5 Days Ahead – As Life Passes You By

Pennsylvania has been slowly turning out some great bands these past few years and The Starting Line, The Prize Fight, and Don’t Look Down are a few bands that have done the state proud. Well, fasten your seatbelts because 5 Days Ahead are heading in that same direction.

As Life Passes You By combines emo, pop-punk, and scattered screams that add to a new brilliant sound. The various influences of the band are all poured into one on this album; the vocal harmonies are incredible and the lyrics bring you on a musical trip from friendships gone bad to heartbreak to the small things in life that make us smile. The songs are very catchy, yet they all can stand alone. 5 Days Ahead have progressed tremendously since their debut independent release, through hard work and honesty, they have a great CD to show for it.

(Pumpkineater Records)

2003: A Toast To The Merry Merrymakers

Whether stated by an insightful Bay Area punk rocker or some majestic fanciful entourage of rock’s greatest excesses, music indeed is a driving force for change. We often hear of music’s great ability to affect the masses; to shape and evolve a community for the better. It is however, on a personal and individual level that music has seen its greatest influence. This year Sound the Sirens Magazine will pay tribute on a more personal scope, as our writers will each share their own list of records they feel have best influenced them in 2003.

Along the way we’ll revisit some of the year’s more memorable interviews and columns while saying swift farewell to some of the many that left us this year. This is our bridge from an exciting year of music to the next, our toast to the merry merrymakers of 2003.

– Billy Ho, Editor

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Tributes

ELLIOT SMITH 
1969 – 2003

Steven Paul (Elliott) Smith was born on August 6th, 1969 and even though his life ended on October 21st, 2003 he will live on within the hearts of all those who loved him for what he was: a man, a stranger, a friend, a poet, and an artist. His career gave birth to five stellar solo albums (Roman Candle, Elliott Smith, Either/Or, XO, and Figure 8) and a number of albums with his former band Heatmiser. He garnered a following that was very dedicated and connected to the singer. 

From the first time I heard his self titled album I knew that he was different. I’m not sure what it was but when I heard him sing my heart began to collapse. I became completely enamored with someone I knew nothing about. His music, his voice, everything was perfect. From that day on I was hooked and I wasn’t about to let go. His work can be described with two words: Beautifully Depressing. His music held such hurt, vulnerability, and beauty. Anyone who had enjoyed his music felt that in some way they were connected to him. We felt his pain through his lyrics and we sympathized with him despite our inability to be close to him. His words spoke to souls, his music made people connect, and his presence in this world seemed to make things better. – Angela Rodriguez 

WARREN ZEVON 
1947 – 2003

Putting in more than three decades worth of work into the music industry, Zevon was a cultured musician and great student of the musical arts. He spent most of his childhood in California and Arizona before becoming the musical director for The Everly Brothers in the early 70’s. He firmly launched into his own career after the release of his 1976 self-titled album. Since then, he has released numerous collections (his finer works include 1978’s Excitable Boy, 1987’s Sentimental Hygiene) including his final album, The Wind (featuring guest appearances by the likes of Bruce Springsteen, Jackson Browne, Ry Coder and Don Henley); Zevon finally succumbed to cancer in September. – Billy Ho

Some of the others who left us in 2003: Johnny Cash, June Carter Cash, Sam Phillips, Wesley Willis, Matt Davis, Ronnie Dawson, Matthew Jay, Matthew Fitzgerald, Adam Cox, Jeremy Gage, Sheb Wooley, Robert Palmer, Bill Perkins.

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Albums of the Year

Blur – Think Tank (Virgin)

“This is Blur’s finest and most troubled moment. Seemingly struggling with itself, forced to change and grow but trapped inside preconceptions and lofty expectations. But don’t be deceived by attempts to closely relate the progress of this record with their far more humble beginnings. Think Tank is a vital step in this band’s growth and evolution.” [Read review]

My Morning Jacket- It Still Moves (ATO)

Best capturing the sounds of Southern influenced rock music, My Morning Jacket’s vast, serene and occasionally thundering clap paints an earnest picture of true Americana. Drenched in delightful rural qualities, It Still Moves is inspired.

The Strokes – Room On Fire (RCA)

What Shivani said: “The album seems to depend on reductionist theory. That is, incorporating nothing in any degree of excess. The result is a short, thirty-three minute, album that blows you away.” [Read review]

The Unicorns – Who Will Cut Our Hair When You’re Gone? (Alien8)

There is a changing of the sound; and pop music is given the upright beating it deserves courtesy of The Unicorns! With songs like “Tuff Ghost” torching ideas of plaintive rhythms, Who Will Cut Our Hair When You’re Gone? is truly an eclectic, morbid, humorous and brilliant collection of tunes.

