[Image: Pool Cleaners From Distant Planets]

Older Reviews appear here.

Oh, It's ON!

by Myk-El

The mark of having made a good pop song is when it is catchy enough to worm its way into someone's head and then not annoy him when it gets stuck. That's exactly what the title track of Kelli*Said's Let's Get This On! has managed to do. Of course, one good song does not a good album make, no matter what major labels have tried to train us to believe. Kelli*Said has put together a ten-song CD with four songs I really like and none I dislike.

The band features powerful vocals from singer Kelli Wolf. Wolf seems to borrow liberally from the Debbie Harry playbook, which isn't a bad idea for an attractive blonde woman fronting a band. There were times I was convinced we could take "Get Serious," play it on the radio, say it was new Blondie and have nobody notice. Saying that also implicates band-mates Keith Schneider (Guitar/Programming), George Terry (Bass) and Dazz Dassler (Drums) as being capable of playing new wave-inspired Pop/Rock (not to be mixed with Coca-Cola); and capable they are.

The net effect is a well-arranged CD with no major weaknesses. There is some serious power to the pop here. There's a lot of sound and few blank spaces. There are times the big sound dulls my ear so I don't pick up some of what is going on, but there is still good energy. Other top songs are "Manipulator" and "Feels Like Happy".

I don't get the impression Let's Get This On! was meant to be groundbreaking or to push music into new territory. We have tasty licks and catchy hooks aplenty, though. It is a fun CD made by dedicated musicians that had a good time and there is nothing wrong with that.

Western Concepts

by Myk-El

There's a risk a band takes when experimenting with a new concept and incorporating additional influences into their sound. Sometimes it takes their sound to a higher level pushing the music forward. Other times it can be off-putting, leaving too much of what made a band good behind and sounds like change for change's sake. The Indulgers decided to take that risk with their latest Out in the West.

The idea was to merge the Celtic-influenced rock music with stories and sounds of the western frontier of the United States. It's a logical area to explore, due to the numerous Irish immigrants that came to the USA. Several moved west to find work, usually highly difficult physical labor on the railroad or mining and The Indulgers have touched on the theme of immigration several times before.

The album starts strong with a bouncy instrumental, "Park City Silver"; this is followed by "High Noon," which is a fantastic, majestic-sounding song representing the best work I've heard from The Indulgers. Damien McCarron's smooth vocals are matched to a great arrangement, a credit to producers Mike Nile and Neale Heywood. The music integrates all the influences cleanly and features great fiddle work from Renee Fine with whistles and guitar by Nile that also stand out.

Unfortunately, the album comes back to Earth. Later tunes sound more ordinary. By the high standards The Indulgers established for themselves, I was left wanting in a few cases. A good example is the song "Wildfire" which features bagpipes. Its lyrics and sound inspire striking visuals of western expansion, but I wanted to hear more of the bagpipes which seemed buried on more than one stereo I listened to the song on. The pipes also sounded overly processed.

Fortunately, tunes on the second half of the album seem to recover inspiration. "When We Were Young," "New Frontier" and the title track help the album end strong. Chris Murtaugh's bass and Pat Murphy's drums provide rock-solid rhythm as always.

Overall, the results of the experiment are uneven. There are moments that are truly inspired and beautiful, others merely ordinary, and not much in between. It is a burden to live up to your own standards when you set them as high as The Indulgers have. It's a good, but not great album.

Finished Product

by Rhaab

What's in a name?

Sometimes, it just depends on what sort of spin you want to give the name. I've read a number of different explanations for the name Starfuzz, and one of them may even be the real one. Sure, it's not quite as many stories as there are accounting for the name Meat Loaf -- all of which you can find on the hundreds of shelves of the Marvin Aday Library -- but it's a healthy number.

On the other hand, the new EP from Starfuzz, Product for American Radio, has a much more straightforward name. It's a name that's simple, direct, clear, and perhaps even cynically dumbed down for the general public. (Then again, that's probably just my take on things.) It's also, I think, a fair description; if this doesn't end up all over American radio, then there's even more wrong with it than I already thought there was.

In my opinion, this Product is sellable as hell, and not just by and for itself. Take, for instance, "Kiss & a Smile", which is an appealing, poppy number with seamless transitions between widely different tempos. Change one word, though, and you have instant Soda Marketability. Sure, it would be selling out, but it would be so easy! And I wouldn't even condemn Starfuzz for it -- as long as they arranged to have a few cases sent over to my place. (Please let the Cola Gods know that my preference is for diet cherry. Thanks.)

As much as I enjoy "Kiss & a Smile", it's just one of six tracks on the CD. Or, to look at it another way, it's one of three songs in the running for my favorite on the recording. Another is "Mr. Orion", a touching song about loneliness and, to a much lesser extent, astronomy. This is one I've enjoyed since I heard it for the first time in the studios of KQMT. The live version has never disappointed, and the fully polished and produced rendition is a real pleasure. Everyone should be able to connect with the emotions in the song, and if you're a geeky music fan like me, you might even get goosebumps during the bridge the way I did when I was listening to the CD for the first time.

The third candidate for my favorite track is "Break It", and in a perfect world, the amount of time it would take for this song to show up on a TV show or movie soundtrack would be measured in days, and in no more than double digits at that. It reminds me of some of the best stuff I've heard from Weezer. There are, of course, several influences apparent in the music, just as there are in the varied tracks on You Are Food.

This is a product not just for radio, but your personal music collection. How can you get this fabulous product? You can get it from CD Baby, and I believe the band plans to soon have it available on iTunes and through the Mile High Music Store, just like their first CD. You can also get it in person at their CD release party at the Hi-Dive on May 19, or at any of their other shows in the future.

