Artist: The Doughboys
Title: Act Your Rage
Label: Ram Records 08-01
Released: January 2010
Genre: Rock / Garage Rock

Three of these band members cut a couple singles in Jersey in the 60s before they split up. Thirty–some odd years later, they regroup with a couple of new members and sound like they’re still in 1965.

When they cover the Kinks, they chose the cut, “It’s Alright.” It’s an early Kinks cut, more reminiscent of blues-based garage rock than the overtly English band they’d become. Lead singer Myke Scavone draws from the American blues from which it’s based, following the direction of Mick Jagger rather than Ray Davies. When he belts a ballad, like “Carmalina,” (the track I keep listening to over and over) he’s closer to Peter Wolf on the Geils’ debut album. On “Nobody’s Girl,” Scavone could be any of the lead vocalists on the first Nuggets collection.

What Scavone doesn’t sound like, is the lead singer of Ram Jam, the 70s band with the heavy version of Leadbelly’s “Black Betty;” which was produced by the bubblegum entrepreneurs, Kasanatz-Katz. But in truth, he was the pipes behind that song. Don’t let information influence your opinion of the band though. It’s just a bit of minutia, just like the fact that drummer Richie Heyman is the same person as power-pop performer, Richard X. Heyman.
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The album lags for four songs midway through. “Queen City” is straight-forward barroom rock, as is “12 Bars and I Still Have the Blues,” but they sound like something that might show up on a Bob Seger rarities collection. “Early Warning Wake Up Call” sounds more like an arena anthem and lacks the raw intimacy that most of the other cuts the CD delivers. “Desperate Delusion,” drops the names, Rodgers & Hammerstein and Jane Austen among others, that just don’t seem to cut it in my garage of rock.

But Scavone and the boys get back on track with the rave-up, “I’m Not Your Man,” which falls somewhere between the Yardbirds and Led Zeppelin. “Wishful Thinking” should make Tom Petty envious. The album closes with a cover of the Moody Blues, “Tuesday Afternoon,” a version that resembles the ‘what if the Moody Blues’ stayed true to their early R&B roots and forgot about all that bullshit orchestration?’
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The only thing new to the band has to offer is that they do it right. Many of these throwback bands get the image and the proper gear, but it all sounds forced or over produced. The Doughboys experienced it and they still can play it. They sound honest. I’ve never seen them live, but if they ever come to town, I’m first in line.

It’s just four songs too long. Otherwise I’d give it an A.

Artist: Sisters Love
Title: With Love
Label: P&C
Genre: Soul; Funk
Release Date: September 14, 2010 (original recordings, 1972 & 1973)

Let’s be honest. The soul music of the late 60’s and early 70’s has been so thoroughly researched, analyzed and reissued that the discovery of heretofore unknown gems seems impossible. Then along comes an album like Sisters Love’s With Love to destroy that jaded notion. With Love brims with the fiery, soulful funkiness that characterizes the era’s prime recordings. And, with this set of recordings, lead vocalist Vemettya Royster stakes her claim for membership in the elite clan of female soul singers of the day.

Sisters Love was started by a group of former Raelettes, who had departed Brother Ray’s touring ensemble under varying circumstances, none of them happy. Led by Merry Clayton, the group established a loyal following with their live performances at Los Angeles area venues. The group early established a black pride identity, with colorful African inspired stage garb and Afro hairdos. In 1968, Sisters Love released a single on the tiny Man-Child label. Shortly thereafter, Clayton departed to pursue a solo career, and Royster was recruited to fill the lead vocalist role. Royster was not only a former Raelette and Ikette, but also was singing with the renowned gospel group, the Clara Ward Singers. In 1969, Sisters Love signed with A&M Records, where they recorded 6 singles, none enjoying notable success. After being dropped by A&M, the group signed, in 1972, with Motown’s nascent West Coast label, MoWest. With Love consists of Sisters Love’s recordings while at MoWest, from 1972 to 1973, which included four singles (the fourth of which was released only in Europe) and material for an album that was never released.