Mando Diao  – Bring ‘em In (Mute)

“Bring ’em In is blessed with the same aura of excitement that 1965’s My Generation had, an exhilaration felt while spinning the record for the very first time, an undying importance that no amount of waterlog can sink.” [Read review]

Cursive – The Ugly Organ (Saddle Creek)

“For now, I think I will just revel in The Ugly Organ – a well conceived work of self-indulgent, conceptual, emotionally deconstructive faux-rock that is but surely the next chapter in Cursive’s eminent history.” [Read review]

Sun Kil Moon – Ghosts of a Great Highway (Jetset)

Former Red House Painters member Mark Kozelek’s latest musical offering is a harrowing recount of the past’s unending allure (and occasional torture). Its triumph lies not in one single facet, but the end result that evokes many a great visions of music’s great influence. Ghosts of a Great Highway is a delight in every way.

Warren Zevon – The Wind (Artemis)

Recorded during his battle with cancer, Zevon’s career that spanned more than 30 years came to an illustrious end with The Wind. Supported by a plethora of great people (Bruce Springsteen, Don Henley and Jackson Browne among them), the album is a stirring collection of music that sways from rock songs to ballads to alternative-country gems like “Numb As a Statue.” Warren Zevon will be missed.

Fountains of Wayne – Welcome Interstate Managers (S-Curve / Virgin)

“The latest offering from Fountains of Wayne is a legitimate pop-laced outing with depth; an ideal sound for the simmering days of summer; the sort of album you want to share with your friends.” [Read review]

Radiohead – Hail to the Thief (Capitol)

“The Radiohead opera continues to set precedence among its kind (or lack thereof). It is a wonder where they could possibly go from here – do they continue on this jaunt, moving on to the next act, or do they pull another discerning audio/visual contradiction that will leave not only the listener, but the rest of the industry’s hopefuls countless worlds behind.” [Read review]

Sufjan Stevens – Greetings from Michigan: The Great Lakes State (Asthmatic Kitty)

As concepts go, Stevens’ ambitious 50 state tribute is among the greatest. His first, a collection of tunes hailing his home state of Michigan, is one written for single word praises: beautiful, lush, towering and heroic – a testament to his incredible poise and tuneful splendor. [Read review]

Grandaddy – Sumday (V2)

“Sumday is clarity amongst the stillness that is found in between those cavernous surrounds. And if traveling home / breaking free / casting off from the weary past requires clemency, then the end sum of all that resides here is that glorious sense of lifting burden; an emancipation with great conviction.” [Read review]

Matthew Ryan – Regret Over the Wires (Hybrid)

“…an incredible potency intertwined amongst the tales of regret, confusion, acceptance and loneliness … between these cynicisms, hopes and insight, the lofty comparison that may dog a lesser artist, becomes the mere sinking sunset to this very passionate fable.” [Read review]

The Weakerthans – Reconstruction Site (Epitaph)

“If anyone were ever to forward the cause for written spontaneity and a freshness for inspirational description, John K Samson would be our lonesome scribe. And for those seeking a companion for their favorite “road” book, the music of The Weakerthans is that cross-country trip you yearn to take over and over again – a bona fide sound for that timeless vision.” [Read review]

Super Furry Animals – Phantom Power (Epic / Sony)

“For someone who seeks a more personal inquisition, this is the best way to melt away a burning day; for those who are seeking restitution for the torrent of crimson and desolation, Phantom Power is the perfect soundtrack to the looming apocalypse that may plague your soul.” [Read review]

The Decemberists – Her Majesty The Decemberists (Kill Rock Stars)

“…huddled in confines with bricklayers, bakers, schoolboys and one never-dispirited soul, I lived the soldiering life. And through the tales of faraway lands and beckoning sounds of admirable fascination, I am again filled with certain humanity.” [Read review]

Britta Phillips & Dean Wareham – L’Avventura (Jetset)

While the partnerships that were Donny & Marie and The Captain & Tennille proved that the duo could be a disastrous concept, Dean & Britta traces back to more soulful pairings like Otis Redding & Carla Thomas or Serge Gainsbourg & Brigitte Bardot. With original compositions and interpretations of others, L’Avventura is beautifully sung and grandly conceived; a classy pair of aces. [Read review]

The Jealous Sound – Kill Them With Kindness (Better Looking)

“We look for those open arms where we can rest our weary core, where we can sit and hear and wait for the profound, where we can scream in relief “It feels so good to feel”. And like the moments spent in Shehan’s audience, the understanding is clear, and the only constraints lie in whether or not we’ve found them in time.” [Read review]

Beulah – Yoko (Velocette)