And if you buy now, they'll double your order -- you'll get the three tracks I mentioned, and three more! Don't delay! Act now! Blah blah blah, legal disclaimer, conditions that don't apply to you! They're standing by to take your order!

Make comments and criticism about this article here.

A Bat's Round Trip

By Myk-El

Jett Black started making a name for themselves performing Rockabilly and roots rock tunes around Denver. With their latest album, To Hell and Back, the band has grown from their roots, turned it up to 11 and gone for some pretty hard rock.

The first track, the title track "To Hell and Back", quickly establishes the band's intention to rock your socks and other various articles of clothing off. It sounds like something out of the Guns & Roses catalog, only with a vocalist that sounds like he has a pair. As the album progresses, you can hear that the Rockabilly roots haven't been abandoned. Instead, they've grown mean. Tracks like "Roadburn," "Let Me In" and others give a feel of what might have happened if Megadeth got their chocolate in the Stray Cats' peanut butter. If you like those flavors individually, it's probably worth it for you to check out Jett Black or Reese's Peanut Butter Cups (I recommend the white chocolate if you can find them).

The album is very intense, recorded with a lot of fire and passion. Sometimes there's a uniformity to the songs that can make the album feel a little repetitive, especially with multiple listens. This is not to diminish the skill shown by Jeff "Jett Black" Arnold (guitar and vocals), Tony "T-Bone" Young (drums), Bart McCrorey (guitar) and Igor Panasewicz (bass). It is a strong rock album, better than many. If some hard-rocking tunes are recommended as part of your musical diet, To Hell and Back should easily meet or exceed your daily requirement.

You can purchase this album and music by many other fine Colorado bands at the Mile High Music Store.

Aces and Eights

by Sh'wn

Colorado's very own Railbenders' third foray into recorded music is entitled Showdown. I'd like to first thank Jim for getting me an advance copy of the album. Now, what can I say about this album without giving away the magic that is contained within? Well, that's a tall order, but I'll do my best.

When I mention the Railbenders, I'm often asked by the unenlightened what they're like. So, for those of you unfamiliar with the band, here's some info on the primary members. Glenn Taylor plays pedal steel guitar; this man can summon up a tormented soul from hell or angelic voice and channel them through his instrument with a finesse that must be seen or heard to be believed. Graham Haworth is on drums, percussion and vocals and can set a beat to drive the blood. Tyson Murray handles the double bass with the skill of one who sold his soul at a desolate crossroads somewhere down south. Jim Dalton is the lead singer, handles the guitar, and does most of the songwriting. All I can say about Jim is that he sounds so much like one Mr. Johnny Cash that I'm quite surprised that the Railbenders haven't hit the mainstream yet. I'm also surprised that we haven't seen a Cash cover on an album yet. Well, I guess we just have something to look forward to.

Anyway, the artwork on both the outside and inside covers of this album are very reminiscent of the old Clint Eastwood westerns where Eastwood's character may or may not have returned from "the other side" of life. The album itself is more "country" then Jim's previous endeavors. What this means is that there aren't quite the fast tempos and driving beats that I had come to expect. That's not necessarily a bad thing, just different from what I was expecting. That's OK as well because I came away feeling that maybe there was a little more heart and soul in this album; it's almost as if this album has a soul of its own. Also, there are thirteen tracks on this album -- very interesting considering the vaguely sinister overtone I felt. I'm just going to touch on a few of the tracks that I think bear a closer look.

The opener for the album is not only the title track but also a piece of music that sets the mood for the rest of the album. "Showdown" opens with the sound of spurred boots walking down a dirt street. As the music picks up, I got the mental impression of the adventures of a certain Mexi-Cali legendary hero of the people who liked to dress in black and carried a whip and rapier. This piece is very good at building up the excitement and enthusiasm for the album, but I felt there was something missing. It wasn't until the third time that I listened to it that I realized something. The music builds to a climax, and then ends. It's a bit of a letdown. The very last note is the single tolling of a church bell to let you know that someone died. I think, right before this death-knell, the sound of a gunshot should ring out, but maybe that's just me.

"Black Rose" is a lighter tune that made me think that this is the kind of thing I'd hear on the juke box in a certain roadhouse in Hazzard County. It also warns of a certain resident and the dangers that come from tempting that resident.

"Drivin' Back to Denver" is a pleasant, slightly upbeat tune about the singer's desire to get home to Denver, and the misfortune that he encountered while trying to get home, which includes a flat in Carolina and speeding through Oklahoma. By the way Jim, I don't blame you. Nothing good ever came out of Oklahoma.

"I-70 Westbound" is another pleasant country song about what is arguably the prettiest scenery in the continental United States. I can't count the number of times my wife and I have gotten up on the weekend and just decided to take a drive in the mountains. This song provides the perfect traveling music for just such an occasion.

"Drinkin' Buddies" was written by Lance Bakemeyer of the Hillbilly Hellcats. When this song started, I thought how remarkably this could have been a tune I sung about the other Pool Cleaners. Of course, this is actually about four hard liquors, but you know there are a lot of people who could sit back and listen to this tune going, "Yep, tha's right."

There are certain songs you come to expect from the Railbenders when they put out an album. One of those things is a hard and fast tune that seems to be hell-bent for hell. Another thing you come to expect is a "train song". "Hellbound Party Train" combines both of these expectations into one. This is the kind of tune that makes you want to stand up, whip your cowboy hat over your head and scream "YAAHOO!" Every time I listened to this tune in the car, I had to consciously keep my foot from pushing the gas pedal to the floor.

Showdown closes with "Dead Man's Return". This is another non-vocal piece (like the opener). This tune opens slowly and paints the mental picture of the rematch between the hero and villain. The tune then picks up and gives something of an impression that the final resolution involves a surf competition. This struck me as funny -- even more so when I got a mental image of two spaghetti-western clad gunslingers hanging ten in the pipeline (I loved it). Of course, the piece closes with the wind blowing and the mental image of the avenging hero disappearing in the haze.

