Punk Still Sounds Good

Skychief.  Autoexciter.
Blimp/Love Muffin Records, 2009.  
Skychief:  http://www.skychief.net/ or https://www.facebook.com/MeRockYouSoHard

Yes, this is an “older” album (but I listen to stuff from the 1920s, so “old” is relative).  But Skychief is a fine band, and they haven’t gotten nearly as much press as they should (not that this review will help much).  Coming out of Akron in 2000, they’ve only put out two releases, and this is their second.  They’ve gotten a bit of airplay locally, but never really broken through to a national audience.  I suppose it’s because they follow in the punk tradition, and other styles have overwhelmed the popular imagination.  But damn, these guys sound good.

They’re pretty straightforward, all about guitars and a strong beat.  The singing is secondary (although they come up with some pretty good harmonies), as is clarity of production.  However, since when did any of that matter in punk?  “10 Hours” opens the album, and it sets the tone--fast, loud, and snotty--and I wouldn’t want it any other way.  Songs are short and simple, but with more complexity in the guitar-playing than you would have found in similar bands in 1979. Taffi and Disco Steve come up with some nice guitar solos.  By track 3, “1000 Orchards,” they’ve slowed down to mid-fast tempo, but seldom slower than that.  "Naughty is Nice" even takes me back further than punk, to the old garage bands of the 60s, and wouldn't have been out of place on a Standells album. You may hear a touch of Akron bands from the past, Bizarros, the Dead Boys, and others from elsewhere such as Social Distortion, since they clearly follow in steps of their predecessors, but somebody needs to keep it going.  And who better, since Skychief knows how to do it right?


Personnel:  Taffi (guitar, vocals), Disco Steve (guitar, vocals), Ric Nimrod (bass), Smitty (drums).
Tracks:  10 Hours, Upside Down, 1000 Orchards, Michelle 3, Way In, On the Cross, Windows, Feels Like June, Naughty is Nice, Darkside, Feeling Low, Seeds.

Nancy

Veteran Soul Man Scores Big

Eddie LeVert.  I Still Have It.
Eddie LeVert, 2012.  Available on CD-R through Amazon.com.  
Eddie LeVert:  http://eddiewlevert.com/

It’s hard to believe that this is LeVert’s first “solo” album.  Working for decades with the O’Jays, and then for too short a time with his sons in LeVert, the Canton native is finally on his own.  Well, not exactly.  He still tours with the O’Jays.  My guess is that this album was something he needed to do, whether as an artist, or to prove something to himself.  Whatever his motivation, the result is a truly fine album of old-style Philly soul music, complete with early 1970s grooves, wah-wah, and heavy on the keyboards.

Eddie’s voice is still excellent, a little raspier perhaps than in his early days, sometimes even growly, but it gives him an air of authority that a younger man couldn’t pull off, much like older blues singers.  The opening couple of tracks are killers.  The mid-tempo burner, “Last Man Standing,” shows him at his most powerful, with heartfelt lyrics and memorable, catchy hooks (You can also catch the video on his web page).  “Get Over It” continues the groove, but with a love theme.  LeVert does some Edwin Starr-style grunting, and the song builds nicely to a climax that makes it perfect for a single.  After these, many of his songs are slower love ballads, awash with keyboards, echo, synths, and background vocalists.  Each one is a gem.  These are interspersed with more mid-tempo tunes, such as “Don’t Get Much Better” and “Don’t Lie to Me.”  He uses just about every musical trick in the book, and it never gets tiring.  “Hate’n” is the sole high-energy tune, and it’s a fine one, with riffs reminiscent of early Jackson 5.

LeVert surrounds himself with excellent musicians and backup singers.  He seems to rely on the singers a tad much, although they are really good, so it’s hard to complain.  I wish I knew who they were.  The unfortunate thing about the release at this point is that Amazon.com releases the physical product as a CD-R with a generic cover that is worthless in terms of information.  The lack of notes is infuriating, however, a little homework tells us that the the songs were all written and produced by Eddie, and was mixed by Tom Moulton, a veteran producer.  Get the music any way you can.  If you love 70s-style soul, you’re likely to love this album.

Performers:  Eddie LeVert, with accompanying musicians and singers.
Tracks:  Last Man Standing, Get Over It, Lonely, Blown Away, I Like the Way You Move, What If, Don’t Get Much Better, All About Me and You, I Don’t Want to be the One, Don’t Lie to Me, Hate’n, You’re Always There.