“It is a togetherness forged by Beulah’s realization of mortality and their revelations that follow; a reassurance for the spirit. While we could merely ache along, the overriding inclination is for one to embrace this alluring sadness.” [Read review]

The Shins – Chutes Too Narrow (Sub Pop)

“The Shins have over the course of two releases, rightly etched themselves in pop’s Rosetta stone. Enigmatically tracing the greatest of pop roots with quenching success, Chutes Too Narrow is perfectly stated, and undoubtedly, a masterpiece.” [Read review]

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The list in numbers

Number of different albums appearing on our lists: 72
Number of albums appearing on more than one list: 17
Number of times an album, well liked by a writer, was panned by the editor: 3
Number of times The Shins appear on our lists: 5
Number of times The White Stripes appear on our lists: 0

Individual lists

David Walter
Ashley Lefor
Ashley Megan
Angela Rodriguez
Shivani Verma

Epilogue

As we close out another successful year here at Sound the Sirens Magazine, it cannot be understated how much appreciation we have for the people who make this all possible. 

We would first like to thank the amazing writers and their hard work; your time and work is greatly appreciated. We would also like to thank all the public relations teams, record labels, publicists, bands, and media folks who have graciously worked with us in 2003.

And last, but absolutely not least, each and every one of you who read our work. We hope you have enjoyed the year as much as we have. So from myself and the entire staff at Sound the Sirens Magazine, happy holidays and thank you; see you all in 2004!

– David Walter, Associate Editor

Blink-182 – Blink-182

The bud that grows, once juvenile in its infancy, blooms into petals of nature’s flowery discontent. And once again, discontent’s ire has fueled the desire for growth and torturous change. The one-time jewels of latrine culled pop punk, Blink 182 have finally gotten to their heads that yes, 30-year-old men singing about being stuck in trees with pants dropped ankle high while purporting questions of age, is just as silly as the color-by-numbers music in which such verse was served upon.

Indeed, 1997’s Dude Ranch was truly a fine moment. The apex point in which pop punk’s most capable manifestation met the lucid charm of potty humor and the stricken heart of teenage romance. With the anthemic push of radio hits “Dammit” and “Josie” and the pinpoint emotional accuracy of gems like “Waggy” and “Apple Shampoo”, Dude Ranch was undoubtedly the soundtrack to a many growing soul, and will remain a modern pop punk triumph. However, as they say, lightning rarely strikes twice and as this San Diego trio fought to contain the energy, they could do no better than the pitter patter slump of meager after-showers and dreary weather.

The multi-platinum selling Enema of the State, while the height of the band’s commercial success, suffered greatly from mediocrity trying in all its earnest to show signs of energetic life while pushing itself up the charts. It thrust Blink’s Teen Beat allure into stratospheres seen in punk’s new acceptance only once back in 1994. And like those previous bands who struggled to shed their image of cover friendly models, Blink’s supposed return to “darker, heavier roots” was an embarrassing presentation that juggled more adult topics while trying to tell the kids, “We’re still cool.” Rightfully so, the painfully titled Take Off Your Pants and Jacket exhibits a band who schizophrenically flailed from painting a picture of America’s troubled parenting situation one moment and then the next, on to the conundrums of the first date. It was the distinct low point for a band who once sang so expressively, “Watching your house fade away in my rear view mirror as I drive away / wishing that I could take back all those words that meant nothing that I didn’t say,” the woe of not understanding love’s embryonic stab.

So with their new eponymous (or untitled, whatever) album, Blink 182 have taken their misdirection to a whole new level. With Tom Delonge manning most of the song writing duties (seemingly still afflicted with a bad case of “sideprojectism”), the majority of the tracks, like Boxcar Racer’s album, confusingly juxtapose artistic rock tints with shades of the up-tempo mannerisms found on Cheshire Cat and the aforementioned Dude Ranch. “Obvious” moonlights as heavy rock mangling before launching into very familiar territory while “Violence” boasts what could very well be (discounting that Macho Man CD) this year’s most inept 01:17 period of a song – stagnant synthesizer beats layered with clicking and fidgeting followed by its gung-ho dive into percussion heavy punk riffs before stalling into static … and sure enough, that ridiculously gauche finger-snapping-like clicking again.

Perhaps if there has been one consistent aspect of the group since Enema of the State, it would have to be the animatedly charged drum work of Travis Barker. The much textured, sonically charged dynamic that settles into the backbone comes into full fruition – Barker is given his cleanest palette yet; and his work is one that shines conspicuously. Unfortunately, it does lead to the album’s biggest downfall. Barker’s ability to experiment and successfully traverse into more rhythm and blues oriented styles is a concept completely lost on both Delonge and Mark Hoppus. So Barker has to lead the charge so to speak, driving countless songs (“Always”, “Stockholm Syndrome”, “I Miss You”) into more acceptable fields. When Delonge and Hoppus are given center stage, the results are disastrous. Witness the drudgery that is “I’m Lost Without You”, over six minutes long and rife with mid tempo sludge of pining and cumbersome words of being alone.