Throughout With Love, Sisters Love experiments with a variety of styles, but the constant that drives these recordings is Royster’s voice. She sings with a rough-hewn passion that at once invokes her gospel roots and her knowledge of more worldly matters. Not afraid to take risks, she shouts and wails her way through the all of the material at hand. The other Sisters provide a stunning choir in support, out-churching any competition. As one would expect, the production support at these Motown-conducted recording sessions is flawless, with excellent arrangements and solid playing.The album opens with a roar: a Sly Stone influenced reading of Bobby Womack’s “Communication.” An insistent bass line moves this funky groover, while Royster belts the socially conscious lyrics, calling to the response of the other Sisters in a manner reminiscent of Aretha’s “Rock Steady.” From social commentary, the Sisters next move to affairs of the – er, heart, with “Mr. Fix-it Man.” A sassy song squarely of the Jean Knight/Betty Wright school of unrequited desire, Royster warns her man:

“You’ve got to fix it, Mr. Fix-it man/If you don’t fix it baby, maybe the milkman can.”

The next cut, “You’ve Got My Mind,” heads into more atmospheric territory, with its conga and strings laden arrangement providing a backdrop for Royster’s remarkable performance, which renders lyrics almost irrelevant as she cries and moans against the harmonic chanting of her mates. Also in the atmospheric department is a revelatory re-working of Curtis Mayfield’s “Give Me Your Love,” a song from the Superfly soundtrack. Sisters Love tackles more standard Motown Sound fare with “Fast Mack” and “Just A Little Misunderstanding” (the latter having been previously recorded by the Contours and the Jackson 5). It’s just that when Royster takes righteous flight, the cool, calculated Motown vibe is threatened with incineration. This is no Mary Wells or Martha Reeves! Also worth singling out for mention is Sisters Love’s fearless assault on the Sweet Inspirations’ signature song. “Sweet Inspiration.” I love the original, but this slower, rougher and tougher rendition is glorious.

The only time the proceedings flag a bit is the rare occasion when Royster steps aside for one of her companions, as she does with “Do What You Gotta Do.” Lillie Fort takes the lead here, complete with spoken word intro, in a performance that, when compared to the other songs on the record, comes up flat (both emotionally and pitch-wise). This is a brief detour, however, on what otherwise is a road filled with the energy and passion of one of the great eras of American soul music. This is one of those collections of vintage, mostly previously unreleased material that truly qualifies for the moniker “gem.”

Artist: Hugo Montenegro
Title: More Music From The Man From U.N.C.L.E.
Label: RCA LPM 3574
Release Date: 1966
Genre: Soundtrack / Lounge / Spy Jazz

Woooo hooooooo! What a find! 60s spy soundtracks are the bomb and this is no exception. This is the second release of music from the TV series; a show that shifted from thriller to camp and the music reflects the turn.

There’s nothing wrong with the traditional cool spy jazz that usually accompanies this content. In fact as a genre, it is highly respected. But as the series became more playful, the music became more buoyant, incorporating sambas and bossas, elements of rock and a little bit of funkiness ala Quincy Jones. “Jungle Heat,” the killer track on the album, sounds as if Money Mark & the Q were responsible for the composition.

“Boo-Bam-Boo Baby” takes on a far eastern feel, sounding like a funky Martin Denny number. “Run Spy Run,” could have been the benchmark for the soundtrack to the TV Series, Police Squad!

The two songs on the album that remains close to the traditional spy-jazz style are “Lament for a Trapped Spy;” a number very close to the Earl Hagen standard, “Harlem Nocturne,” and “Jo Jo’s Torch Song,” a song in the cadence of the “Perry Mason Theme,” but not as hip.