WansDog

Oooh, Shiny!

The Chromes.  The Chromes.
Love Muffin Records, 2012.  The Chromes:  http://www.thechromes.net, or http://www.reverbnation.com/thechromes

If you wear your influences on your sleeve, you had better be good at what you do.  Nobody wants to hear watered-down, cheap imitations.  Fortunately, in their debut EP, the Chromes can be confident that they have done a fine job of making rock ‘n’ roll.  Recorded in the Buddha Basement in Brunswick (aka, Brian Hager’s house), the band shows off a variety of styles with considerable flair, all in a 1970s vein (with most of the tunes written by Hager), and the result is a fun album that’s worth multiple listens.  And with only five songs, that doesn’t take long.

It was easy to spot the stuff they love and listen to.  “Back of My Hand” could be straight out of the Cars songbook, to the point of using Ocasek’s familiar time stops, but there are some other, less obvious things going on as well, so it isn’t simply an imitation.  The same thing happens with “Little Evil,” where the ghost of Marc Bolan rose from my car speakers, and I was tempted to start singing the lyrics to “Bang a Gong.”  But I also heard some Stones in there, especially on the guitar solo.  “Talk that Walk” is half Aerosmith, half AC/DC, but it’s also a good tune.  

Regardless of the shameless imitation/homage to great 70s bands, they pull it off remarkably well.  The group plays impeccably, and Hager’s guitar shows flashes of brilliance in the solos.  Great stuff!  The only drawback is Hager’s vocals, which sound a bit too rough and raspy (although they fit “Little Evil” quite well).  Perhaps that’s just a miking problem.  In any case, the package is a good one (including the cover), and fans of the bands mentioned above should enjoy this thoroughly.  You can also catch Hager in some of his other bands, including Vanity Crash.

Personnel:  Brian Hager (vocals, guitar), Alex Ambrose (drums, vocals), Chip Ficyk (bass, vocals).
Tracks:  Back of My Hand, Little Evil, Talk that Walk, Nothing to Lose, Situation.

The Grand Wazoo

Wilson's First

Dan Wilson. To Whom it May Concern.
Whoville Recordings, 2012. Dan Wilson: http://www.facebook.com/DanWilsonGuitar   or http://www.danwilsonguitar.com

As Dan Wilson’s premier CD in 2012, To Whom It May Concern is a great introduction to not just a Hiram alumnus, but a number of Northeast Ohio musical personalities. Wilson brings together not only NEO artists (and quite a few of them), but also NEO recording and technical contributors.  The singular billing and cover art belie the length of the list of musicians, a mark of a truly respected leader and master, which seems to describe Wilson to a tee.  Wilson has strong Northeast Ohio ties, with degrees from both Hiram College and Youngstown State University, and now teaches at Cuyahoga Community College.  At the same time, his influences and influence stretches across the globe from Pittsburgh (where some of his contributors reside) to Russia, and from Brazil to Germany.  Wilson was introduced to music through gospel, unsurprisingly, and was prompted to become a musician after hearing Wes Montgomery, but the complexity and variety seen in his recording debut reach farther than these beginnings could have predicted.

To Whom it May Concern is a definitely a jazz listener’s CD, starting out with the spoken word proclamation that jazz has to have a beat and soul, and then goes on to prove that Wilson and his music no doubt have both.  While many people may associate jazz with the piano or with wind instruments, jazz guitar has a strong tradition ranging from early 1900’s with musicians such as Carl Kress, through the 1960’s and George Benson, up to today’s John Pizzarelli.  Wilson is a welcome addition to that heritage, and has a high likelihood of bringing positive attention to Northeast Ohio through his talent in this musical arena.
Wilson’s artistry gives a polished, coherent voice to the CD, with one track blending into the next easily.  This continuity makes for a pleasant experience overall, although the digital format offered online can run into technical difficulties with iTunes separating the album tracks, and the separated tracks aren’t nearly as enjoyable.   That’s obviously a technical issue, and not musical, but just a little proviso to anyone using the digital download version on Apple products (you can thank my husband for this information).  Personally, I recommend using the CD to avoid the possibility, and then sit back for a treat.  The one negative of the album is a slight tendency for over-extending improvisations on a theme.  Even the best theme can eventually get a bit old, but this isn’t a fatal flaw, and one that I’m sure will be corrected with experience in a recorded music setting as Wilson’s career unfolds.