The album’s most welcome moment comes in the form of guest vocalist Robert Smith of The Cure. “All Of This”, while musically simplistic, boasts that plaintive echo evoked by Smith’s voice – and the track works on many levels, easily becoming the best work Blink 182 have done since “Pathetic.”

In regards to budding growth, Blink has shed many a wilting petals. Moments on the album are crystalline in their attempt to don new, more credible skin. However, it would seem, for the most part, their efforts at reconfiguration are far too little, far too late, leaving Blink 182to writhe in spectacular unimportance.

(Geffen Records)

Review: Blink 182 – Blink 182

The bud that grows, once juvenile in its infancy, blooms into petals of nature’s flowery discontent. And once again, discontent’s ire has fueled the desire for growth and torturous change. The one-time jewels of latrine culled pop punk, Blink 182 have finally gotten to their heads that yes, 30-year-old men singing about being stuck in trees with pants dropped ankle high while purporting questions of age, is just as silly as the color-by-numbers music in which such verse was served upon.

Indeed, 1997’s Dude Ranch was truly a fine moment. The apex point in which pop punk’s most capable manifestation met the lucid charm of potty humor and the stricken heart of teenage romance. With the anthemic push of radio hits “Dammit” and “Josie” and the pinpoint emotional accuracy of gems like “Waggy” and “Apple Shampoo”, Dude Ranch was undoubtedly the soundtrack to a many growing soul, and will remain a modern pop punk triumph. However, as they say, lightning rarely strikes twice and as this San Diego trio fought to contain the energy, they could do no better than the pitter patter slump of meager after-showers and dreary weather.

The multi-platinum selling Enema of the State, while the height of the band’s commercial success, suffered greatly from mediocrity trying in all its earnest to show signs of energetic life while pushing itself up the charts. It thrust Blink’s Teen Beat allure into stratospheres seen in punk’s new acceptance only once back in 1994. And like those previous bands who struggled to shed their image of cover friendly models, Blink’s supposed return to “darker, heavier roots” was an embarrassing presentation that juggled more adult topics while trying to tell the kids, “We’re still cool.” Rightfully so, the painfully titled Take Off Your Pants and Jacket exhibits a band who schizophrenically flailed from painting a picture of America’s troubled parenting situation one moment and then the next, on to the conundrums of the first date. It was the distinct low point for a band who once sang so expressively, “Watching your house fade away in my rear view mirror as I drive away / wishing that I could take back all those words that meant nothing that I didn’t say,” the woe of not understanding love’s embryonic stab.

So with their new eponymous (or untitled, whatever) album, Blink 182 have taken their misdirection to a whole new level. With Tom Delonge manning most of the song writing duties (seemingly still afflicted with a bad case of “sideprojectism”), the majority of the tracks, like Boxcar Racer’s album, confusingly juxtapose artistic rock tints with shades of the up-tempo mannerisms found on Cheshire Cat and the aforementioned Dude Ranch. “Obvious” moonlights as heavy rock mangling before launching into very familiar territory while “Violence” boasts what could very well be (discounting that Macho Man CD) this year’s most inept 01:17 period of a song – stagnant synthesizer beats layered with clicking and fidgeting followed by its gung-ho dive into percussion heavy punk riffs before stalling into static … and sure enough, that ridiculously gauche finger-snapping-like clicking again.

Perhaps if there has been one consistent aspect of the group since Enema of the State, it would have to be the animatedly charged drum work of Travis Barker. The much textured, sonically charged dynamic that settles into the backbone comes into full fruition – Barker is given his cleanest palette yet; and his work is one that shines conspicuously. Unfortunately, it does lead to the album’s biggest downfall. Barker’s ability to experiment and successfully traverse into more rhythm and blues oriented styles is a concept completely lost on both Delonge and Mark Hoppus. So Barker has to lead the charge so to speak, driving countless songs (“Always”, “Stockholm Syndrome”, “I Miss You”) into more acceptable fields. When Delonge and Hoppus are given center stage, the results are disastrous. Witness the drudgery that is “I’m Lost Without You”, over six minutes long and rife with mid tempo sludge of pining and cumbersome words of being alone.

The album’s most welcome moment comes in the form of guest vocalist Robert Smith of The Cure. “All Of This”, while musically simplistic, boasts that plaintive echo evoked by Smith’s voice – and the track works on many levels, easily becoming the best work Blink 182 have done since “Pathetic.”

