiscent of the Mamas & the Papas’ “Monday, Monday,” the pop stylings throughout the disc show a love of the classics. Scott even teams up with his former States cohort Jimmy McDonnell to write “Tell Me So” and “It’s A Good Thing God Will Forgive You.”

Admittedly, there’s an occasional groaner of a lyric; despite its “Blackbird”-inspired melody, it’s hard to forgive anyone for rhyming “her incessant whining” with “knew every song by Paul Simon.” But, in the long run, the breezy fun of Who Else will win over most anyone who enjoys a catchy tune.

---originally written for NineVolt.

The Beatifics

The Way We Never Were

Bus Stop

http://www.busstoplabel.com

Wow, has it really been six years since Chris Dorn and his Beatifics have put out a full-length album? Well, if the copyright date on the back of my copy of How I Learned To Stop Worrying is as accurate as my math, then, yes, it has, indeed. My, my, how time does fly. It’s quite a wait for the follow-up, The Way We Never Were. In that time, songs like “Almost Something There” and “This Year’s Jessica” have become veritable standards in the underground pop community; in fact, the former quite appropriately found itself on the Not Lame-released World's Best Power Pop Compilation...Really! As such, it’s important to remember that if, on first listen, The Way We Never Were doesn’t seem as immediately winning as its precursor, you might need to take off the rose-colored glasses. The best way to gain a proper appreciation of The Way We Never Were is to slap it on immediately after How I Learned To Stop Worrying. Listening to them back to back, the new album seems like a perfect companion piece to its predecessor; songs like “Sorry Yesterdays,” “The Only One,” and “In The Meantime” show that, although half a decade has come and gone, Chris Dorn hasn’t forgotten how to write a strong pop melody. It’s a little more mellow, but that comes with age.

---originally written for Amplifier.

Berlin

Voyeur

IMusic/BMG

http://www.berlinpage.com

Has any band in the history of music (okay, I realize this sounds like major hyperbole, but stick with me) ever suffered such a significant blow to its credibility as Berlin did when they recorded “Take My Breath Away,” for the soundtrack to “Top Gun”?

Think about it for a minute.

When the band first appeared in 1982 with their infamous single, "Sex (I'm A...),” they weren’t exactly putting out a shiny, happy, fun-for-the-whole family vibe. If you couldn’t figure that much out by the end of the first verse (“Wrap your legs around mine/And ride me tonight”) then, before the chorus was over, as Terri Nunn variously describes herself as a goddess, a blue movie, a bitch, a geisha, and a little girl, it was probably pretty clear that, despite that last depiction, the Pleasure Victim EP wasn’t exactly marketable to pre-teens. Thankfully, however, the title cut wasn’t quite so lyrically blatant...and, more importantly, “The Metro” was a staple on early ‘80s MTV.

When the band’s first full-length album, Love Life, made the scene in ’84, “No More Words” brought the band into the charts with full force. At least a bit more upbeat than its predecessor, Love Life also featured the production assistance of legendary disco king Giorgio Moroder.

Moroder, for all the moments of brilliance in his career (mostly associated with Donna Summer), is best remembered as the one who walked up to Berlin’s coffin of credibility, nail in hand, and said, “Hey, let me get that last one for you!”

The "nail," of course, was "Take My Breath Away," which Moroder co-wrote and produced. The song, which topped the charts, was featured prominently in "Top Gun" and, in addition to being virtually inescapable throughout 1986, also appeared on the band's next album, Count Three And Pray. The album might've been an artistic triumph (if you believe the All Music Guide...and why wouldn’t you?), but a commercial one...? Not so much. (Probably because everyone had already spent their allowance on the "Top Gun" soundtrack.) Whether it was the direct result of the album's bellyflop or not, the band nonetheless broke up not long after. Terri Nunn managed to put out one solo album, but, for the most part, she and the rest of Berlin stayed relatively mum.

It wasn’t until 1998 that Nunn finally reformed the band for some live dates. Hooking up with Cleopatra Records (a.k.a. where ‘80s has-beens go when the major labels can’t be arsed to sign them anymore), the band released Greatest Hits Remixed in 2000; thankfully, it was followed later in the year by the decidedly less dispensible Live: Sacred & Profane on Timebomb Records.

In addition to showing that Nunn’s voice was still strong, the album also included three new studio tracks. Unfortunately, the first one of them, “Shayla,” tried to meld rap to Berlin’s signature synth-pop style, and the result was, well, pretty much crap. Thankfully, the other two, “Angel’s Wings” and “XGirl,” were better, showing the band’s fascination with the modern dance scene without having to desecrate old Berlin songs in the process.

To Berlin’s credit, Voyeur, their first full-length reunion album, doesn’t recycle any of those three tracks. The album contains 11 brand new songs, one of which, “Sacred and Profane,” was co-written with former Smashing Pumpkins frontman Billy Corgan.

