Now It's On

Single Review: The Original 7ven "#Trendin"

This is a test, I'm not supposed to like this right? It has been over 21 years since The Time released their last studio album, but they are set to return with the October 18th release of "Condensate". But, you say, this single and the album artwork is credited to something called The Original 7ven. Is that a clever way of saying and spelling 'Seven' or do you pronounce it 'Sevenven'? These are the things that keep me up at night.

However you want to pronounce it, check the fine print under their new name and you'll see 'The Band Formerly Known As The Time'. Now that IS a clever way of getting a shot in at Prince, who in a bit of a dick move, refused permission for the band to use their original name since he owns it and was not in any way involved with this album. Ask The Family...err.... excuse me, FDeluxe about that whole situation. I hope Madhouse or Vanity 6 aren't planning any reunion albums anytime soon. 

Yes Morris Day, Jimmy Jam, Terry Lewis, Jesse Johnson, Jellybean Johnson, Monte Moir and Jerome Benton are back together again, and what we have here is the lead single from "Condensate". So as I asked above, I'm not supposed to like this, right? First, you have the incredibly tacky concept of building a song around Twitter. It's called "#Trendin" for God's sake! Hashtag and all! Then you have Morris shouting out to his "Tweetiepies" posting in their blogs and calling for you to "Tweet it up y'all". Those are some fairly cringe worthy lyrics. This is akin to someone basing a song around MySpace five years ago. 

Basically this song is one Twitter and online reference after another, all catered to Morris Day's proclivity to brag about himself at every opportunity. All his old standby's are here. How cool he is. How sexy he is. Even a reference to "the 12 Inch and I don't mean the record". At this point you're starting to side with Prince's refusal to lend The Time name to this project. Like the old Chris Rock routine, Im not saying he is right... but I understand. 

The song is synth heavy, there is barely any of Jesse Johnson's guitar on it, or Jellybean on real drums for that matter. Yet, despite the corny, sure to be dated in no time subject matter, the damned thing is catchy! The chorus especially, as repetitive as it is, has been stuck in my head since I first heard a snippet, and even more so now that the whole song is available. I'm a sucker for a good piece of musical cheese, and that is exactly what "#Trendin" is. Cheesy, corny, dated, yet catchy as hell. Is it a good sign for the album that this is what they chose for the first single? I'll just say I hope there is stronger material than this on "Condensate", and I trust with the incredible talent that makes up The Original 7ven, there will be.

Album Review: The Rural Alberta Advantage "Departing"

The more I seek it out, the more I am discovering how much great music is coming out of Canada these days. The Rural Alberta Advantage is the latest I've added to my list, as their March released second album "Departing" finally made its way to my ears.

Coming off a mini-obsession with St. John's, Newfoundland's Hey Rosetta!, this Toronto based trio is a bit of a musical departure from the full arrangements I've been listening to. The Rural Alberta Advantage prefer stripped down arrangements that manage to lose none of their power in their sparseness. With Nils Edenloff on lead vocals and guitar, Amy Cole on backing vocals and keyboards and drummer Paul Banwatt, the lack of bass on many of these songs sticks out right away. 

But songs like opener "Two Lovers", "Coldest Days" and "Under The Knife" are still wonderfully melodic and hold your attention as much as any overblown, overproduced "epic" track could. The band take the album away from acoustics and in a more rock direction on "Stamp" and "Muscle Relaxants". The keyboard driven "The Breakup" is a highlight, but the standout track here is "North Star", which opens with just Banwatt's beats, a lone piano and Edenloff's somber vocal. The song finally expands a bit in the last minute to get about as lush as you'll hear from The Rural Alberta Advantage.

Don't let the bare arrangements on much of their work fool you. The Rural Alberta Advantage grabs you instantly with their brand of indie rock and pop, with a wee bit of acoustic folk thrown in at times. Edenloff's vocals are unique and suit their music perfectly. Yet another band serving notice that the days of cracking jokes about Canadian music are long gone.                 

"Departing" was released in the U.S. March 1, 2011 on the Saddle Creek label.

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Album Review: Thirteen Senses "Crystal Sounds"

Blending a number of different influences and styles, Thirteen Senses have produced another of 2011's fine releases with their third full length "Crystal Sounds". The quartet from Cornwall, England have a spacey rock feel in a lot of their music, but it has a definite pop sensibility, with swooning melodies and choruses, all topped off with a heavy dose of dreamy strings and orchestral movements. And it works to tremendous effect.