In regards to budding growth, Blink has shed many a wilting petals. Moments on the album are crystalline in their attempt to don new, more credible skin. However, it would seem, for the most part, their efforts at reconfiguration are far too little, far too late, leaving Blink 182 to writhe in spectacular unimportance. (Geffen Records)

Another Dream Today: An Interview with Denver Harbor

We are often regaled by the positive stories of bands and the friendships forged through music. But often it seems, the other side of this face is overlooked, and many times when bands fall apart, friendships crumble too. Will Salazar was in such a situation. A member of a seemingly lifelong project one day, the next, lost in the sea of uncertainty of when everything falls apart. But instead of succumbing to these hardships, Salazar decided it wasn’t time for him to quit on music just yet. The passion and heart that drove him for so many years still yearned for the stage. The destruction of Fenix Tx was something he never counted on, a realism he thought he would never have to deal with;

“Ending Fenix wasn’t actually my choice at all. We were actually in the studio recording some demos for the next album and just about to start vocals when Adam and Damon told me that they didn’t want to do it anymore. So we went our separate ways.”

It was a change that did not sit well with him. 

Lost and seemingly disillusioned, Salazar considered closing the door on the music industry for good and contemplated walking away. It was the love and passion for music that led him back to writing. “Fenix Tx’s break up was definitely not planned so when it happened I really didn’t know what to do.” says Salazar. “For a little while I thought I would just get out of the music business completely. But after about two months of doing nothing I wrote a song then got a chance to jam with a couple friends of mine. They thought the songs were cool so I wrote a few more. Then I ran into Aaron and Ilan and we talked about jamming and then it just went from there.”

And from there, Denver Harbor was born, “It is music I would like to listen to and it has an infinite amount of influences. Since every single song has a totally different vibe it is really hard to describe but there is definitely some punk, hardcore, emo, rock, reggae, rap, alternative, classical, blues, jazz and metal influences.”

For Salazar the change from Fenix Tx to Denver Harbor was definitely a huge step in another direction. The change allowed Will to do things differently and it allowed him the freedom to do what he always wanted musically. His new band will do things differently he explains, “In Denver Harbor I definitely want to play to a wider audience, so I write music that seems like it could exist in more than one genre. Hopefully it has something for everyone. In Fenix I wrote all the lyrics and melodies and we collectively wrote music, but the entire band shared in the criticism whether it was good or bad. This time around I think I will be the only who gets blamed if a certain song sucks.” 

Having recently recorded a five song demo EP, they now want to get the music out and into the hands of listeners. The band has talked to some smaller labels to get some immediate distribution for the EP but they are also looking to sign with a label that is right for them. “We are definitely interested in signing with a label” explains Salazar. “I want to make a career out of music and I know the other guys in the band do as well. Since it is very hard to accomplish on our own we will take all the help we can get from any label that would be willing to help. There have been a few labels that have come to see us and most of them seem really interested but in this business you can never tell what they are really thinking.”

And how about a possible reunion with Fenix Tx’s first label Drive Thru? The label that owes a big portion of their own success to Fenix Tx (then known as RiverFenix), “That idea exists on different planes. One is, would I go to Drive Thru Records and the other is would Drive Thru Records take on Denver Harbor? I have always thought they did a great job with promoting their bands so it would definitely be a good place to be. Now whether it would ever happen wouldn’t be left up to me.”

Before the band signs with a label, they will remain busy, “Well we’re just living day by day and playing as many shows as possible to create a buzz and a story” says Salazar. “As for touring we are going to keep very busy with the help from some friends. We’ll just keep doing that until something happens.”

With his future in music being Denver Harbor, Salazar took the time to reflect on the past and his previous endeavor; ”Who can say if the band was right or wrong in the decisions that we made but I didn’t want to make that change in the first place. From this point I am just going to play the hand I was dealt and see how it goes.” There is a fine line between the business of the industry and the friendships forged, ”You know before we actually started making money in the band I never considered the differences. I most definitely do think there is a fine line between personal relationships and professional relationships now. It is really hard to keep both separate when one totally affects the other.”

While Salazar is clear on where he’d like his future to go, his passion exceeds those of his own work. He recently helped Don’t Look Down record their new EP, Five, and explains his dabbling into more than just songwriting, “A friend of mine from a band called Lefty was managing the band and he thought I might be able to help them get a good sounding demo CD. I had met the guys in Don’t Look Down a while back and remembered them being cool so I went out to meet them in Jersey. We took a couple of days in their practice studio and worked out some songs. Then we took a couple more days and recorded at a professional studio in Maryland, then after about four days they had a demo that turned into an EP. It was a lot of fun and I think it is something I would like to do all the time if I had the chance to do it.”