Hugo Montenegro arranged and conducted both volumes of music from The Man From U.N.C.L.E. but oddly enough, he never contributed any original scores. Jerry Goldsmith wrote the three original scores for the series and was followed by his protégée, Morton Stevens. (Stevens’ greatest height of popularity came as the composer of the theme to Hawaii Five-0.) Then there came a brief period where Lalo Schifrin composed and then Gerald Fried came in and was responsible for seasons two through four. Other composers for the series included, Walter Scharf, Richard Shores, Nelson Riddle and Robert Drasnin. More Music From The Man From U.N.C.L.E contains compositions by Fried and Drasnin, only.

Within the genre of Lounge / Spy Jazz, this is a fine record. The record is somewhat collectable and I am fortunate to get it at such a great price. But, if you keep diggin’ through crates, sooner or later you’re rewarded.

Artist: Mavis Staples
Album: You Are Not Alone
Label: Anti 87061
Release Date: September 14, 2010
Genre: Gospel / Soul

One reason I’ve always been a fan of southern soul music is because of the rich gospel tradition for which it is based. I’m not a religious man, but the elements of gospel, the emotional conviction, the voices, the blues that creeps into a guitar lick, resonate with my person. I have reached a personal crossroads when I listen to gospel, because I enjoy it so but have no religious convictions.

But when I listen to Mavis Staples, whether with her family band or her solo efforts, I never really hear it as gospel music. I know the hits on Stax were secular, but the messages were mini morality plays. When I saw her live this summer at Lollapaooza I told my family that if anybody could turn me to the Lord, it would be Mavis. When Mavis sings I hear honesty and conviction.  I don’t hear religion.

This is Mavis’ third album for the Anti label. Her first was the 20007 Ry Cooder produced, We’ll Never Turn Back. I found it a little predictable in the song selection, I liked the addition of the SNCC Singers on a civil right album, but it sounded a lot like a Ry Cooder record with Mavis singing. She had her name on it but Ry was driving the vehicle. His presence was overpowering.

I have to hand it to Jeff Tweedy for his production on You Are Not Alone. This is Mavis’ record. He contributed two songs on the release but they don’t sound like Mavis singing Wilco songs. They sound like songs Tweedy wrote with Mavis in mind. The title track is as close as you’ll get to hearing something washed in Wilco. And Mavis cleans it up. It’s one of the highlights on the album.

The album further defines the sound from the previous album, Live: Hope At The Hideout, a sound based around her father’s guitar style, but it’s definitely not Pops. It ventures there, like in the opening track, a re-interpretation of “Don’t Knock.” But it doesn’t live there. Holmstrom’s style is influenced by Pops, but it’s heavier. It works well adding grit to the gospel. Along with Holmstrom, It’s the same band of Jeff Turmes on bass, and drummer Steven Hodges from the Hideout disc. Donny Gerrard was added as a vocalist, harmonizing and sharing a lead on a song Little Milton made famous, “We’re Gonna Make It.”

The re-working of “In Christ There is No East or West” turns the traditional number into a gospel-folk piece. Her reading of Fogerty’s ”Wrote a Song for Everyone” elevates the work to new heights. When sung through Mavis,

Saw the people standin’ thousand years in chains.
Somebody said it’s diff’rent now, look, it’s just the same.
Pharaohs spin the message, round and round the truth.
They could have saved a million people, How can I tell you?

It’s a message of civil rights instead of an observation from the Woodstock generation. The song should be listed among the best of Fogerty’s during his days with Creedence Clearwater Revival, but it didn’t chart as well in comparison to the canon of CCR hits.

Mavis Staples is an evangelist, and her songs are her personal messages of morality. And if civility, love and perseverance are the cornerstones of her beliefs, I could be a member of her congregation.

The song opens with the flourishing Hammond organ and the promise of a great future. “Our will come / And we’ll have everything / We’ll share the joy / Falling in love can bring.” It was 1963, and the tumultuous sixties were still young. The song rings of hope and happiness. To me, the song doesn’t only reflect the newness of young love, but an overall feeling of optimism.

This was also a time where there was an influx of Brazilian music. It had its affects on pop music. In ’63, Presley covered Tippie & The Clovers’ “Bossa Nova Baby” and Eydie Gorme recorded “Blame It On The Bossa Nova.” “Our Day will Come” had its bossa rhythm happening.