In conclusion I think Showdown is a very strong showing and a good follow up to their two previous albums. Yes, I would have done a couple of things differently, such as the item I mentioned regarding the opener. I'd also like to say that I was rather disappointed that the Railbenders didn't reinvent a well-known song as a country cover, which I'd come to expect from the two previous albums. However, I also realize that everyone has "I would have done that different" comments about every movie, song, and game ever made and therefore are considered mitigating factors. This is great album; I say go out and buy it. In fact, I can already guarantee that I have a demand for a dozen copies of the new album already from my friends and family alone. Keep up the great work, guys.

Time to Rock Roll

by Myk-El

There is always some amount of uncertainty where music is going to go next. All we know is that what comes next will be somewhat based on what has come before. New styles are formed out of mixing separate genres. When it's all said and done, though, we want to rock out.

That brings us to 8:05, the time on the broken clock in Sammy Hagar's "There's Only One Way to Rock" (which we actually know to be incorrect. Rock scientists now have documented 67 different ways to rock, though they theorize there may be two more unaccounted for.) Apparently, that is when it is time to rock and it is the title of The Bad Directions' first CD.

This band is one of the strongest arguments I have for not trying to define and categorize everything in music. Dan Garcia brings some of the strongest metal style guitar onboard while providing backing vocals and lead vocals on "Taos." Bradley Weaver plays bass, harmonica, sings lead on most tunes and provides his slighty twangy singer/songwriter sensibilities. Both of these sit on top of Carlos Newman's (now of Buckwild) speed-country drumming. We've called it "Punktry" (a term now adopted by Rolling Stone for Alt-Country acts). Others want to call it Country-Metal and more hard-to-comprehend genre combinations.

Whatever it is, it's fun. There is something to be said for following your muse wherever she leads you. In conversations past, Weaver has admitted he isn't 100% certain what their target market is. I also am not sure how much he cares. He seems to operate on the theory the right people will appreciate what they're doing.

What this CD provides is intensity: Garcia's thrashing guitar demands attention, Weaver understands how to use his distinctive voice to tell a story, and if you aren't held captive by the beat provided by Newman's drum work, you may not have a pulse.

There are also no subjects off limits in song content, there are tunes about breasts ("Sideview"), prostitutes ("Truck Stop Hooker"), drinking, death and more. Some of it leans more toward rock ("Cool Cool" and "Taos"). Others more toward country ("Alligator Cowboy" and "Wagon Wheel"). Some songs work better ("Cool Cool") than others ("An Honest Name") but taken as a whole, it's a fine collection demonstrating what the band is capable of -- including a fun cover of Elvis' "Suspicious Minds".

The toughest part of taking a good live band into the studio is capturing the intensity. The Bad Directions have managed to succeed at this. If you want to find out for yourself, check them out live, then take the CD home. The release party is 10/21/05 at the Soiled Dove in Denver. You can also see their website for future shows or get the CD by clicking here.

Bunch of Savages in This Town

by Myk-El

Savage Henry dealt a great hand on their first album All In. I cannot see a way they'll lose on the flop with this hand. The volume will go up on the turn and annoy your neighbors down the river. Thankfully, I'm now out of Texas Hold 'em jokes.

Savage Henry is made up of some exceedingly talented musicians. Mike Rice provides the power behind the drums. Adding to the rhythm is Ryan Morrow on bass. The flash is provided on guitar by Stu Miller and the voice is provided by the lyrical stylings of Damon Guerrasio. If some of these names seem familiar, Rice and Guerrasio were both in On Second Thought. I can't deny certain similarities in the bands. Guerrasio's vocal style and writing is fairly distinct, but that is certainly not a bad thing. I don't hear many folks complaining about how similar Mark Knopfler's current music is to things he did in Dire Straits.

What Savage Henry has with _All In_ is a collection of great rock tunes with pop appeal. It's pretty straightforward; they didn't go wild in the studio adding multiple tracks and sound effects that would be difficult to reproduce live. Most of the songs sport a quick tempo and a certain crunchiness not as common in earlier projects. The beats are infectious and the guitar hooks memorable. Stu Miller is not ashamed of admitting his influences and cites a laundry list of other musicians he admires. And it shows; nowhere more than on a riff taken out of the Brian May's (lead guitarist of Queen) playbook on "Monkey".

The strongest hooks, however, come from Guerrasio's vocals. His delivery is always right. Whether it's small raps, a rapid-fire verse delivery, sneaking in a classic tune to bridge "Daisy", or just being one voice in the harmonies on "Ring", he's at the top of his game.

It's nice to hear a band where I can't point out an instrumental weakness. Everyone does their job very well. I've admired Mike Rice's drumming skills for several years, Morrow's a rock on bass and I've already sung the praises of Miller and Guerrasio. This is a dangerous album to take in your car. It's so poppy and up-tempo, it encourages what the British would call "spirited driving". It should come with a warning label and a disclaimer the band will not be held responsible for speeding tickets received while listening to it.

To purchase this album, visit the Mile High Music store.

Primate Fondue

by Myk-El

Turbulence is the first national release from the California-based band Saucy Monky. The album was originally released on the fully-independent Californian labelolivoiL records, and the national release is a result of a recent deal the band signed with 429 Records.The quality energetic rock/pop mix is no doubt what got the attention of 429 Records.