Salazar hopes the future for Denver Harbor is a bright one. He has learned from the past and his passion for music is stronger than ever, “I hope we can be out on the road doing what we love to do, making music, shaking hands, kissing babies and rocking out for a long time.”

Through all the ups and downs, Salazar has learned this, “Nothing is for certain but music can definitely change your life.”

The Beatles – Let It Be … Naked

Originally released back in 1970 (the official release), Let It Be was widely panned as being less than stellar work by a stellar group of musicians; the album conceived long after the actual pieces had broken. Between George Harrison growing increasingly unhappy at select members of the group and John and Yoko shooting smack, Twickenham Studios was a less than amicable place to record. Add to that the lavish plans to film the band recording (creating the accompaniment to that very film), tensions were unbearably high. And as the instances caught on camera would often show, the memory of that session was mostly a sour one. Amidst their break-up fiasco the record was left in the hands of producer Phil Spector (after original arranger George Martin had, according to Spector, “left Let It Be in a deplorable condition”) and off he went into the production twilight zone. Adding choral overdubs and orchestral layering, Spector’s supplementary sounds resulted in a distinctly puffed-up, overdressed version of the album; his production frosting best exampled by his version of “The Long and Winding Road”. It left the apparent pained session sonically hidden amongst the post-production haste. While he had very little time to finish the work, the results were so porous McCartney held the record as one of the reasons for the band’s dissolution.

Thirty some odd years on, the album finally gets the treatment the Beatles wanted it to get; or at least, the true capturing of that period. Stripped of all its Spector nuances, Let It Be … Naked is not necessarily the reworked edition of what is effectively, their swift farewell. It is rather the re-polishing of the album’s most essential quality: The Beatles live. Given the wash down at Abbey Road studios by the trio of Allan Rouse, Paul Hicks and Guy Massey; the selected tracks were given their Pro-Tools (where would the producers of today be without this little box of magic?) cleaning after they had been selected from the recording’s original tracks. Chosen to exhibit the sort of bare resonance McCartney wanted to capture from the original recording sessions, this new collection boasts that live personality while being current to today’s quality of sound.

Removing everything that had to do with Spector and Martin (the added extras plus the tracks “Maggie Mae” and “Dig It” and all that in-studio banter and dialogue), they kept almost everything that was the Beatles; all while giving the songs the technologically advanced update of a crisper, cleaner sound. So while it is a de-clothed version of the Let It Be soundtrack, it isn’t exactly ‘raw.’ There is also one notable addition – the swabbing groove of “Don’t Let Me Down”, which was recorded on label Apple’s roof and was the B-side to the single “Get Back.” Interestingly enough this cleaned-up third go-around works considerably well. Without the sponge that robbed the first two releases of its essence, tracks like “Long and Winding Road” escape from the shackles that seemed to bind its grace. The naked rendering, however still weepy in its unending sentimentality, does escape from being overly schlocky without the original’s bloated mush (as one adept journalist coined it, “Spector’s wall of schmaltz” – oh yes).

The Beatles, as they are, will never fade from public mention and will remain a defining entity in music’s history. The record labels (not to mention the members who remain breathing) will constantly remind us so. With Beatles anthologies aplenty and their albums of timeless compositions still readily available, reworked editions such as Let It Be … Naked, while certainly classy, will be hard pressed to satiate those fab four perfectionists. But really, they’re just asking for too much. So where does that leave the Beatles fan (or the general public)? Well, along with the aforementioned “Don’t Let Me Down” and the quality update the sound has received, this thrice released group of songs finally gets the polish they deserve. And it sounds glorious – without the torrential pour of the unnecessary, this is the most accurate documentation of the music from that session; the one joyous thing they actually got on tape.

(Apple Records)

The Strokes – Room On Fire

There are many rarities nowadays such as honest politicians, nice guys, fully clothed pop stars and alarm clocks that can get me up in the morning. Among the rarest are “up and coming” bands who live up to their mainstream hype and expectations. Thankfully, this breed has not become extinct yet. For now, we have The Strokes. It is a breath of fresh air. The album seems to depend on reductionist theory. That is, incorporating nothing in any degree of excess. The result is a short, thirty-three minute, album that blows you away. Perhaps, “blows you away” is too cliché, dramatic and is an exaggeration but it pulls your mind in the right direction. The album is surprisingly good. The drum patterns and guitar riffs are not as harsh, repetitive and annoying as those of The White Stripes. Yet, they are not as unique, progressive, and schizophrenic-like as those of The Mars Volta.