The dance influences remain on Voyeur; in fact, the first two tracks, “Blink of an Eye” and “Shiny,” are both potential floor-fillers. It isn’t until the third song, “Lost My Mind,” when a fan of the band’s earlier work might actually say, “Hey, is that Berlin?”; on this song, as well as the next, “The World Is Waiting,” Nunn’s voice is placed in more familiar surroundings.

But if you want to talk familiar, “Drug” is the best early ‘80s Berlin single you’ve never heard. It’s arguably the best song on the album, and it’s like producer Mitchell Sigman said, “Okay, you write and record a song that sounds like it could’ve come off the Pleasure Victim EP, and I’ll make it sound relevant for today’s market.” Nipping at its heels for the honor of top track is “Stranger On The Bus,” which is unquestionably the most successful blend of the band’s former sound with its new musical interests.

There is no successor to “Take My Breath Away” on Voyeur, thankfully. Schmaltz is completely absent from this album; even the ballads contain a feeling of gloom. (Apparently, Nunn’s work with the Sisters of Mercy rubbed off on her.)

Although the band succumbs to the “hidden bonus track” trend, on the up side, it’s only hidden about a minute or so after the reputed last song. The bonus, a live version of “Pleasure Victim,” is a very nice way of bringing the album full circle, making you want to investigate Berlin’s back catalog for all the right reasons. Throughout Voyeur, you’re not going, “Geez, they’re not as good as I remembered,” with your thoughts drifting back to the band’s earlier singles and videos. Instead, you’re thinking, “Huh. This whole album is really good; are all their albums that consistent?” If there’s any better compliment that can be paid to a comeback attempt, it proves elusive at the moment.

In the ever-growing field of ‘80s artists making a bid for a return to the charts, Berlin has just leapt to the front of the pack of those who legitimately deserve to succeed. If Voyeur doesn’t bring them back to prominence, blame it on anyone but the band; this could well be the best work they’ve ever produced.

---originally written for PopMatters.

Perry Blake

California

Naive

http://www.perryblake.com

For those who feel that waiting 5+ years between Blue Nile albums is just too damned long but who desperately need a new Sunday morning disc, welcome to the blissful state of California, by Perry Blake; even the photo on the CD cover looks like it was taken on a Sunday morning. Hailing from Sligo, Ireland, Blake’s idea of a benchmark record is David Bowie’s “This Is Not America,” and he gladly accepts comparisons to Scott Walker, Leonard Cohen, Nick Drake, and even David Sylvian (think Secrets of the Beehive). Reportedly big in France after his self-titled debut, Blake’s second album, California manages to combine melancholy with a sense of hopefulness. It only takes a few seconds of the piano on “This Life” to draw you in for the long haul; by the time the choir-laden closing track, “Venus of the Canyon,” closes, you’ll be ready to hit “play” again.

---originally written for Amplifier.

Luka Bloom

Amsterdam

Evolver

http://www.lukabloom.com

Luka Bloom comes by his musical ability honestly...but, honestly, his name’s not really Luka Bloom.

He might’ve been using that moniker for about fifteen years or so, ever since he relocated from Ireland to Washington, DC, in the late ‘80s, but when our man Luka’s back in Dublin, he’s probably still known as Barry Moore...and, as often as not, referred to as Christy Moore’s brother.

Still, it’d be pretty easy to argue that, though Christy might be the more famous of the Moore brothers in their homeland, it’s Barry...oh, fine, let’s just go back to calling him by his more recognized sobriquet... it’s Luka who’s forged more of a name for himself in the States.

He’s not got household name status or anything, but, when he released his 1990 album, Riverside, on Reprise Records, the track “Delirious” scored a fair amount of airplay; the follow-up album, The Acoustic Motorbike, also had a little bit of luck with “Mary Watches Everything.” Still, it was another track from the latter disc that caused far more ears to perk up: his absolutely incredible cover of “I Need Love,” which introduced that particular rap classic to an audience who almost certainly never would’ve checked out an L.L. Cool J album.

Unfortunately, Bloom doesn’t include “I Need Love” on his new live album, Amsterdam, but he does open things up with another track from The Acoustic Motorbike: “Exploring The Blue.”

Armed solely with an acoustic guitar, Amsterdam casually meanders through Bloom’s back catalog, revisiting each of his three Reprise albums (including the as-yet-unmentioned third disc, Turf) for at least a song or two. It’s not exactly a greatest-hits set list (though “Delirious” is the next-to-last track performed, “Mary Watches Everything” is conspicuously absent), but fans familiar with his entire discography will no doubt be pleased as punch to see tracks like “Gone To Pablo” (from Riverside), “You” (The Acoustic Motorbike), and “Sunny Sailor Boy” (Turf) amongst the selections.

One of Bloom’s most consistent musical traits is his ability to reinterpret other people’s material in an arrangement more compatible to his own sound, such as with the aforementioned L.L. Cool J song. Unlike many artists, though, the covers don’t sound like some desperate attempt at a hit; they sit side by side with Bloom’s originals, and, in many cases, you’d be hard pressed to tell the difference in the songs’ composers. A few years back, he even released an entire album’s worth of these reinterpretations, entitled Keeper of the Flame, where the selections ranged from ABBA to the Cure. On Amsterdam, he performs a few of those tracks: Bob Marley’s “Natural Mystic” and Bob Dylan’s “Make You Feel My Love.”