It's been a long trip getting here for the band. I was first introduced to the key players, Annmarie Cullen (guitar and vocals) and Cynthia Catania (guitar and vocals), through a friend in late 1999 when they were recording separately (Annmarie was then Annmarie Montade). Individually, they had strong recordings. Together, they are stronger. I first saw the band live in late 2002 on a business trip to Los Angeles. It seemed at the time they were still finding out how to best work together. It's obvious now that they have managed to find their groove with Carson Cohen (bass) and Adam Marcello (drums) filling out the roster. They use vocal harmonies well and Cynthia did an admirable job producing the album (Cynthia started the aforementioned olivoiL label).

One downside to the new label is that the track order has been altered so instead of the raucous "Good Day Down" (track one on the original release) which establishes the rock part of the mix with authority, we get the more subtle title track. I always prefer a strong start. Neither version finishes with a bang but there is some muscle in the middle on both versions. The three tracks that move the best are "Boyz", a nice look into the mind of intelligent women passed over for artificial beauty, "Speedball" which I interpret as an ode to the quickie, and their take on the DiVinyl's naughty classic "I Touch Myself". So, yes, the ladies make no secret of their naughty side... in other words, the description "saucy" fits.

When they do want to be more serious, we get sincere efforts like "Change Your Mind" and "Everyday Lover". It's tracks like these where we can hear the skill with production shown. Little instrumental
touches like the banjo on "Change Your Mind" complete the sound.

Turbulence is a fine CD. Annmarie and Cynthia are supporting the Young Dubliners with an acoustic set for several dates on the Dubs' summer tour. They will be in Denver on July 23 with the Dubs and Denver's own Railbenders. Head out to the show and pick up a copy of the CD.

Ornithology on Stage

by Myk-El

Some months back, Blackbird Down took the plunge and invited me to review a show. This really was a blind audio test as I really had no expectations or knowledge of their music prior to the show. I was pleasantly surprised to hear a good band that really enjoyed what they were doing.

The boys in BD are Andy Barkowski (lead guitar), Brandon Hepplewhite (rhythm guitar), Curt Frisch (drums) and Ryan Waller (bass and lead vocals). What they are doing is basically the strongest argument I've heard for not labeling acts. I could spend several sentences explaining why they aren't punk, pop, metal or whatever It's rock they play and they seem damn proud and happy to be doing it.

The show I saw was at the Oriental Theater, known for its cavernous sound qualities. Plus they were the first band on the night, so it's right to expect things to be a little rough. Vocals were a little muddy and there wasn't enough power behind either guitar. While the vocals got better, the technical issues with the guitars remained throughout.

But the important part has always been the feel of the performance. Blackbird Down was feeling it. Everyone is at least competent on their instruments. Ryan Waller knows what is singing and what is screaming and when each is appropriate within the context of rock music They also use vocal harmonies.

They certainly do use a mix of influences, but it's much more deliberate than some. It isn't as if they threw it all in a blender and hit "start". The also have a very strong grasp on how to pace a set of music. They deftly mixed the tempo of songs so it didn't all sound like the same tune. One highlight was their tune "Selfish World", and they closed with a great show of how whimsical they can be by ending their set with "Now You're a Man" by DVDA, a song that appeared in the movie Orgazmo. That tune has a particularly striking sound similar to a Survivor song, a fact not lost on Blackbird Down as they transitioned into "Eye of the Tiger". I have long regarded that particular Survivor tune as one of the cheesiest tunes ever recorded, but in this context, it worked wonderfully.

To top it all off, it was at this show I learned that it was merely Blackbird Down's sixth outing, having just solidified the lineup in February. I've seen bands together for much longer that weren't this together. I can only imagine how things will improve.

Something Worth Preserving

by Myk-El

The New Wave era of the late 1970's through the birth of Alternative Rock in the late 1980's was not a time known for producing acts that endured more than a scant couple of albums. Though they didn't exactly belong, The Cars did get lumped into that category. Having defied the standards by hanging around as long as they did, they managed to escape into being considered a "Classic Rock" act today.

In the early 2000's, popular music started discovering the possibilities of adding some power to 1980's hit songs. After all, that principle is what got us The Beatles' version of "Twist and Shout", so it's tradition. Notable examples are the cover of "Smooth Criminal" by Alien Ant Farm (2001) and The Ataris' take on "Boys of Summer" (2003). So you take that idea and mix in a great love of The Cars and you end up with The Jars.

The Jars are Matt Billingslea (drums, vocals), Glenn Esparza (guitar, vocals) and Jeremy Lawton (bass, steel, lead vocals). With a careful selection of 13 of The Cars' best tunes, we have a self-titled full-length CD. You cannot question the energy contained in this recording, and there is obviously some love in this CD. The only real concern is if this may be too much of a good thing.

Most of the album made me want to shout "Hell, Yeah! That's how you do it!" but when I wasn't thinking that, I was thinking "OK, I get it, what's next?" They all move at a pretty healthy pace. Not one song tops 4 minutes, so even the few misses aren't too much trouble.

The tracks I can't seem to get enough of include "You're All I've Got", "Bye Bye Love" and the not very subtle the first time, "Tonight She Comes" ("She's says that it's easy when you do it right / I know tonight, she comes". GET IT?!). The misses, sadly include three of my favorite Cars tunes, "Good Times Roll", "Best Friend's Girl" and the oddly croaky "You Might Think." I understand where they were going with the delivery of the lyrics on the last one, but it ultimately came out sounding as if a lispless Elmer Fudd were singing. And while I really loved the pacing of "Let's Go", it does seem to be lacking something sans clapping.

This doesn't mean this is a bad album; it's far from it. Having 10 good to great songs out of 13 is actually a pretty high percentage compared to the winners on many other recordings. Considering The Jars are best appreciated live, this CD is a fine translation of their act.