I know there are those of you, don’t try to deny it because I know all, who want to hate The Strokes just because they are The Strokes. There is an innate aversion for the Rolling Stone cover boys. You decided to dislike them and avoid any contact with them for the sake of going against the new wave of mainstream music crashing into the shores of the twenty-first century. Perhaps, you thought that this wave would merely wash up at your feet like those before. Leaving you, unlike others, standing on the shore with the sun glaring down, making your skin glow, the wind in your soft, disheveled hair, a smirk on your face watching in amusement as others drown in the wave of over hyped music. Although this is the case much of the time for other “upcoming bands”, those music listeners who have been swept up by the water are far from drowning. In fact, they are floating in ecstasy and delight, while you watch on with your feet dug in the coarse sand. Soon enough, my friend, The Strokes will pull you in as well. Believe me, it is all for the better. Who would have thought that five boys could keep a promise?

(RCA Records)

Review: The Beatles – Let It Be … Naked

Originally released back in 1970 (the official release), Let It Be was widely panned as being less than stellar work by a stellar group of musicians; the album conceived long after the actual pieces had broken. Between George Harrison growing increasingly unhappy at select members of the group and John and Yoko shooting smack, Twickenham Studios was a less than amicable place to record. Add to that the lavish plans to film the band recording (creating the accompaniment to that very film), tensions were unbearably high. And as the instances caught on camera would often show, the memory of that session was mostly a sour one. Amidst their break-up fiasco the record was left in the hands of producer Phil Spector (after original arranger George Martin had, according to Spector, “left Let It Be in a deplorable condition”) and off he went into the production twilight zone. Adding choral overdubs and orchestral layering, Spector’s supplementary sounds resulted in a distinctly puffed-up, overdressed version of the album; his production frosting best exampled by his version of “The Long and Winding Road”. It left the apparent pained session sonically hidden amongst the post-production haste. While he had very little time to finish the work, the results were so porous McCartney held the record as one of the reasons for the band’s dissolution.

Thirty some odd years on, the album finally gets the treatment the Beatles wanted it to get; or at least, the true capturing of that period. Stripped of all its Spector nuances, Let It Be … Naked is not necessarily the reworked edition of what is effectively, their swift farewell. It is rather the re-polishing of the album’s most essential quality: The Beatles live. Given the wash down at Abbey Road studios by the trio of Allan Rouse, Paul Hicks and Guy Massey; the selected tracks were given their Pro-Tools (where would the producers of today be without this little box of magic?) cleaning after they had been selected from the recording’s original tracks. Chosen to exhibit the sort of bare resonance McCartney wanted to capture from the original recording sessions, this new collection boasts that live personality while being current to today’s quality of sound.

Removing everything that had to do with Spector and Martin (the added extras plus the tracks “Maggie Mae” and “Dig It” and all that in-studio banter and dialogue), they kept almost everything that was the Beatles; all while giving the songs the technologically advanced update of a crisper, cleaner sound. So while it is a de-clothed version of the Let It Be soundtrack, it isn’t exactly ‘raw.’ There is also one notable addition – the swabbing groove of “Don’t Let Me Down”, which was recorded on label Apple’s roof and was the B-side to the single “Get Back.” Interestingly enough this cleaned-up third go-around works considerably well. Without the sponge that robbed the first two releases of its essence, tracks like “Long and Winding Road” escape from the shackles that seemed to bind its grace. The naked rendering, however still weepy in its unending sentimentality, does escape from being overly schlocky without the original’s bloated mush (as one adept journalist coined it, “Spector’s wall of schmaltz” – oh yes).

The Beatles, as they are, will never fade from public mention and will remain a defining entity in music’s history. The record labels (not to mention the members who remain breathing) will constantly remind us so. With Beatles anthologies aplenty and their albums of timeless compositions still readily available, reworked editions such as Let It Be … Naked, while certainly classy, will be hard pressed to satiate those fab four perfectionists. But really, they’re just asking for too much. So where does that leave the Beatles fan (or the general public)? Well, along with the aforementioned “Don’t Let Me Down” and the quality update the sound has received, this thrice released group of songs finally gets the polish they deserve. And it sounds glorious – without the torrential pour of the unnecessary, this is the most accurate documentation of the music from that session; the one joyous thing they actually got on tape. (Apple/Parlophone)

Baby Strange – The Make-Out Sessions EP

There was a time when brothers Noel and Liam actually spent their time crafting absorbing rock n’ roll instead of being the poster boys for insipid squabbling. Sure enough, after all their bickering and absurd claims of greatness, their music has ultimately suffered from their less than favorable approach to public relations. Now it seems the only thing worthy of note is Liam’s unibrow and how shamelessly they lampoon their own music. Oasis can never say they aren’t supporters of recycling, but in 1993 they were something of a revelation. On the edge of making headlines (the good kind) with opening slots for the likes of BMX Bandits and Saint Etienne, they displayed the sort of tetchy excitement rock n’ roll was made for. The next year, Creation released Definitely Maybe and their brows were on the way.