I heard the song on a 60s -70s soul station and it stood out. I wouldn’t say it sounded out of place, but it is remarkably different from “Cry Baby” by Garnett Mimms, or Ray Charles’ “Take These Chains From My Heart,” two other examples of soul songs from 1963.

Artist: Jerry Lee Lewis
Title: Mean Old Man (Deluxe Edition)
Label: Verve/Forecast B001-4675
Release Date: September 7, 2010
Genre: Rock, Country

“Got to scrape the shine right off your shoes,” sings Jerry Lee, backed by Keith Richards from the Stones number, “Sweet Virginia.” Jerry Lee, you might as well say “shit,” like it was done in the original version. You ain’t fooling me. You may be too late for the redemption bandwagon.

Mean Old Man is the follow up to 2006’s special guest-packed, Last Man Standing, with many of the same artists returning. Mean Old Man isn’t the rocker the Last Man was, but that’s all right. With Lewis’ vocal range becoming more narrow and less fortified, the country songs bring out the nuances of his delivery.

One thing that isn’t suffering is Jerry Lee’s piano playing. It is still signature Killer keys, not as pounding as it used to be, but the rhythm still pumps. You can witness it on the cover of Chuck Berry’s “Roll Over Beethoven.” Lewis shows he’s still not ready to roll over and play dead. He may be an old dog, turning 75 at the end of September, but he can still provide us with a few tricks.

“You Can Have Her,” rocks hard too, featuring Eric Clapton James, Burton and three other guitarists. Yes, five guitarists. With Clapton and Burton and their reputations, I can’t imagine why five guitars are necessary. This isn’t the Wall of Sound.

Kid Rock’s contributions on “Rockin’ My Life Away” are a cloud on an uncloudy day.  As much as he would like to think he’s got an attitude similar to the Killer, Jerry Lee’s got more evil in his pinky that tickles that eighty-eighth key than Kid Rock has in himself and his entire entourage.

The two country numbers backed by Gillian Welch shine brighter than any of the rock offerings. The two standards, “Please Release Me” and “I Really Don’t Want To Know,” sound like they’re handled with care. Even though they are standards that have been covered numerous times – even more than once by Jerry Lee – their harmonies still pack some emotion.

Kris Kristofferson’s “Sunday Morning Coming Down” provides the best soundtrack for Jerry Lee. The Killer sounds reflective and weary when interpreting the song. It the most personal reading you’ll hear on the disc.

The other songs that work best on the disc are contrary to the title, Mean Old Man. The two gospel songs, “Railroad To Heaven” and “Will The Circle Be Unbroken” get support from Solomon Burke & Mavis Staples, respectively. I don’t know how many times Mavis as recorded “Circle,” but every time she does, she delivers.

The album finishes with Lewis, solo at the piano, singing “Miss The Mississippi And You.” The track was recorded at Philips Recording Studio, Memphis, Tennessee. Jerry Lee even attempts a bit of the old country yodel, which he doesn’t quite pull off, but that’s okay. The sentiment is there.

The songs that work best here are not reflective of the title, Mean Old Man. The gospel tunes and country ballads make this disc worthwhile. It’s Jerry Lee’s personal conviction behind those songs. Maybe I should have taken it to heart that the Killer didn’t want to sing the word “Shit.” I still don’t believe in a kinder, gentler, Jerry Lee Lewis, but I do believe the man is aware of his legend and legacy.

Many proven songs and artists, but all that talent just doesn’t add up.

Admittedly, I am not a big Bob Seger fan. I’ll also confess, I’ve seen him live twice. Once by accident, and once as a high school senior on the “Against the Wind” tour. Most recently I saw him in New York City when I received a free ticket to see the David Letterman program in 2006. Mr. Seger was the musical guest, supporting his “Face The Promise” album.