"Crystal Sounds" comes almost four years after the band's last release, 2007's "Contact". Despite little presence in the U.S., a number of their songs have turned up on American television shows including Rescue Me, Grey's Anatomy and, most recently, Pretty Little Liars. The title cut of the new album seems custom made for that type of exposure. With its stirring strings during the chorus, it's a rather majestic song.

Thirteen Senses may base a lot of this album in tried and true rock formulas, but they incorporate plenty of electronics as well as piano, exposing a love of pop melodies at their heart. "Send Myself To Sleep" is the album's one true ballad, a sweet, mainly acoustic number. The over eight minute long "Out There" is a triumph, starting as a piano ballad before bursting into a cinematic mid-section, then closing with a nearly four minute orchestral ending. Lead vocalist Will South particularly shines on the single "Home", another of those tracks that make you think this is the type of stuff that should be dominating radio. Catchy, yet slightly melancholy, its one of the many highlights on "Crystal Sounds".

I hear albums and I just wonder how music like this falls through the cracks. This is the first album for Thirteen Senses not to be released on a major label, and they do have a following in the UK, but it just seems a band that makes music this good should be so much bigger. If bands like Travis, Snow Patrol or Coldplay are your thing, it is a sure bet you'll love Thirteen Senses and "Crystal Sounds" is a must hear.

"Crystal Sounds" was released in the UK February 21, 2011 on the b-sirius label. It is only available in the U.S. as a download.

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Concert Review: Hey Rosetta! - DIY Street Fair, Ferndale, Michigan, 9/17/11

Released back in February, "Seeds" by Hey Rosetta! ranks among my favorite 2011 releases as the year starts to wind down. But sometimes, even if you like their studio work, you have to see a band live to graduate to that next level of appreciation. I've read plenty about what a great show the Canadian band puts on, but wasn't guessing I'd be seeing them anytime soon.

Then the 2011 musical lineup for this year's DIY Street Fair in Ferndale was released, and I had to check a few times to make sure my eyes weren't deceiving me. There they were, scheduled to play Saturday evening, none other than St. John, Newfoundland's own Hey Rosetta!, smack dab in the middle of all the Detroit area bands and musicians on the bill. All I can do is give a huge thank you to whoever was responsible for booking this band for the festival. After witnessing their set, I'll pay money anytime in the future to see Hey Rosetta!, and here we were being treated to a free set at a free festival.

Led by main songwriter, lead vocalist and guitarist Tim Baker, the six piece performed a number of tracks off of "Seeds", as well as a few from its predecessor, 2008's "Into Your Lungs (and around in your heart and on through your blood)" that kept the crowd mesmerized from the musicianship on display. It was certainly a very well received set, with a number of diehard fans, likely having travelled from Ontario, at the front of the stage singing along and shouting out song requests.

Baker fluctuated between acoustic and electric guitar, as well as piano, while the string section of Kinley Dowling on violin and Romesh Thavanathan on cello drenched these indie rock/pop songs in layers of beauty. No, Hey Rosetta! are not the only indie band with a string section (Detroit has its own with the wonderful The Juliets), but Baker is a stunningly good songwriter and storyteller, and this is without a doubt one of the best bands coming out of Canada that I have heard in a long time.

Favorites from "Seeds" that were played included "Yer Spring", "Young Glass", "Bandages" and the plea to a newborn, "Welcome". Tracks from "Into Your Lungs" performed included the opener "New Goodbye", "I've Been Asleep For A Long, Long Time" and the set closer "Red Heart".

Filled out by drummer Phil Maloney, guitarist Adam Hogan and bassist Josh Ward, Hey Rosetta! is simply a band not to be missed. Baker is an energetic, intense and passionate front man and the astonishing music coming from the stage is infectious and draws you in to this sensational band. If you love music, its hard to walk away from a Hey Rosetta! show without becoming a fan. Here's hoping this is not the last time they'll make it to the Metro Detroit area.      

Album Review: Duran Duran "All You Need Is Now"

With my first Duran Duran concert in over twenty years quickly approaching, it's time to re-visit their current release. "All You Need Is Now" was first released, as a download only, in late 2010. The download version only contained nine tracks, but they made for a concise album, with no filler, and the group's best since 1988's "Big Thing". I raved about the download version in my review, with the knowledge the physical release to follow in 2011 would be extended with extra tracks.