Luka Bloom’s vocal delivery can go from unabashedly romantic to painfully intense at the drop of a hat (between “You” and “Don’t Be So Hard On Yourself”), the music often dark and somber at one moment, then uplifting the next. Amsterdam shows both these sides.

It may not be a perfect summation of Bloom’s musical career, but, as a glimpse into the world of the man’s live performances, Amsterdam is as fine a snapshot as one could hope for.

---originally written for PopMatters.

Boston

Corporate America

Artemis

http://www.boston.org/boston.html

How can you not like Boston?

Even though songs from their 1976 debut are played ad nauseum on AOR stations around the country even now, the compositions of Tom Scholz combined with the vocals of Brad Delp set the industry standard for smooth, glossy stadium rock.

It’s been 8 years since the last Boston album, Walk On, hit stores...but, to be fair, it’s been 24 years since it HASN’T been 8 years since the last Boston album. (There was an 8-year gap between Don’t Look Back and Third Stage, then another one between Third Stage and Walk On.)

It’s hard to tell how successful Corporate America, will be, considering that most artists who had their heyday in the ‘70s are just coasting on their old hits. One can only hope that Boston are given half a chance, because this is arguably the strongest album they’ve released since that aforementioned debut. There’s not necessarily a lot of new creative ground broken, but the material is no less strong for it. “I Had A Good Time” is definitely as classic an opening track as “I Had A Good Time,” and “Cryin’,” oddly enough, sounds like Tom Scholz has been listening to Oasis during his time off.

It’s smooth, it’s glossy, it’s stadium rock...and it’s damned good, too.

---originally written for NineVolt.

David Bowie

Best of Bowie

EMI/Virgin

http://www.davidbowie.com

Is there anyone who would begrudge the Thin White Duke a 2-disc greatest hits collection?

I think not.

Love him or hate him, it’s well-documented…arguably to the point of making it a cliché…that the guy’s a musical chameleon; he’s influenced a few generations of musicians so far and who’ll doubtlessly continue to do so for years to come, if only by word of mouth. (He certainly hasn’t been getting as much airplay in recent years. Media exposure, yes, but the airplay peaked with Let’s Dance and has been going steadily downhill ever since.)

Thing is, there’s already a 2-disc greatest-hits collection for David Bowie. It’s called Bowie: The Singles 1969 to 1993, and it came out on Rykodisc back in ’93. (Actually, there was also a limited-edition 3-disc set, with the bonus disc consisting solely of the full-length version of the Bowie – Bing Crosby duet on “Peace On Earth / Little Drummer Boy”...but I digress. Again.)

So what of Best of Bowie, the latest 2-disc collection?

It’s not bad. Not bad at all, in fact. But, then, it’s David Bowie, so what did you expect, really?

Since it covers the material covered on the Rykodisc collection, then tacks on a token track from each of the post-1993 studio albums (Outside, Earthling, ...hours, and Heathen), it’s certainly the most up-to-date collection of the two. That “Slow Burn,” let alone anything from Heathen, appears is mildly surprising, since it’s a 2002 release, not to mention the first album of Bowie’s new contract with Columbia Records. Rather than an attempt to make it as current as possible, surely Bowie made it a contractual obligation, in hopes of snagging even a handful of extra sales from best-of buyers who might be swayed by the sample track.

And on a related note, the inclusion of a Tin Machine song (“Under the God”)...c’mon, you just know that either Bowie had to beg for that one or it was something written into Bowie’s contract as a make-or-break point. (“How will history ever look favorably upon Tin Machine if there’s not at least one song by them on my best-of?”)

Ultimately, however, neither the Rykodisc nor the EMI/Virgin collection can be considered definitive...but, equally, they each have their own merits. And since we’re talking up Best of Bowie, the latest collection, it seems only appropriate to play up its virtues in the field of “pre-1993 material.”

1. “The Man Who Sold The World.” No, it wasn’t a single, which is why it wasn’t on the original collection...but the song became as familiar as any single as a result of a certain notable recording artist releasing a live cover of the track a few years ago. Yes, of course, I’m talking about Richard Barone. Oh, right, and Nirvana did a fine version of it as well. In fact, I think it’s safe to assume that at least two-thirds of the people who own Nirvana’s MTV Unplugged CD have no idea that the track is a cover. As such, it’s about time they heard the original version.

2. “Moonage Daydream.” Ultimately, the only thing that really matters is that it’s from The Rise and Fall of Ziggy Stardust and the Spiders From Mars. Anything that gives you another reason to check out that classic album in its entirety is worth including.

3. “All The Young Dudes.” Kinda like the earlier comment about “The Man Who Sold The World,” it’s about time the world realized that, while Mott the Hoople may have recorded the definitive version of the song, they didn’t write it; Bowie did.