The album functions well as a whole piece, but reading the liner notes reveals that the album was not written as such, and instead details the very individual processes and inspirations for each of the pieces, and which songs are reinterpretations of other artists’ work.  “Who Shot John” is a nice track, and Wilson’s attempt to make 5/4 time danceable; the track fills out well, but danceable might be a goal not quite attained.  “Another Star” is a Stevie Wonder tune, but fits in well with Wilson’s original work, at least to this Stevie Wonder non-expert.  “To Whom it May Concern” has the biggest problems with repetition, while the track still is solid.  Rodger and Hammerstein’s “It Might as Well be Spring” is melodious and not mistakable as the original; Wilson manages to make this his own very well.  “Crazy Barrett,” “Afrozilla,” and “Audible Distraction” round out the set nicely and close the album on a very positive note.

Personnel: Dan Wilson (Vocals and guitar), James Johnson III (Drums), Philip K. Jones (Piano and Organ), Bryan Connell (Tenor and Alto Saxophone), Keith McKelley (Alto Saxophone), Chris Anderson (Trombone), Kip Reed (Bass), Stephen Fowler (Vocals), Carolyn Perteete (Vocals), Barrett Barnes (Drums), Allen Swoope (Organ), Shea Pierre (Piano), Theron Brown (Organ), Joey Green (Bass), Alton Merrell (Keyboard), Jamey Haddad (Percussion), and Bill Ransom (Percussion).
Tracks: Long Story Short, Who Shot John, Another Star, To Whom It May Concern, It Might as Well be Spring, Crazy Barrett, Afrozilla, Audible Distraction

Lisa Regula Meyer

Big Game Postponed

Ryan Humbert. Sometimes the Game Plays You.
Rock Ridge Music, 2012.  Ryan Humbert:  http://ryanhumbert.com/

Maybe it’s just me. After listening repeatedly to Ryan Humbert’s fourth full-length album, “Sometimes the Game Plays You,”I wasn’t in love with the music. Or, even in like. Humbert, an Akron native, has spent years in the music scene, both locally and on the national level. He plays on a regular basis in the Northeast Ohio area, and has opened for major record label artists such as the Zac Brown Band, Elvis Costello, Train and Third-Eye Blind, to name a few. The guy works hard and obviously has attracted the interest and support of A-list artists, and has a loyal following in NE Ohio. Truthfully, based on this album alone, I am not sure what the fuss is about.

I’ll give Humbert props for being an excellent songwriter. The lyrics are compelling, drawing the listener into his world and taking us on an emotional journey with him throughout each track. However, Humbert’s vocals are overpowered by his backing band and have a thin sound rather than the rich, warm quality I would expect from such an experienced artist (and from someone who can write such emotive lyrics). The album was recorded not digitally, but on tape, and I wonder if the method and the production added to the flat sound.
I also give Humbert and his Canton-based band credit for the diversity of the album. From folk to pop to country, the songs show Humbert isn’t afraid to step out of the box and try something new. He shows a talent for arranging multiple instruments in his songs, and, again, I laud Humbert for his efforts.
I was disappointed in “Sometimes the Game Plays You.” Several times, I started to enjoy a song, to have it take an unexpected turn into mediocrity. The lyrics were good, but the quality of his voice distracted me from the words. Humbert’s different takes on American music intrigued me, but he seemed to be jumping from genre to genre rather than settling down into an arena he knew he owned. Listening to his LP I felt lost, and not in a positive way. I really wanted Humbert, a local darling, to take me to another world with his music, but not this one.
Some artists are radically better live than they are in recordings, unfortunately. Maybe this is the case with Humbert and I am missing out on a great show. I plan to see one, soon, and hopefully will see Humbert and his band in their glory. At least, I hope so. That said, I don’t think I would listen to “Sometimes the Game Plays You” again. Truthfully, after hearing it I felt a bit played, myself.

Tracks:  Waiting for the Lightning, Don’t Tell My Heart, Mayday, Home is Where Your Heart Bleeds, Everything, Telescope, Boulevard to Nowhere, Not to Me, Tattoo, Incognito, Fool Me Twice, Heartache Waiting, Sometimes the Game Plays You, I Will Find My Own Way, Boulevard to Nowhere (acoustic).