Released in March, the CD version of "All You Need Is Now" has 14 tracks in the standard version, 15 in the Deluxe Version and 17 in the Best Buy exclusive version. (For the record, I hate this practice of throwing extra songs on multiple releases, causing a collector or fan to have to buy two or three versions of an album to get all the new songs.) So does it suffer from the extra material or does it still hold together as the solid, cohesive album the original nine track download was?  

Although some of the additional tracks are weaker than anything on the download version, "All You Need Is Now" still stands as one of the best albums of Duran Duran's career. Even while incorporating modern twists to it, Mark Ronson has helped bring back the sound that the band became famous with. Ronson's goal was to make the long lost follow-up to "Rio", and he and the band, along with mixer Mark 'Spike' Stent, have overwhelmingly succeeded.

Of the six new tracks on this 'Deluxe Edition', two are short orchestral interludes featuring strings arranged and conducted by Owen Pallett. "Too Bad You're So Beautiful" is the best of the added tracks, another meld of dance and rock that Duran Duran hung their hat on in their heyday. The chorus is a classic Simon Le Bon vocal performance, this is yet another song that sounds like a long lost "Rio" track. "Other People's Lives" is an electronic condemnation of gossip laden tabloid media and the public's obsession with it while "Mediterranea" brings a tropical island feel, basically what you'd expect a song with that title to sound like. The only new song that really doesn't work here is bonus track "Networker Nation". Although it's not bad, it feels like what it is, a bonus track tacked on at the end that was better left as an outtake.

Quickly approaching a year later, the original nine tracks have not lost any of their luster. "The Man Who Stole A Leopard" is still a sinister slice of sexy funk, "Leave A Light On" is still their best ballad since "Save A Prayer", and "Being Followed" still sounds stolen straight from 1982 with John Taylor's bouncing basslines, Nick Rhodes' atmospheric synth and Dom Brown sounding eerily like Andy Taylor with his guitar licks. "Girl Panic!" would have been all over radio back in the 80's, when commercial radio still was even relevant and actually played worthwhile music. 

"All You Need Is Now" ranks as one of 2011's pleasant surprises. As other favorites from my formative years (cough, cough PRINCE) continue to flounder with mediocre releases, unsure of what they are supposed to sound like on record anymore, it is nice to see Duran Duran sounding like Duran Duran is supposed to again. A triumphant return.  

"All You Need Is Now" was released on CD in the U.S. March 22, 2011 on S-Curve Records.

Music Video: Dale Earnhardt Jr. Jr. "Simple Girl"

Hometown favorites Dale Earnhardt Jr. Jr. have just released their second music video, for the track "Simple Girl". Josh Epstein and Daniel Zott work their love of basketball into the storyline and of note to DEJJ fans, this is a remixed version of the song, quite different from the version on their debut album (and before that the "Horse Power EP"). I think I like the stripped down simplicity of the original a bit better, but this is a nice re-working. Now to see if I can track down a promo CD of this version...

Album Review: Saso "Exitudes"

I picked the perfect night to listen to the new album by Dublin-based band Saso. The first cool night of the Michigan fall, with the sun going down early, a gray sky and a distinct chill in the air. Cuddled up on a warm couch, with a pair of headphones on while the temperature continues to drop outside sums up the ideal listening experience for "Exitudes".  

At times dark and ominous, at others warm and inviting, "Exitudes" marks the return of Saso, five years after their last release. The band is centered around the duo of Jim Lawler and Ben Rawlins and they've created an album borne out of frustration about the direction their music was taking, as well as the economic decline of their homeland. Certainly the latter is a theme nearly universal these days. 

In 2007, Saso's track "Type A Jitters" was used in a Coors Light television ad in Ireland, and brought considerable recognition for the band. However this success seemed to have led Lawler and Rawlins down the path of trying to develop a more commercial sound to capitalize on their increased exposure. Those sessions were abandoned and "Exitudes" is the result of them picking up the pieces, starting anew, and recording the music they wanted to make. And the listener reaps the rewards of this decision.

Billion Hands by saso band

"Billion Hands" starts the new album, a subdued piano and drum enveloping Lawler's voice. It's as gorgeous as it is slightly eerie. "Carousel" is a dark waltz while "From Limbo" utilizes piano, acoustic guitars and tapping drums, as much influenced by indie rock as anything else here. 