4. “Panic In Detroit.” Again, not a single, but it’s scored enough AOR airplay over the years that it’s as recognizable as anything that actually charted.

5. “Time Will Crawl.” Say what you will about Never Let Me Down…many say it’s one of Bowie’s worst albums (it’s certainly not his best), and there are more than a handful who cite it as one of the worst albums of the ‘80s by a major recording artist…but this track was an undeniable highlight of the album.

Okay, but now that we’ve covered those tracks, in the interest of giving equal time to all parties, it’s important to note what tracks are missing from the Ryko set, so here’s that list for your perusal: “Oh, You Pretty Things,” “Starman,” “John, I’m Only Dancing,” “Sorrow,” “Drive In Saturday,” “Be My Wife,” “Beauty & The Beast,” “Boys Keep Swinging,” “Look Back In Anger,” “Loving The Alien,” and “Day In Day Out.”

I’ll give Bowie a couple of those omissions in good faith, and I won’t get up in arms about leaving off “Day In Day Out,” because I’m willing to say, okay, maybe that one’s just me, but, c’mon, “Starman” and “John, I’m Only Dancing”? I realize that all of the albums should get equal time without giving Ziggy but so much emphasis, but, c’mon, classics are classics!

Indeed, they are…and here’s the rub: with Best of Bowie, our man David chose to release it with different track listings in different countries! The British version, for instance, DOES include “Oh You Pretty Things,” “Starman,” “John I’m Only Dancing,” “Drive In Saturday,” “Boys Keep Swinging,” and “Loving The Alien.” Presumably, the plan was to have the track listings geared more toward which songs were popular in which countries; ultimately, however, it just leaves Bowie completists flat broke from trying to buy every existing version of the collection.

Anyway, long story short (yes, I know, it’s far too late for that now), Best of Bowie is a great introduction to the man’s work, no matter from what country you buy it, and, in its own way, it’s as good as Bowie: The Singles 1969 to 1993. It’s just depressing to think that, sometime in 2012 (or sooner), there might be a third 2-disc collection that needs to be bought...though, hopefully, by then, someone will realize that two discs really just isn’t enough to cover the best of.

---originally written for PopMatters.

Baby Ray

Monkeypuzzle

Thirsty Ear

Filling the quirky pop tune void that exists between XTC albums, Baby Ray practically flirt with copyright infringement on every song, so similar is their style to Partridge, Moulding, and company.

Not that that's a bad thing.

Described in the past as a missing link between Guided By Voice and, yes, XTC, Baby Ray have cleaned up their act on Monkeypuzzle so that they're more pop and less lo-fi, which is probably why the similarity to the latter group is so evident on this release (the most obvious example being "Little Red Caboose"). There are also hints of the psychedelia of Syd Barrett and Robyn Hitchcock thrown into the mix as well.

Professional musicians, academics, music critics, and record store employees will eat this one up. Too bad the general public won't; well-done, intelligent pop music has always been better at achieving plaudits than sales.

Baby Ray

Do I Love America

Thirsty Ear

More than an EP but not quite a full-length release, Do I Love America is the latest release from Boston’s Baby Ray. It’s a bit of a surprise, as it’s been less than a year since their debut, Monkeypuzzle, was released, but it’s a pleasant surprise, at least.

Vocalist Erich Groat still sounds like he’s doing his best Andy Partridge impression most of the time, which matches the material; the opening track, “Gossamer Riddle,” could easily have been taken off English Settlement or perhaps Mummer. Guitarist Ken Lafler also contributes vocals on occasion, his highlight being on “Something Crazy.” Of the seven songs, it’d be hard to say that there’s much wrong with any of them; they’re all pretty eclectic without sacrificing melody, which is always an admirable accomplishment.

Do I Love America will keep people amused and entertained until the band’s next full-length release…which, at this rate, may be out before the new millenium has even gotten underway.

Marc Bacino

Pop Job…the Long Player!

Parasol

Now this, my friends, is pure pop.

Marc Bacino has crafted the definitive summer album with Pop Job…The Long Player. Less than a half-hour in length, with no song clocking in at over three minutes, Pop Job is so cheery that few people outside of the Grinch's immediate family will be able to resist its charms.

It is indeed possible that it might be too saccharine for some, because, despite its instant ability to put a smile on your face, it's about as substantial as cotton candy under running water. But with song titles like "Sugary," Bacino clearly isn't kidding himself about what he's composing.

"Diggin' That Girl" and the album's opener, "Wonder," are certainly instant classics, but, frankly, any fan of '60's bubblegum pop will find that it's hard to listen to the album and not say the same about each and every song.

Barenaked Ladies

Stunt

Reprise

Man, what the hell did the Barenaked Ladies do to piss people off lately? I’ve seen two reviews of their latest album over the course of the last eight hours, and both were ridiculously negative. Geez, Details gave it a 1 out of 10!

But, hey, who listens to critics, anyway, right?