“Ramblin’ Gamblin’ Man” came off his Capitol debut of the same name, an album I do not own but will purchase someday at a garage sale for twenty-five cents. It’s a Detroit rocker, something Mitch Ryder could’ve easily pulled off, with lyrics of personal legend, something that Wilson Pickett was phenomenal at purveying. Seger runs through it like a freight train, with the organ pumping, never losing his breath, just pounding out smokin’ rock and roll.

Because of Seger’s slide into mainstream classic rock in the 70s and 80s, the song is overlooked and under appreciated. If you look at it as a Top Twenty single from 1968, I’ll take it over “Lady Willpower” by Gary Puckett & the Union Gap any day. In fact, I’ll think it would slide nicely between a couple of its contemporaries, “Baby, Now That I Found You” by the Foundations and “Cry Like A Baby” by the Box Tops.

I heard the song at about 11:00 am on a Sunday, Sept 12, while baking oatmeal cookies. (I was baking with attitude). I had just turned off a rebroadcast of American Top 40 from 1974. The number one hit, for the third consecutive week was Paul Anka’s “You’re Having My Baby.” No wonder Seger sounded so great.

Artists: Rick Holmstrom, Juke Logan & Stephen Hodges
Title: Twist-O-Lettz
Label: Mocombo
Released: August 17, 2010
Genre: Roots Rock; Blues

The back cover of this album promises a record that is “sending the blues & other like-minded music through other-worldly filters…resulting in something reverently irreverent, respectfully reckless, ruthlessly relentless, heretofore unencountered & stranger than fiction…” So, does Twist-O-Lettz deliver on this brazen bit of braggadocio? In large part yes, though there are disappointments along the way.

The components of Twist-O-Lettz are guitarist Rick Holmstrom, drummer Stephen Hodges and harpman John “Juke” Logan, all three veterans of the Southern California blues and roots rock scene. Holmstrom has worked with harp-players William Clarke and Rod Piazza, among many others, as well as making solo records. In 2002, he released a less than universally admired album, Hydraulic Groove, which prominently featured samples and drum loops. Logan is known for his work with, among others, Ry Cooder. Hodges’ work has gone from drumming for James Harman’s powerhouse late 80’s blues band of the Dangerous Gentlemens era to playing on multiple albums by Tom Waits. As can be readily gleaned from these resumes, all three are accustomed to working inside and outside a pure blues context.

Twist-O-Lettz is by no means a purist’s blues album. Rather, it is a stripped down, electrified roots rock record that howls and snarls its way from the opening invitation to “The Land of a Thousand Dances” to its closing declaration of independence (from conventional – commercial? – music tastes), “Ways Of Action.” Recorded live in the studio exclusively by Holmstrom, Logan and Hodges, the album is driven by drums and guitar. Logan plays harp only as a solo instrument. There is no bass. No keyboards. No additional guitars. Holmstrom’s guitar, however, is run through a multitude of effects, drenched in reverb, tremolo and “space echo.” The ever-inventive Hodges fills out the sound with an ample percussive palate from sometimes playing “voodoo drums,” to at other times producing a hoof-like clop-clop. The result is at once starkly simple and aurally arresting. Often it feels like the swampy sound of Excello records on steroids. And married to the driving rhythms of the Fat Possum school of primal blues. Guitar solos, at least of the single string variety, are at a minimum, as Holmstrom sticks to riffing his way through the instrumental bits (check, especially, his Chuck Berry cum Keith Richards turn on the Jerry McCain-penned number, :Turn Yer Damper Down”). Logan picks his spots for harp solos, entering the fray at opportune moment s (such as his fine Little Walter-inspired solo on his self-penned “Lone Wolf”).