Although the tone of this album could never be confused with sunny, things take a turn in its second half with a focus on acoustic balladry, with the lovely falsetto chorus of "Man Overboard" an obvious highlight. "Facts" is a warm track with Lawler going in and out of falsetto while acoustic guitars, piano and a shuffling beat surround him. "Sooner Or Later" is also not to be missed, starting very sparsely and somewhat foreboding, before transforming into its beautiful finish of melodic piano and falsetto vocal cries.

"Exitudes" was my first exposure to the music of Saso. I don't plan on it being the last. This is emotionally stirring music, certainly something that grows on me with each listen, and I plan to cozy up with it quite often in the coming Michigan winter. Perfect soundscapes for the coming deep freeze.  

"Exitudes" was released in the U.S. as a download only on July 11, 2011 on the Melted Snow label. A physical release is scheduled for September through the band's website. 

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Album Review: Charlie Simpson "Young Pilgrim"

I'll admit it, I'm a sucker for this kind of stuff. There's nothing like a well done, melodic, acoustic based pop song and Charlie Simpson has come up with twelve of them on "Young Pilgrim", his solo debut. Simpson joins the likes of Andrew Belle, Greg Laswell (who he sometimes vocally reminds me of) and James Vincent McMorrow, who've all produced albums in this genre that are amongst my favorites of the last couple years. It should also come as no surprise that the album was produced by Danton Supple, known for his work with Coldplay and Doves just to name a few, as those influences can certainly be heard as well.

It has been an interesting journey to get to this point for Simpson. He is only 25, but already has been in the music business for ten years, starting as a member of British boy band Busted. Growing tired of performing music that left him feeling unfulfilled, Simpson left Busted in 2005 to focus on his recently formed new band Fightstar. A far cry from the teen pop he was performing with Busted, Fightstar is a post-hardcore band, dabbling in alternative and hard rock as well as metal. Although the band still plans to return, Simpson and the other three members went on a hiatus last year so they could take on other projects, including this album.

So "Young Pilgrim" is yet another change of direction for Simpson, but it proves he can do the acoustic based, singer/songwriter thing with ease. Every song has a major hook, starting with opener "Down Down Down", with multi-tracked vocals producing a resounding chorus before the song becomes a combo folk/country-rock stomper in its final minute.

There's simply no denying the instantly catchy choruses and harmonies that dominate this album. Tracks like "Hold On", "Cemetery" and "I Need A Friend Tonight" all swim along on acoustic guitars, strings and Simpson's warm baritone. Nowhere is there a better example of the pop songwriting prowess on display here than on second single "Parachutes". I don't know if that title is a nod to the previously mentioned Coldplay, but the pounding pianos, howling backing vocals and jangly guitars of the chorus certainly bring them to mind. 

This album has a late summer feel, laid back and warm, but with enough pensive moments to know fall is right around the corner. Most of the songs are mid-tempo, with "Sundown" the only true quiet ballad. It closes with perhaps its loveliest track, "Riverbanks", which starts with guitar strums and piano before bursting into a grand chorus declaring "Open your eyes, something beautiful is happening." That would serve as a pretty good review for this album as well. Open your eyes and ears to "Young Pilgrim", a wonderful solo debut from Charlie Simpson. 

"Young Pilgrim" was released in the UK August 15, 2011 via PIAS Recordings. No word yet it it will receive a U.S. release at some point, but it is well worth importing.

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Concert Review: George Clinton & Parliament-Funkadelic - Arts, Beats & Eats, Royal Oak, Michigan, 9/5/11

About 15 minutes into the P-Funk set at Arts, Beats & Eats on Labor Day, I was seriously starting to wonder if George Clinton was even on the premises. There were plenty of other people onstage, as is customary at a P-Funk show, but Dr. Funkenstein himself was nowhere to be seen. Finally, as Belita Woods seemed to be getting on everyone's last nerve, a roar from the crowd came up and The Mad Messiah GC came walking onto the stage. 

Although the colorful dreads, feathers, beads and such fans are used to seeing on his head are a thing of the past, George, even at 70, got the packed crowd funked up. Look, I know that George Clinton does not actually DO much onstage at this point. His voice is somewhat shot, and he's often playing more of a conductor's role during extended jams, but he is still the ringleader of the P-Funk crew and this show saw a noticeable burst of energy and excitement the minute he hit the stage. 