The Ladies have always been somewhat of an acquired taste, but more and more of the general public have been acquiring it as of late. “The Old Apartment,” from Born On A Pirate Ship, started the ball rolling, and “Brian Wilson 2000” (which doesn’t even begin to touch the original) kept things moving, but the first single from Stunt, “One Week,” is what’s poised to take them storming to the top of the charts.

Though “One Week” eventually grows on you not entirely unlike a fungus, it might prove offputting to longtime fans of the band, as it incorporates some rhyme-busting a la, say, 311. A bit of ranking, even. But the lyrics are as clever as ever and the chorus is pure BNL, so it’s hard not to learn to like it.

Part of the music of the second track, “It’s All Been Done,” may or may not intentionally ape “Alternative Girlfriend,” from the band’s sophomore effort, Maybe You Should Drive. It wouldn’t be too surprising if it were planned; it’s the sort of cleverness the Ladies are renowned for.

Unfortunately, it’s also the sort of cleverness they’re despised for. Too clever for their own good, some say.

Well, bring it on, I say. More power to them.

Ironically, “It’s All Been Done,” unlike “Alternative Girlfriend,” wasn’t co-written by Stephen Duffy, although Duffy does pop up as a co-writer on “I’ll Be That Girl” (arguably the album’s best song), “Alcohol,” and “Call And Answer.”

Stunt is another consistently enjoyable BNL album. Perhaps the best part about it is that, on the whole, it’s less experimental than their last studio record, Born On A Pirate Ship. (What were they on when they recorded “Spider In My Room”?) By accepting that they’re at their best when they’re a fun-loving pop band, they’re embracing their strengths and producing a more enjoyable listening experience for their fans.

Beachwood Sparks

Beachwood Sparks

Sub Pop

Not the ‘60’s, but an incredible simulation!

The least surprising credit on Beachwood Sparks’ self-titled debut is that it was mastered in Ventura, California; in fact, every single moment of this album owes a serious debt to that state. The ghosts of Buffalo Springfield and the Beach Boys haunt the grooves of this disc, with ‘60’s pop psychedelia a la Brian Wilson working brilliantly alongside guitar work and harmonies borrowed liberally from Stephen Stills and Neil Young; the most obvious example is “Old Sea Miner.” The sound of the Byrds is can be heard, though it’s from the Gram Parsons years; “The Calming Seas” and “New County” include more than a hint of Flying Burrito Brothers.

The front and back of their album cover, even the inner sleeve, are all designed to look authentic. Rest assured, ‘60’s folk-rock is alive and well and living in Beachwood Sparks: If you like the aforementioned reference points, this band is for you.

The Beatles

Yellow Submarine Songtrack

Apple/Capitol

Yeah, yeah, yeah, you already know: Yellow Submarine has been re-released. How could you not? It’s been hyped from here to eternity by every media outlet in existence.

The newly-released “songtrack” is the first collection of ALL the Beatles songs contained in Yellow Submarine. The original soundtrack only contained plot-crucial oldies (the title song, “All You Need Is Love”) and the obligatory “new” Beatles songs, with the entire second side being filled with George Martin’s instrumentals from the film; Martin’s songs are nowhere to be seen on this “songtrack.”

All the songs have been remixed, and they sound absolutely incredible, but there’s still one complaint: even with this new, all-inclusive track listing, there’s still more than enough room left to include Martin’s instrumentals.

So why aren’t they on there? Because then there’d be no reason for Beatlemaniacs to buy the original version of the soundtrack, which will also be remaining in print.

All you need is cash, eh, lads?

Pat Benatar

Innamorata
CMC

Hey, wow, a new Pat Benatar album! Quick, avoid the rush and commit it to the cut-out bin immediately!

Just kidding...but not by much, unfortunately.

The days of Ms. Benatar’s discs being a valuable commodity have long since passed us by...along with that hazy, lazy decade known as the ‘80’s...and it doesn’t have a damned thing to do with whether she’s talented or not.

It’s all about the ‘80’s, baby. Therein lies the stigma.

Destined to be forever trapped in the Flashback Lunches of the world, Pat Benatar can keep putting out quality albums like this one for the rest of her career, but radio only wants to play “Hit Me With Your Best Shot” or “Heartbreaker” for the billionth time.

Quite unfortunate, really.

Innamorata, the new album in question, shows Benatar with material that puts her in a position to comfortably mix it up with Melissa Etheridge or any of the other female rockers. Well, maybe not Alanis, mind you, but just about any of the rest of them...

Produced once again by Benatar’s husband (and songwriting partner), Neil Giraldo, the album opens with a brief guitar instrumental, then flows into “Only You,” a folky song that’d fit comfortably into the playlist of any adult alternative station, if only they were willing to give it a chance. The next song, “River Of Love,” gives Pat the chance to rock out a bit. Other excellent tracks include “Strawberry Wine,” “Papa’s Roses,” and “I Don’t Want To Be Your Friend,” the latter’s lyrics clarifying precisely what she’d rather be instead.