Wankfest

by Rhaab

"...stand back, it's wanking time!"
-- Seymour Skinner

Shea Stadium, August, 1965: the first ever stadium rock show. Tension is high, excitement is electric, seats are damp. Then, finally, the legendary quartet that everyone's been waiting for: the Beatoffs. Sorry,Wanker. What the hell? Welcome to Video Wanker, the DVD compilation of various videos, live performances, and assorted Wankerweirdness collected over the years.

In a complete cheesy, unapologetic, and patently obvious use of chromakey effects (the technical term for bluescreen/greenscreen stuff), Wanker appears in front of the Shea Stadium crowd that gathered for the Beatles, which would seem at first to take a healthy dose of testicles. But no, these aren't arrogant pretenders to the throne like those drunken louts in Oasis. At worst, they're guilty of the crime of squatting over the seat of power for an Ugly American Tourist photo op. Is it a little tacky? Yeah. Is it kinda daring? You bet. Is it also pretty funny? Yup, but you didn't hear that from me.

They're not just performing any old song, either. The tune is "I Touch Myself", not to be confused with the saucy song of the same name by Divinyls. (Speaking of saucy, there's a worthwhile cover of that song by a band called Saucy Monky, but I digress.) In this case, the lryics announce to the world that "You won't touch me, so I touch myself." This is probably something of a signature song, given the band's name. It's also the unofficial theme song of all teenage boys everywhere.

Like practically everything else found on the DVD, this bit of visual splicing was recorded at some point during the late 1980s or early 1990s. (Oh, wait, here it is: this one in particular is from 1987.) The band is very much in style for the time; they didn't just embrace the look of the age, they reached behind it and gave it a wedgie. The guitar player is wearing a dress and full makeup (keep in mind that the band roster is all guys). The lead singer is wearing at least a two-layered riot of colored messes that probably had to be tear-gassed before going back in the closet. The bassist is wearing solid black and a touch of eyeliner, and looks as if he might have been kicked out of the Cure for smiling. Then, in the back, we have the seemingly conservative drummer, in black pants and a white shirt, topped off by a piece from the "I mugged Little Steven and all I got was this lousy headband" collection. Zoom in for a close-up, though, and what the hell is that giant earring -- a fish? A pot-holder? Then there's the leopard-skin (or possibly cheetah) pattern on the bass drum. It's spectacularly awful, which, since I'm pretty sure that's what they were going for, means it succeeds.

Our follow-up is "Frigid White Girls" from 1988, and the title is read off with the announcement that this is "take 69" of the filming. Go ahead and allow yourself a snort of humor, and try not to feel guilty about it afterwards. Yes, it's the sort of joke best appreciated by teenage metal-heads waiting for there to be "strange things afoot at the Circle K", but this is the world of Wanker, and it works if you want it to. It's a fun tune with a catchy guitar hook, and yes, the group is in a completely different set of over-the-top outfits for this one. Of particular interest are the singer's tights, which could only have been obtained by hitting the thrift store on David Lee Roth's drop-off day. Add to that a good, solid attempt at a Dead or Alive fashion tribute above the waist, and you have a very interesting look indeed.

Next up is "She's So Sick" (1990), which is part of the "music videos made to look like live performances" category; a classic cliche, in other words. We've also got a lot of pointless, vintage footage from the late 1960s in there, intercut with the band for no damn good reason. I was impressed; these boys don't miss a trick at all when it comes to mocking the conventions of the MTV era.

"Room with a View" (1989) opens up with a scream that ranks up there with Omar's battle-cry at the end of Rock and Rule. It's also noteworthy for the "artsy" black and white footage, more unnecessary edits to scenes seemingly unrelated to the band or the song, and the drummer's hideous sunglasses. Not sure what's up with the swig of Pennzoil; must be to recover from that scream at the beginning. All in all, a very nice simulation of pretentiousness, even before we get to the strobe light at the end.

"Hate Yer Guts" (1988) is great song to have around even if you didn't have the visuals to go with it. This is pure punk, y'all, with screams, angry growls, and regular declarations of hate with an obscene modifier thrown in. Have any old relationships that ended poorly? Of course you do. Wrap up this song in a bow and give it to your ex, 'cause Hallmark doesn't say everything you want them to. The video itself is fun for different reasons, again because it's obvious they've been using the secret handbook of music video directors everywhere. This time around, it's all shots of the band, but we cut between a variety of appearances. The doctor scrubs (complete with face masks) are great, but I think my favorite look is where everyone in the band has a half-black, half-white makeup job like the Star Trek episode "Let That Be Your Last Battlefield" gone horribly wrong.

In 1987's "Body Bag", we find the band wearing plastic trash bags, which invariably reminded me of the work of Barnes & Barnes; the tags worn by the boys of Wanker remind us that this is a fish head of a different color, however. Speaking of color, I was taken by the washed-out, low-res look of this segment; it's another standard of cheap video-making, even before you add the color filters, the pointless freeze-frames, and the jumps into photo negative from time to time. These guys clearly spent a lot of time watching MTV in the early years, and may even have bigger crushes on Martha Quinn than I do.

The rest of the DVD continues in the effort to leave no cliche unturned; we have the on-the-road video, the in-the-studio video, the in-the-wilderness video, and the obligatory live performances with shots of attractive women in the audience, whether they're paying attention or not. And, by the end, the sheer variety of insane costumes gives us a cumulative fashion disaster big enough to qualify for federal relief funds.

Don't turn it off when you get to the credits, though. It's not over yet! After that, you get the "secret bonus video", and we're back to the Beatles; more so, in fact. We're presented with a punked-up cover of "I Wanna Hold Your Hand", and it's somehow effective and offensive all at the same time. It's a neat trick, and I don't know how they pull it off. Getting back to the throne idea from earlier, they still haven't dared to sit down, but somebody definitely cut loose with some toxic fumes just before the picture was taken.