Once Clinton joined the band, they kicked into "Red Hot Momma" and the show truly began with this insane groove that was extended with guitar solos and various band members taking the spotlight. Of course Sir Nose was there, and of course such classics as "Flashlight", "Mothership Connection (Star Child)", "One Nation Under A Groove" "(Not Just) Knee Deep" and "Atomic Dog" were all played.

Given that this was a shortened set with the 10PM curfew, Clinton and the gang did a good job of picking songs that would keep the energy level high. The only letdown of the evening seemed to be every time Belita Woods grabbed the microphone. This is not even an exaggeration, once Clinton was onstage and things got seriously funky, there was an audible, collective groan from the audience when Woods again took over and things slowed to a crawl. It was a momentum killer every time, but luckily the second half of the set kept the focus on the funk. As usual, a highlight was the performance of "Maggot Brain", with Michael "Kidd Funkadelic" Hampton doing the late Eddie Hazel proud as always with a searing performance, truly one of the greatest guitar songs and solos ever. 

Even though this was a much shorter set than the P-Funk show I saw and reviewed at the Royal Oak Music Theatre back in February, I enjoyed this performance more. The shorter time period kept the set more concise and focused where it should be, instead of the endless parade of guest vocalists that dragged the ROMT show down. Clinton seemed much more active during this closing performance of Arts, Beats & Eats as well, jumping, even dancing and singing much more than he did in February. The P-Funk All-Stars are still a formidable army, and this was a great way to close a great year of music at Arts, Beats & Eats.  

Album Review: The Great Book Of John "The Great Book Of John"

Not only was Wild Sweet Orange's "We Have Cause To Be Uneasy" one of the best releases of 2008, it's an indie rock classic in my book. It garnered the band a lot of attention and positive reviews, an appearance on The Late Show With David Letterman, and opening slots for such bands as Counting Crows, Guster, Margot and the Nuclear So And So's and Augustana to name a few.

However, in July of 2009 bassist Garret Kelly and founding guitarist Taylor Shaw left the band, this after guitarist Matt Parsons had done the same earlier. Lead singer and main songwriter Preston Lovinggood tried to keep the band going, but obviously the magic had been lost and he finally announced the band was done in September of 2010. Shaw already had another project going in 2008 with The Great Book Of John, whose debut album "Yves' Blues", a mostly acoustic affair, came out that year. Leaving Wild Sweet Orange gave him the chance to dive fully into his new band.

Now The Great Book Of John have returned with their second full length, and it's quite the departure from their debut. Shaw is joined by fellow former Wild Sweet Orange members Chip Kilpatrick on drums, Rebekah Fox on vocals and the aforementioned Garret Kelly on keyboards, along with bassist Alex Mitchell ,on an album that certainly explores similar territory to a lot of WSO's material, but also branches out into both psychedelic and experimental rock directions. No matter what label you care to put on it, it's a fantastic listen and ranks as one of the best releases of 2011.

Produced by Remy Zero's Jeffery Cain and engineered by Darrell Thorp who has worked with the likes of Radiohead, Beck and Outkast, "The Great Book Of John covers a vast amount of musical terrain. Things kick right off with the huge, heavy guitar hook of "Robin Hood". "Let It Slide" delivers a wall of sound, with acoustic guitars driving the song at first but soon joined by strings, pounding drums and eventually atmospheric keyboards to bring the song to a dramatic close.

Things settle into a more acoustic based mood for a good portion of the middle section of the album. "Wise Blood" is a string heavy piece, while the acoustic guitar and piano based "Ashes Over Manhattan" may just be the loveliest song on here, though it has competition. The piano heavy "On And On" and vocal harmonies of "Cover My Eyes" are outstanding ballads as well.

"Simple Things" is another standout, mixing southern rock influences with a strong sense of melody on the dynamic chorus, exploding guitar work builds until the song comes cascading down to its close. Shaw and company have produced an album that wears its heart on its sleeve. Emotional, ballsy yet restrained when it needs to be, "The Great Book Of John" must be a part of the conversation when it comes to highlights of 2011. I'd consider it a must not just for fans of Wild Sweet Orange, but for fans of great music, period.   

"The Great Book Of John" was released in the U.S. August 16, 2011 on the Communicating Vessels label.

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