Benatar’s voice is still instantly recognizable; the new material might not be as pop-chart-friendly as what she was putting out during her chart heyday, but album rock stations could certainly embrace it easily enough.

But will they?

Better Than Ezra

How Does Your Garden Grow

Elektra

Okay, I don’t claim to be much of an impressionist, but here, for your perusal, is my imitation of a diehard Better Than Ezra fan listening to their new record, How Does Your Garden Grow, for the first time:

"What the $#%@&* is this #$$#@%$?!?”

Thank you. Thank you very much. My repetoire is limited, but I think I do the best with what I have.

One has to, I think, give Better Than Ezra credit for going about as far out on a limb as humanly possible and changing their sound in incredibly dramatic fashion.

Equally, one doesn’t necessarily have to like it.

The opening song on How Does Your Garden Grow, “Je ne m’en souviens pas,” is practically trip-hop, and no-one could possibly avoid being disoriented while listening to it. It’s just so far removed from anything the band has ever done in the past. The second song, “One More Murder,” was also the band’s contribution to the “X-Files” soundtrack, and it’s a fine song; it’s also a better melding of the old and new Better Than Ezra sounds. Coming immediately after such a bizarre opener, it at least helps set the stage for an album of profound stylistic change. But, then, to confuse matters even more, the third song, “At The Stars,” sounds just like the band’s older material.

The album is schizophrenic at best; “Like It Like That” is fairly funky, “Alison Foley” is Stonesy, “Pull” is grunge, “New Kind Of Low” is somewhere between the two with a bit of Iggy Pop thrown in for good measure, and “Waxing Or Waning?” is Bacharachian. Strings, samples, and keyboards are all over the record in various capacities.

Taken a song at a time, How Does Your Garden Grow isn’t that bad; some of the tracks are really quite good when taken apart from the whole. But as a Better Than Ezra album...? It just makes you hope the band has a better grasp on who or what they want to become by the next time they enter the studio.

The B-52’s

Time Capsule: Songs For A Future Generation

Reprise

It’s hard to believe there was ever a time when the B-52’s weren’t around; they’ve been a party music staple for as long as most can remember.

Well, with the cool kids, anyway.

In the very late ‘80’s, the band scored millions of new fans with their “comeback” album, Cosmic Thing, most notorious for “Love Shack,” a song many would be glad never to hear again in their lifetimes.

Some would argue that a B-52’s best-of is long overdue. As it happens, an import collection, Dance This Mess Around, has been available since 1990. Time Capsule, however, is the first disc to incorporate material from Cosmic Thing and Good Stuff.

As with all proper greatest-hits collections, the disc includes obligatory new songs to entice the fans to buy a disc featuring a bunch of material they already have. In this case, neither of the two new tracks are throwaways, which is always appreciated. “Debbie” is most notable for spotlighting Cindy Wilson’s return to the band’s ranks. Meanwhile, “Hallucinating Pluto” begins by showing Fred Schneider at his most restrained, but things pick up when Fred screams, ”Get on your laser, daddy, and ride through your telescope into the night!”

Whatever that means.

Even with a few omissions (“Dance This Mess Around” most notable among them), Time Capsule will doubtlessly keep “Rock Lobster,” “Private Idaho,” and, yes, even “Love Shack” alive and well in the hearts and music collections of many.

Pure fun for party people.

The Black Halos

The Black Halos

Sub Pop

First off, it should be noted that, yes, this album is at least a year old. But since the Black Halos recently made an appearance at Peabody’s (opening for L7), ostensibly still touring behind this release, it can’t hurt to throw a little extra press their way.

This is one of those albums destined to completely confound anyone who might’ve thought that they had a handle on this writer’s taste in music. To describe the sound of the Black Halos, one would require a healthy blend of AC/DC, the Stooges, and the Sex Pistols, with maybe a little L.A. Guns thrown in for good measure.

Or, in other words, no pop music anywhere to be found. And, yet, I think it’s pretty cool.

It’s not quite punk, it’s not quite metal…no, ladies and gentlemen, the Black Halos are just a garage band, plain and simple. It’s dirty, sloppy rock & roll with sneering vocals…but, even more importantly, it’s fun.

Blondie

Essential Blondie: Picture This Live

Chrysalis/EMI-Capitol

Released as part of EMI-Capitol’s 100th anniversary celebration, Picture This Live is a heretofore-unavailable live album from Blondie, and a limited edition one at that. Culled from two performances (one from Philadelphia in 1978, the other from Dallas in ‘80), it contains a very reasonable 15 tracks, including some of the band’s biggest hits alongside some lesser known numbers.

Amongst the most familiar songs are “Dreaming,” “Hanging On The Telephone,” “Denis,” “One Way Or Another,” and “Heart Of Glass.” The performance on the latter sounds rather forced; it was definitely not designed to be played live, and the only reason it was played live was most likely that it was such a huge hit. A medley of T. Rex’s “Bang A Gong” and Iggy Pop’s “Funtime” closes the disc, but it comes across as filler.