For our finale, we have a modern-day Wanker performance. I didn't get a title or a year for this one, but the orange prison jumpsuits might explain why they've been away for a while. There isn't a much spectacle as there is in the other segments, but the music is as solid and rocks as hard as anything else on the collection.

If you can't tell by now, I liked it. Anyone with a good sense of humor and an appreciation of punk and hard rock would be pretty happy with a copy of Video Wanker in my opinion. On the other hand, they did somethings that give me no choice other than to head into some unprecedented territory. It's good stuff, but they're still getting a hot poker rating. The first hot poker is for having the audacity to mangle "I Wanna Hold Your Hand" like they did and for the guilty feelings I get for sort of enjoying it; the second is for the fact that I can't get "I Touch Myself" out of my head now. So that's a total hot poker rating of 2, along with my recommendation to get your hands on this DVD. Sure, you may need it like a fish needs a bicycle, but we'll see who's laughing when a haddock wins the Tour de France.

The Plan That Seems To Work

By Jeph

When I accompanied Myk and Zscaieynn to the Bluebird on April 21st, it was at the invitation of Plan B, who were looking for an opinion of their sound. I was worried at first; I'm not sure if it was the band or the venue, but there was this strange electronic noise thing happening that threw me off course for a bit. The first band was also a bit hard on all of us, which also was reason for concern. But, thankfully, I didn't get disappointed.

Plan B seems to me to be a good, solid band to go see. Their genre is metal and grunge, but, unlike a lot of examples I've seen lately, they know the difference between singing and screaming, and when each was appropriate. With one exception near the beginning, they have good handles on their transitions between songs and even within songs. Handling transitions is a sign of a band that rehearses together constantly. They also demonstrated sufficient variance between songs without being completely out of genre at the same time. Many bands lack variance of any sort, I've noticed, and their songs rapidly sound like one big song. Not Plan B. I could tell without straining when they went into a different song. All in all, they know where they want to go, and are heading there with gusto. I just had a few problems.

On their first song, there was a jarring transition that made me feel that I suddenly went from the bad part of downtown to some rural backroad. It was disconcerting, and made me wonder even more after the strange electronic noise. The singer needs to learn to 'stage dance' better; he looked at times like he was either having an epileptic fit, or was about to hurl. Speaking of dancing, the one guitarist was so energetic he was proving to be a distraction. He was moving so enthusiastically that he broke his guitar strap, something I haven't seen before. He didn't miss a lick, though, and soldiered on like a real musician.

All in all, I don't see anything that can't be fixed, and this band is a solid performer that I see capable of filling houses given a little publicity. No need to resort to your own backup plan with these guys.

Just One Good Album

by Myk-El

The musical form of blues seems to be an enigma to many people. It's something where the basics are fairly simple to grasp, but that doesn't mean you can play it. Some feel it can't be that difficult with child prodigies like Jonny Lang and Kenny Wayne Shepherd playing it since their teen years. But good blues isn't so much matter of technique and skill as much as it is feeling.

The Jill Watkins Band recently released their first album Just One Good Man. The first 10 songs were recorded in the studio and the last two are live. The tricky part is taking a good live band playing music that relies heavily on feeling and trying to capture it in the studio. Fortunately for us, the Jill Watkins Band (JWB) has managed to pull that trick off.

The band's core is Jill Watkins on vocals and trumpet, John Ragan on guitar, Walt Sorrentino on percussion and Chris Dax on bass and acoustic guitar. Jill has an outstanding voice for the blues and plays a mean horn. The rest of the band compliments and highlights her skills, and each member is quite good at what they do. They are also joined on the live tracks by Marcia Kent Davis (vocals on "Summertime") and Blue Advisory Band's Steve Sheldon (harmonica on "Summertime" and "Tore Down"). JWB songs can have a nice sense of whimsy to them, which is always appreciated. This is demonstrated by "Big Men" and the title track (which has a conspicuous use of the number 42, a significant number to those not from around here). Also particularly strong songs include "Too Happy to Sing the Blues" and "Summertime."

The best part about the album is how consistent it is. While some tracks jump out more, there are no weak songs. It shows the genre of the blues is not dead, especially when you consider that most of the tunes are originals. It's a strong effort from a strong band.

Storm the Beach

by Myk-El

Every so often we encounter a band that we want all our friends to hear. We'll even use force if necessary. Usually it's because they are doing something either so unique or so well that it commands your attention. It was nearly three years ago at the 2002 Colorado Irish Fest where we encountered such a band. Damien McCarron of The Indulgers encouraged us to stick around an extra hour after his band was done before heading to lunch so we could hear this band called The Prodigals who were out here from New York. It took maybe one song before we were sold and now do for others what Damien did for us.

The Prodigals play a brand of Irish influenced rock they refer to as "Jig-Punk". It has the high energy and speed of punk, including some of the social commentary mixed with songs about hard living, love, joy, heartbreak and other aspects of life. They play original songs with a healthy mix of punked up-traditionals. Since the first time I saw them, I knew they were crying out for a live album. But as they had only three studio releases at the time and one of them was before they'd really found their sound, I knew it wasn't time. Now, in 2005, it's time.

Beachland Bootleg is the name of the 5th release by The Prodigals. It was recorded at the Beachland Ballroom in Cleveland, Ohio, and features 17 tracks worth of highlights from The Prodigal's four studio albums. The lineup at the time featured Gregory Grene on vocals and accordion, Andrew Harkin and his prodigious bass skills, Eamon O'Tuama on vocals and guitar and Eamon Ellams on drums.

The first thing that struck me about the band was that no one apparently bothered to tell Mr. Harkin that bass guitar is not a lead instrument ("Thank God for that!" said Damien when I made that observation) and that no one pushes the accordion harder than Mr. Grene. When listening closer, though, you start to notice Gregory Grene's mastery of manipulating the English language for lyrics. With brilliant turns of phrase that create true poetry, the words can melt your heart. Mr. O'Tuama is no slouch in the writing department, either.