So what’s not to like? Actually, the closer the group hews to more traditional blues fare, the less interesting things get. I suppose it’s a natural for John “Juke” Logan to cover Little Walter’s signature song, but “Jukestaposition” seems relatively lifeless in the company of its sibling tracks on this album (and, by the way, what’s up with failing to give Walter Jacobs at least a partial song-writing credit in the liner notes?). Same with Elmore James’s “Wild About You.”
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This album really clicks when, as promised, it ventures into stranger territory, for example the effects-laden re-working of New Orleans song-writing icon Chris Kenner’s “Land of a Thousand Dances.” Before getting to the familiar role-call of dance moves, we’re treated to an invocation courtesy of the African American spiritual, typically heard at Christmastime, “Children Go Where I Send Thee.” Weird, but affecting. Also inhabiting this terrain is Logan’s “Lone Wolf,” with its nasty guitar and rejectionist lyric: “I may be lonesome, but lonesome is cool.” Logan again contributes with the more up-tempo “We Got ‘Ta Rock,” propelled by Holmstrom’s gritty rhythm playing and Hodges’ relentless cymbal-free pounding. Logan’s urgent harp solo here is riveting. Holmstrom’s country-tinged “Look Me In the Eye” also works, with guitar playing so choked and rhythmic that chords become irrelevant (and indecipherable!). At the end of the song, Holmstrom exclaims, as only a transplant to Southern California can, “Take off those sunglasses and look me in the eyes!” The finale, “Ways of Action,” is an extended (7:04) tour de force and recapitulation of the sonic mayhem that has come before. The band, having set forth its musical vision, declares: “You try to tell me how the music should go/Look North, look South/Look at your back before you run your mouth.”
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Despite its flaws, Twist-O-Lettz’s head-long pursuit of a roots-oriented yet original soundscape is clearly reward enough for taking this ride.
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Artist: The Black Keys
Title: Brothers
Label: Nonesuch 520266
Released: May 18, 2010
Genre: Rock

Like long-time music producer Jerry Wexler used to do, the Black Keys went to Muscle Shoals to record a good portion of their third Nonesuch Records release, Brothers. That seemed to be a viable solution for Wexler. It’s been two years since the Danger Mouse produced Attack & Release, and since then, the Keys spent some time away from their parent project, with drummer Patrick Carney playing bass with a band called Drummer and Dan Auerbach releasing a solo album, Keep It Hid. Somewhere in there, they also had time to work on the Damon Dash produced Blakroc rap-rock collaboration.

My fear for this release was two-fold; first I thought it might never happen, thinking the band broke up. Second, I was afraid the reunion would not be fruitful, and just a walk-through of their past formulas.

I have little faith in fellow man. But I now have more faith in art. So, my apologies go out to Mr. Carney and Auerbach. This album shows no signs resting on their laurels, weariness or lack of creative spirit.

The album leads off with, “Everlasting Light,” somewhat of an anomaly on the record since it leads more toward glamour of T. Rex rather than the fertile black soil from which they usually dig. Plus, Auerbach has found his falsetto, a tool he also uses on the track “The Only One.”

“The Only One,” is a 70s string section away from being a Hot Chocolate cover. Auerbach’s voice almost reaches that register again on his cover of Jerry Butler’s “Never Gonna Give You Up.” Complete with glockenspiel, some fantastic fuzzy fills and light strings in the back – I’m thinking they’re synth-derived – it’s a lesson learned from their association with Danger Mouse.

With Danger Mouse they learned an overdub or two is allowed in the studio. Just because they’re a duo, doesn’t mean they have to be limited to two instruments. Auerbach learned that too from being on the road for his solo tour, being back by a truly underrated band, Hacienda. If the sound is attainable, go for it.

Danger Mouse does make an appearance on the disc, producing the lead single, “Tighten Up.” Starting with r&b bass line followed by whistling, the song turns into a pursuit of love and its aches and pains. The number opts for a guitar riff instead of a chorus, a bit of a twist for a number intended to be a single.

Another proof of the Danger Mouse influence is heard in “Ten Cent Pistol.” Not quite the spaghetti-western guitar sound heard on Attack & Release, but it does sound like a song that was intended for the devil-child of Marty Robbins.