Debbie Harry is pretty much in fine voice throughout the tracks, but the same can’t always be said for those who harmonize with her; “Denis” in particular is terribly marred by out-of-key caterwauling.

With rumours of a Blondie reunion album and tour in the air, fans who’ve discovered the band’s work in the years since their disbanding are likely to appreciate a look at how the band sounded during their original heyday. Plus, Picture This Live will work as a nice companion piece to any of the band’s greatest hits discs.

Blue Van Gogh

Hi Fi Junkie Sonata

Callner

What the hell's this all about?

The lead-off track, "Butterfly Teeth," opens with distorted vocals, grinding guitars, and a fair amount of feedback, with singers Patti M-Yodlowsky and Ray Andersen (a married couple, by the way) trading off on the singing. It's a brilliant beginning...but, unfortunately, it's left trying to claw its way out of an album that never manages to match its opening number.

Sure, "Dirty Kat," the second song, starts off sounding like it's got as much potential as the opener...but, then, it evolves into a rather average album-rock-sounding song, albeit one with a fairly catchy chorus; same problem with the next song, "Little Secret."

As a whole, it really isn't all that bad, I suppose; it's just not all that great, either. The best songs are definitely the ones where Patti and Ray trade off lines, such as "Honeyhead" and the aforementioned "Butterfly Teeth"; the exception to this rule is "Myth," where Ray takes center stage on vocals, with Patti hanging out in the background for harmonies.

Rumor has it that a past reviewer described Blue Van Gogh as sounding like "Alanis Morisette singing for Oasis." That's a bit harsh, I think. I guess Patti's vocals are somewhat reminiscent of Little Miss Isn't-It-Ironic herself, but, actually, the description I was considering was "the Janis and Mary Chain," what with all the melody interspersed with feedback, the semi-bluesy singing, and all such goings-on.

Hi Fi Junkie Sonata surely must deserve some points, though, for containing the song "Spaceman," which surely must be the first track in history to rip off the guitar riff from Poison's "Unskinny Bop."

Bond

Bang Out Of Order

Work/Sony

In last issue’s review of the soundtrack to “Zero Hour,” mention was made of the inclusion of “Starbucked,” by Bond. The description of the song was as follows: “as Brit as Britpop gets and just as catchy; if this band is destined for one-hit wonder status here in the States, this is as good a song as one could hope for.”

What was unwritten but implied in those lines was that, when their debut album was released, it was unlikely that anything contained therein would likely live up to “Starbucked.”

Well, the debut album has been released, I’ve listened to it, and...well, I gotta tell ya, I was pretty much on the money.

Not that Bang Out Of Order isn’t a rollicking listen as a whole. Because it is. But “Starbucked” is the opening track, and, while the rest of the songs hold their own in its wake, none of them ever reach the heights it does. The most telling lyric on the album lies within “Retronoyoko,” where Bond proudly admit, “Oh, I wish I was a Beatle/Oh, I wish I was in the Who.” Yes, a fair amount of the record is Britpop in the Oasis sense of the word, but there are definitely moments of crunchy rock inspired by the punk of the Clash.

Entertaining, but hardly essential.

Billy Bragg

Reaching To The Converted

Rhino

Ever the clever wordsmith, Billy Bragg knows quite well who’s going to be most interested in this collection of B-sides, rarities, obscurities, and alternate takes: his fans.

Reaching To The Converted opens with “Shirley,” a new-ish version (1992) of 1987’s “Greetings To The New Brunette,” finding Johnny Marr still in tow but with Kirsty MacColl nowhere to he heard. There are also alternate versions of “Accident Waiting To Happen,” “Days Like These,” and “Wishing The Days Away.”

There are a few interesting covers, such as “Walk Away Renee” (which, were it not for the spare guitar work by Johnny Marr, wouldn’t even be identifiable, since Billy adds his own words) and “Jeane” (a Smiths obscurity), but the best is “She’s Leaving Home,” which was previously only available on the long-out-of-print British compilation, Sgt. Pepper Knew My Father. Also included is his ’97 single, “The Boy Done Good,” one of the best moments of his career.

Excellent stuff all around.

Buffalo Tom

Smitten

Polydor/Beggar's Banquet

When Buffalo Tom performed at DC's 9:30 Club at the tail end of 1996, lead singer Bill Janovitz implied during his onstage banter that a new album was imminent.

Bad call, Bill.

Two years down the road, Smitten has finally appeared. During their disappearance, the band's label has also changed; while they're still affiliated with Beggar's Banquet, they're distributed through Polydor rather than WEA.

The band's sound has gradually mellowed from their early days, when they were referred to as Dinosaur Jr. Jr. (owing to being produced by J. Mascis), but their ear for a melody has seemingly increased proportionately. The album's opening track, "Rachael," is one of the best things Buffalo Tom has ever recorded and will surely be listed among of the top songs of 1998.

Though some of their longtime fans may cringe at the comparison, Smitten finds Buffalo Tom sounding like a hipper Wallflowers at times. This album could be the crossover hit they've long deserved.