While there are no bad tracks on the album, there is sense in directing your attention to certain tunes. If you want to hear Gregory Grene's lyrical skills, try "Alchemy" and "Chelsea 3 a.m.". For Eamon O'Tuama's contributions, there's "One Great Love" and "Beautiful Plans". To hear their interpretations of traditional songs, there's "Jackie Hall", "Black-Eyed Gypsy" and their amazing take on "Bog". To appreciate their instrumental skill, just loop "Open Reel."

While there are some minor technical flaws with the recording, it captures the passionate, energetic and sometimes manic feel of the Prodigals in a way studio recordings cannot, though the studio albums are very good. Not only that, it includes a DVD which contains a very nice introduction to the band and their music plus some footage of their live show so you can see, not just hear, the live experience. With that special inclusion, Beachland Bootleg may be the perfect way to create new Prodigals fans when a live show isn't available.

Acoustically Sound

by Myk-El

In the days before recorded music, songs were handed down from musician to musician. One performer would write or learn a song and when musicians got together to play, the song would be taught to who was there. Where did this take place? No, not in amphitheaters. It was in the intimate setting of the neighborhood tavern. That tradition lives on at a little place called the Royal Hilltop in Aurora.

Jim Dalton of the Railbenders started Acoustic Tuesdays in 2004. He hosts the event and always plays a few tunes. But the real fun is because he invites all his friends over to play some music. It isn't fancy, nor is it supposed to be. It's just an opportunity for musicians to have some fun without the pressure of regular performance. It's like a concert in your living room.

The shows start at about 8 and usually only run until 10 or soon after No one is offended if you need to head out early because you need to be awake for work the next day, but they aren't going to let it get in the way of their fun. Jim's a heck of a host and he does get some great talent in. One regular with experience in the music business says he's never seen a room have so much talent pass through. Some of the more notable guests include but are not limited to Rachel Simring, The Bad Directions, Graham Haworth and Tyson Murray (also of the Railbenders), Rhett Lee, Bob Rupp, Jim Yelnick, Jett Black and Jeremy Lawton ( Big Head Todd member, producer and talented dude).

Everyone leaves their amps and pedals at home. The drummers that show have been known to also provide some light hand percussion and you might have the odd keyboard or accordion show up. Requests are taken (sometimes with a grain of salt), musical experiments are attempted, you see people performing together you never expected to see on stage together, and everyone is playing for tips (so bring enough cash for the musicians and the wait staff). The music can sound raw and unrehearsed, but that's part of the appeal. You are going to hear things there you won't hear anywhere else. You'll catch rockers playing country songs and country musicians will play '80s new wave. It's that "didn't see that coming" feeling that make Acoustic Tuesdays the great event it is.

The Royal Hilltop is a great venue for this kind of show. It's owned by Jim Dalton's sister and her husband. They don't have a stage, instead a corner opposite the bar is cleared out for performers. They have good food and great service. The vibe of the room is relaxed. The friendly staff makes sure you are taken care of.

And if all that isn't enough to get you to visit, there is usually one good tribute show per month. September saw a Johnny Cash tribute, October played host to a British Invasion night, November had Seattle night, and Christmas music was featuredin December. And there are more special events down the road, including another Christmas show on 12/21/04. January is packed with "Willie and Waylon" night on 1/4/05, "New York" night (featuring the music of Talking Heads, The Ramones and more) on 1/11 and one I'd suggested after Jim was already thinking about it, "Sun Sessions" featuring music from the artists that made Sun Records famous on 1/18. So if you feel like getting out on a Tuesday, head out to Hampden and Tower. It's not as hard to get to as you might think and it's worth the trip.

Risk Reduction

by Rhaab

They say James Brown is the hardest-working man in show business, but I wonder if the Godfather of Soul has compared schedules with Plastic Parachute lately. While they were sticking mostly to Denver, they played every music venue they could, from the top to the bottom. Then, a few months ago, they packed up, crammed into a small RV, and hit the road full time.

Since then, they've played everywhere that would have them, with their only requirements being electricity and a few square feet of stage--and they've been willing to compromise on the latter. (I understand there was at least one show in an actual barn.) In the middle of all of this, they spent some time out in Los Angeles, where in addition to playing more gigs, they did some wheeling and (with any luck) dealing, and recorded a four-song EP in a span of time short enough to indicate they know what they're doing.

Finally, after what seems like ages away, Plastic Parachute has returned to do some shows in Denver, so it's time I gave them the review I promised a while ago. That's right, they also found the time to provide me a pre-release copy of "Risk of Injury", as well as running an informal trivia contest on their Yahoo Group with more early copies as prizes.

If you're already a fan, it should be pretty clear why you want a copy of this recording. It may be only four tracks, but unlike EPs from some bands I could name, none of them are repackages of songs off the debut album. These are all new, all good, and you've only heard them if you've seen Plastic Parachute live. The line-up consists of "Beautiful", "Burn", "Injury", and "Song for Fall".

If you're not a fan, one spin of "Risk of Injury" should be enough to convert you, unless you're just completely adverse to rock/pop. Start to finish, the performances are solid from all four members of the band: singer Deb Hooks, guitarist Ricky Brewer, bassist Shaun Nelson, and drummer Nic Woods. Of course, solid performances only mean as much as the music being performed, and Ricky has a talent for writing strong, catchy stuff, as well as avoiding many of the common mistakes made by other songwriters. The slow songs still have some movement to them, and the fast songs really move. The songs have definite endings instead of just stopping. And the music compliments the vocals instead of fighting with them. I apologize for describing so many aspects of the music in terms of bad things that aren't being done, but I've heard a number of disappointing acts lately, and the talent of Plastic Parachute is a welcome change of pace.