The implementation of the harpsichord on “Too Afraid To Love You,” shows a maturity of experimentation brought upon by the two-year hiatus of the Keys. Once again, venturing into areas that were once probably only thought of.

On the other hand, there is no mistake that this is a Black Keys record. It is aptly titled Brothers with its genealogy shining through. You separate the brothers for a couple of years and they come back with experiences that need to be shared. And if you need a little more inspiration, send them to Muscle Shoals.

Magic Mirror – Champagne & Hostages
Genre: Rock

The Litany:

I like a few of the songs, but this style of music really is not my bag. So my final grade on this may seem a little harsh. The band sounds like they know their way around the studio except when it comes to mixing in the vocals. I like the whole sound of the floating guitars but the voice made me not care because it sounded like he didn’t care. I felt the same way about the Smiths, I loved the music but I thought Morrissey needed a swift kick in the ass (and I know that’s not a popular opinion). But at least Morrissey had some drama.

Song by song summary:

Track 1: Starts off with a riff similar to “Hocus Pocus” by Focus. I’m expecting something more on the metal side of things but the vocals are droning, like an apathetic 80’s wash of production. The chorus provides energy as the song slips into a Television-type guitar riff. I can’t understand a word they’re singing on iTunes, my iPod or my stereo.

Track 2: I’m assuming this track is called, “You’ll Never Be Free.” The production is cleaner. I can understand the lyrics. It’s a nice bouncy break-up song. But once again, the vocal delivery sounds rather lazy and I don’t think the singer really cares if he’s jilted. So why should I?

Track 3: Really nice guitar intro, like it’s played through a chorus effect. The pace of the song matches the vocal delivery much better. It’s damn near a modern folk song.

Track 4: There’s some very trippy fader production and feedback in the intro and then it lapses to a derivative late 80s early 90s rhythm pattern used by shoe gazers. Again, there’s that big splashing wave of production, reminiscent of the Kitchens of Distinction, but heavier on the keys. If I would have seen this band in the 7th Street Entry in 1988, I would have thought highly of them. Right now, it sounds a little dated.

Track 5: This sounds like the Electric Prunes became zombies. And I don’t mean Rod Argent & Colin Blunstone.

Track 6: Very close to a reworking of “A Cowboy’s Lament.” Maybe if the effects were stripped off the vocals I’d like the voice better. I’m definitely having trouble with the vocals. It’s like a lazy-reverbed Nick Cave, with a cold, a half an octave higher with a little less octane.

Track 7: The intro slides into a very Harrison-like territory. And it sounds like there’s an addition of a female backing vocal. This is highly welcomed but it almost sounds if she has replaced the slide guitar.

Track 8: Another song that strips away the big production and the song sounds more like a modern folk song. The melody becomes more simplistic and the voice sounds more vulnerable. It’s my favorite song on the album so far. I’m guessing it’s called, “Never Gonna Die.”

Track 9: I’d like this song better if David Gedge sang it.

Track 10: All I can think of now is replacing the vocalist. I really like the instrumentation of these numbers. The big production doesn’t bother me. Melodically, a little of the hazy-floating side, but it’s pretty accessible. I want Chrissie Hynde to cover this one. Her voice would cut through the production instead become part of it. I thicker voice over this production would benefit the album.

Track 11: “I Love My Evil Country;” This should be the last song on the album. Even though I’m not one hundred percent sure of what I just aurally witnessed, this song seems to sum of the sentiments. It starts with the sparse production and goes big, like a traditional finale. Instead, well, read below.

Track 12: Incessant noodling, backward masking and self-indulgence isn’t a nice way to say goodbye.

Grade: C+

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Well, it really doesn’t change my opinion. I checked out their MySpace page and read some of the posted reviews. The biggest difference was my confusion for “apathy” with “dry.” Track 3, 8 and 11 would be welcome on a mix along side their influences. But that’s three tracks out of twelve. In baseball, that’s a .250 average, which is a little below the “average average.” And I gave them a C+, which is a little above average. If you make the hits count, then it’s worthy of more praise, in both scenarios.