Baby Strange is at their 1993. And The Make-Out Sessions is compact in its distilling of rock n’ roll virtues without giving away too much of what the band has to offer. Chief songwriter Eric Deneen’s voice is brewed from the monotone trailing made famous by likes of Jagger. And as he crawls through the chorus of “If I Didn’t Know Better” with his shouts of “c’mon!” one knows this man is bred for this sort of thing. The disjointed bassline that weaves behind “Why Didn’t You Fall?” is inescapable, seemingly grasping at Deneen’s sneering howl while navigating in-and-out of melody. It sparks the smoky atmospheres and musical disenchantment that goes hand in hand with the genre. The scissor precision of “Hotel Motel” seems to lean more to the recent wave of rock revivalism but amongst the rest of the tracks more ‘90s oriented material, it bubbles over with spunk; an interesting contrast of sophistication and flair.

This EP isn’t consistent, but it shouldn’t be; it teeters on being dangerous while remaining lithe. There are fantastic instances of songwriting and Deneen is razor sharp in his swaggering delivery. Perhaps the very best it could have done was to inject the listener with the allure of possibility, the feeling of “I most probably want to listen to more” and that’s all a rock n’ roll band needs.

(self-released)

Black Rebel Motorcycle Club – Take Them On, On Your Own

“I don’t feel at home in this generation” moans one of Black Rebel Motorcycle Club’s two vocalists in their song “Generation.” No kidding, BRMC’s music sounds as if it was pulled straight out of a different decade. Ever since their glorious debut in 2001 they have been compared to everyone from Jesus and Mary Chain to Love & Rockets. These comparisons, as flattering as they are, often hindered the listener’s ability to decide whether or not they enjoy BRMC’s music for what it is, a beautiful mixture of dark, poetic lyrics and poignant music, and not only because of the resemblance to those other bands. After touring for two years and struggling with drummer Nick Jago’s visa problem (which was resolved by some help from, of all people, Bono), they finally return to the scene with a new album that is both elegant and mysterious.

“Stop”, the first single and first song on the new album, grabs your attention as soon as it begins. It starts off simple enough, a single riff being played over and over. Then the drums and guitars kick and it feels as though you are being lead into an exciting new world. When the vocals come in, the entire scene is complete. You are no longer part of your world; you are a part of theirs. Songs such as “Generation”, “Six Barrel Shotgun”, and “Rise and Fall” are true rock songs. Filled with booming guitars and mellow vocals these songs exemplify what modern rock songs should be: insightful yet rockin’, technically outstanding yet catchy.

Their sound varies from song to song. One track that stands out from the entire group is “And I’m Aching”, an extremely introspective acoustic number. It happens to be the only acoustic track on the album but it holds its own when compared to the other songs. Alone with only a single voice and acoustic guitar this song manages to evoke emotions that other tracks simply look over. You can feel the pain that gave birth to this song through the haunting vocals. The lyrics paint a scene of an abandoned person, whether this person is an abandoned lover or not is up to you, just trying to “move on” despite the fact that everything that was keeping them strong was taken away. “In Like The Rose”, another song that starts off strong, comes at you with staccato guitar bursts, a steady beat, and booming vocals that meander lazily throughout the entire song. It possesses one of the catchiest opening riffs on the entire album.

“Suddenly” starts off rather unassumingly with strikingly beautiful guitars and a haunting melody but as the song continues the guitars get stronger, the drums intensify, and the vocals stay constantly evocative. As “Suddenly” ends you may find yourself saying, “What could possibly come next?!” The last track on the album answers that question without doubt. “Heart & Soul” opens simply enough, slowly the drums come in and they continue to intensify until all is put together and they start off what will be seven minutes of driving beats. “I don’t think you care to know but you’ve taken out my heart and soul”, this lyric is delivered with an acidic tongue that remains present the entire song. By the time the second chorus jumps in you can tell that this song is going places that the others didn’t dare wander. The musical high of this track comes toward the end where screeching guitars and intense drums take over and lead into the end chorus. With impressive lyrics and outstanding music “Heart & Soul” is a perfect way to end this album.

Black Rebel Motorcycle Club may be flawed (their influences shine through a bit too clearly for some) but through this album it is evident that they have evolved immensely from their last release. With Take Them On, On Your Own BRMC pumped up their songs with heavier riffs and stronger beats and could be the release that gets them the recognition they deserve.

(Virgin Records)