Back on the subject of vocals, Deb has a great voice and uses it well. She also writes the words to the songs, which presumably makes them easier for her to remember. There's a little more to it than that, though. Sure, any lyricist is going to put his or her own experiences and feelings into a song, but I've frequently found a certain amount of distance in the end product. This doesn't happen when Deb sings; there's passion in the performance and real emotion in the words. (If you have any trouble making them out, lyrics to most of the songs are available at the "completely unofficial" fan site run by the band's street team leader.) I don't know who any of the songs are about, but I wouldn't want to be anyone who ever disappointed her.

To make a long story short, this is good music. It doesn't matter if you're a sit-and-listen music snob like me, or a get-up-and-dance music fan like most of the regulars at Plastic Parachute shows, you should find something you like in the live shows, in their album, and in the new EP. So hit a show, buy whatever CDs you need to complete your collection, and remember two important safety tips: check the floor before your knee-slide, and make sure you don't actually hit anything when you're banging your head. Keeping these thoughts in mind will reduce your risk of injury.

Stellar Fuzz

by Myk-El

There's something about a group that, in lieu of a banner, has decided to set up a custom Lite Brite with the band's name that says "pay attention to us." It's that kind of cleverness that tips Starfuzz's hand that they are a smart band. They also stand up, yet quietly assert that true musicianship is not dead.

I went to see the band at Brendan's based on a strong CD and an equally strong appearance on 99.5 The Mountain's Homegrown show. The music of Starfuzz appeals at a high technical level. It's intelligent, VERY well constructed and is absolute ear candy. It features strong songwriting, great arrangement, and yet it isn't so complicated that live performance suffers. It's almost like the modern version of chamber music. Call it Barockque music.

Starfuzz has two songwriters in Josh Skelton and Ryan Countryman. Both can carry lead vocals and play guitar, which also allows for use of harmonies, both with vocals and the guitars. Bass player Curtis Durham also rounds out the vocal sound on some tunes and the backbeat is provided by Jared Shiltz. They've chosen to incorporate a bit of AV fun with the live show; they have an intro made up of narration and footage that looks entirely taken from 50's educational films, particularly ones relating to atomic explosions. It was quite something. Once the music began, the TVs continued to show visuals. I occasionally found the TV's a bit distracting, and I wonder if the TVs would serve better behind the band.

The bigger distraction from the night, though, was a videographer filming the acts. Let's just say he was a bit up-close and personal with the band. I think he was working hard to find "art" shots. I half expected him to start filming a floating plastic bag at any moment.

It doesn't take many songs to to hear the talent in Starfuzz. They made a literal clean start be leading the set with "Clean." "Lies" and "Better Rockets" show their understanding of harmony, particularly with the vocals. We saw one good jam in the second set that invoked at times the spirit of Pink Floyd and at other times Santana. They work well together and you can tell when they look at each other during solos that they have fun.

If Starfuzz has a weakness, it's in the finer points of performance. Josh Skelton was working through a musical firefighter joke that delivery wasn't solid on, but that concept shouldn't be discouraged. The part that does need some work is filling the dead space when the guitar players either need to tune or switch out guitars. Some banter with the audience could help fill that. Their music doesn't lend itself to jumping around on stage or silly dancing, but a little more activity on the stage couldn't hurt.

Even if Starfuzz isn't going to get you shaking your booty the whole night, they ought to be seen live. The music is more refined than the standard musical fare we are offered most nights. It's better served with wine rather than consumed with beer. It's stimulating and a great way to spend an evening.

Just Needs A Little Seasoning

By Jeph

On November 19th, I joined my fellow Pool Cleaners to see Starfuzz perform at Brendan's. This night also afforded us our first opportunity to see Aubrey Collins on stage, making it even more worth the trip. And now that she's a "known quantity", we may be making special trips to see her in the future.

As a note, Aubrey started as a country music writer and songwriter. You can still detect the twang of it in her music now, but far less than say Shania Twain. Myk refered to her as a "less raspy Melissa Etheridge". What little bit of country twang there was strongly hinted at blues-influenced country.

She was also refreshingly different from most performers in her age range; most are moody, or participate in angry whining. But she doesn't lack any passion for the art, quite the opposite. She also had a lot of energy, definite confidence and presence, and exhibited a lot of "showmanship" on stage. And, while not in Wendy Woo's category, she was not afraid to properly use her guitar.

Not that she was the only one on stage worth watching. Any good performer will surround themselves with talent, and Aubrey is no exception. Josh of Starfuzz was on hand to do lead guitar, with the band rounded out by Skinny on bass, and Maddie on drums. All were more than competent to perform, and all have performed in other bands that we've at least heard of, if not had the honor of watching.

The songs they did seemed geared for an older crowd, which was another big surprise to us. While Aubrey might be young, she was writing with a maturity more suited for someone at least thirty Earth years old.

Only a few complaints came up for us. One was that, by the last few songs, things had started to run together a little for us. We think we can attribute it to the fact that Aubrey doesn't seem to have a large selection of songs yet. Still, she was losing some of us by the end of the set. Second, she was the only one singing, but it wasn't really an issue until the band covered "What I Like About You" by the Romantics; there were no backing vocals, which are essential for that song. And, finally, there were delays as she switched guitars before almost every song. We have no problem with performers switching instruments during an evening, as many of the acts we see have different needs in different songs, but most try to keep switching to a minimum, or have the action worn so smooth you hardly notice.

Either way, we saw an artist that has a good foundation built, and a nice head-start on the walls of her career. We'll be keeping an eye on her in the near future, interested in what she'll become.