Buzzcocks

Time’s Up

Mute

The Buzzcocks, like their brethren the Damned, often come across as a bastard child of the British punk rock movement. They didn’t change the face of music like the Sex Pistols, and they didn’t regularly set the charts on fire like the Clash, but, dammit, they made some good music nonetheless…and Time’s Up is a collection of the first of their efforts.

Recorded in a four-track studio on an afternoon in Octoner 1976 at a cost of something like 45 dollars, Time’s Up has been bootlegged for years but only recently received official release. Unlike the incarnation of the band that’s lasted for over two decades now, this was the Buzzcocks, Mark One, with Howard Devoto on lead vocals. (Prior to this release, the only official output of the time before Devoto left the band had been the legendary Spiral Scratch E.P.; its four songs are all contained here, albeit in different versions.)

It’s rough, sure, and quirkier than the later Pete Shelley-led version of the band, but, for its time, it was positively revolutionary.

Buzzcocks

Modern

Go-Kart

Like the Damned, the Buzzcocks are one of the original British punk bands who aren’t willing to give up the ghost just yet. Unlike the Damned, however, the Buzzcocks continue to put out new studio albums with some regularity, each generally living up to the reputation they’re built over the years.

For a punk band, the keboards on Modern are a bit heavy at times, but the crunchy melodicism is as consistent as ever. The Buzzcocks are a far cry from power pop, but Pete Shelley and Steve Diggle still know their way around a hook. Standout cuts include the opener, “Soul On A Rock,” as well as “Don’t Let The Car Crash” and “Runaround.”

Hard to imagine what today’s punks will make of these old tossers releasing a disc on a hip label like Go Kart Records (home of the Lunachicks), but it’s a pleasure to hear Modern nonetheless.

The Beautiful South

Painting It Red

Ark21

The Beautiful South, whose greatest-hits album is the fastest-selling album in UK history, can’t seem to maintain a record deal for long enough to establish a significant foothold in the US; it’d be funny if it wasn’t so tragic. Whatever the case, the boys (an applicable term, with singer Jacqueline Abbott having departed their ranks a few weeks back) are back on Ark21 for the second time in their career, a label far more suited for their cult following here in the States.

Painting It Red is 17 tracks of great British pop, but, of course, the Beautiful South have always been amongst the best in their field. Veering from melancholy (“Masculine Eclipse”) to a soulful groove (“Closer Than Most”), lyricist Paul Heaton has always had a way with words. Indeed, “’Til You Can’t Tuck It In” is a perfect wedding song for those with the ability to laugh at themselves. (“When the body that you thought of as yours just ups and goes/I’ll be happy with the weight of the partner that I chose.”)

Easily the band’s most consistent record since 0898, Painting It Red finds the Beautiful South still very much at the top of their game.

Jon Brion

Meaningless

Straight To Cut-Out

Jon Brion cut his pop teeth as a member of the Grays. At the time, though, Brion’s presence in the band was decidedly overshadowed by his bandmate, Jason Falkner, who had only recently left Jellyfish and therefore was from a “name” band. Since the Grays’ one album, Ro Sham Bo, Brion’s spent most of his time on production work, most notably with Fiona Apple and Aimee Mann.

Meaningless, Brion’s solo debut, was actually recorded for the solo deal he’d signed with Atlantic Records…but the label opted not to release it. And, y’know, not to stoop to name-calling, but after one listen, one thing is clear: Atlantic Records is clearly just a crappy club for jerks.

Meaningless is brilliant.

It’s not hard to see how Brion and Falkner hooked up some years back, nor is it a big surprise that he and Mann were such a perfect fit. This is quality pop music, plain and simple. There are Beatle touches everywhere, but “Her Ghost” has its Bacharach moments as well; plus, it closes with a cover of Cheap Trick’s “Voices.” Unique instrumentation, layer vocals, and hummable melodies make this an instant choice for one of the top 10 albums of 2001.

Blusom

Go Slowly All The Way Round The Outside

Second-Nature Recordings

http://www.blusom.com

Anyone who gets on Morrissey's case for writing depressing lyrics really ought to take a gander at some of the lines that make up Blusom's debut CD, Go Slowly All The Way Round The Outside. Couplets such as "Is it dark there all the time? / And does the winter ever end?," "I may not know much / But I know to sleep with someone / Doesn't put them in your dreams," and the decidedly less delicate "Go on without me / I am self-absorbed and shitty" put ol' Mozzer to shame when it comes to miserable sentiments. Musically, however, Blusom comes far closer to folks like Turin Brakes, Radiohead, or, speaking of Thom Yorke, the album's second song, "X-Photo," finds Blusom frontman Mike Behrenhausen sounding like a dead ringer for Andy Yorke, frontman for the Unbelievable Truth. Tracks like this, "Off Of Cliffs," and "Ancient Medicine and You" are enjoyable, angst-ridden indie pop, but, overall, Blusom goes a little TOO slowly round the outside.

(originally appeared in Amplifier Magazine)