Jennie Narraway

SNAFU

Since we started this blog in July, we have been patiently waiting for comments and discussion to commence.  We now realize that people have tried to post comments, but these are not being posted, nor do they show to us, awaiting moderation.  They just disappear.  We are working on the technical difficulties, and hope to have the problem fixed soon. 

The Management

Bright Sky

Ohio Sky.  Curses.
Electric Pyramid Records, 2012.  Ohio Sky:  http://www.ohioskymusic.com/
Ohio Sky is a band from Cleveland who has released multiple EPs in the past four years. Their first full-length LP, “Curses”, hit the shelves early in 2012. After listening to “Curses” at home on my stereo, blasting in the car and on my iPod, I was surprised Ohio Sky isn’t nationally known yet. However, it is only a matter of time considering the epic quality of the LP.

Featuring Vinnie DiFranco (lead vocals, rhythm guitars), Michael Bashur (lead guitar), Eric Bambic (drums), Patrick Finegan (keyboards, synthesizer) and Ellsworth Turner (bass, vocals), Ohio Sky shreds though thirteen ethereal and face-melting tracks on “Curses.” The songs are punctuated throughout by dreamlike, melodic sections giving way to the driving riffs of DiFranco and Bashur’s guitars. The lyrics are well-written and the vocals are tight, especially on “Van Gogh,” “Curses,’ and “S.” Each track is layered with the brilliance of Bambic’s punchy drums and Turner’s chomping bass, as well as Finegan’s effects. Really, there isn’t anything about the album that strikes me as off or ill-conceived. It’s just damn good. If you can’t get a hold of “Curses” immediately after you read my review, at least take the time to check out their YouTube channel (ohioskymusic’s channel: https://www.youtube.com/user/ohioskymusic). They throw down an insane cover of The Beatle’s “She’s So Heavy” (watch the video, and you’ll see what I mean: https://www.youtube.com/watch?v=zNX2ydFK1Xc&feature=plcp) not to mention an acoustic version of “Van Gogh” that I might like even better than the track featured on “Curses.” Finally, don’t miss the first track from their latest EP, “This House is Old and Filled with Ghosts” while you’re on there—it clearly shows Ohio Sky is a band on the rise.

Ohio Sky’s sound has been compared to Pink Floyd (which I don’t see at all, maybe because I am not a big fan of Pink Floyd) as well as the Deftones (more probable) and is frequently referred to as “stoner rock”. However, lead singer and rhythm guitarist Vinnie DiFranco dubs their sound “space-rock.” It doesn’t matter what you call it or how you categorize it. If you haven’t heard them yet, do yourself a favor and give them a try. Once you play the first track from “Curses” you will be hooked.  Ohio Sky blew me out of the water, and out of any space I inhabited while listening to their brilliant album.

Ohio Sky:  Vinnie DiFranco (lead vocals, rhythm guitars), Michael Bashur (lead guitar), Eric Bambic (drums), Patrick Finegan (keyboards, synthesizer) and Ellsworth Turner (bass, vocals).
Tracks:  Van Gogh, Speed of Urgency, Project Longshot, Anthem for the Artist, (S), Waiting for Time to Stop, End of the World, Instructions for Burying the Arc, Another Day Dies, Burning Down the Barn, Curses, Shank, Take Me Back.

Jennie Narraway

A Fine Bit of Mayhem

Eclectic Mayhem.  Eclectic Mayhem.
Sleepwalk Recording.  2012.   Eclectic Mayhem:  http://www.facebook.com/eclecticmayhemmusic

This is the Cleveland based quartet’s debut album and it’s an impressive swirl of influences and detail. Each track is distinctive and well crafted. These musicians have spent over a decade studying different styles and their album is a badge of their knowledge. 

“Again,” while lyrically predictable (this stickler for word integrity didn’t mind), the gritty flavor of the songs eclipsed any flaw with severe rock attitude and genuine don’t-give-a-fuck and sometimes I just like it when people don’t give a fuck for my rules. Musically Eclectic Mayhem is a strong outfit and clearly know how to create. The guitar solos are absolutely inspired on “Want It Al” which covers the boring vocals on it nicely. The guitar and keyboard fuse seamlessly on “Takin’ Time” and make complicated overtures that any composer would admire. When it comes to making the music, Eclectic Mayhem has the actual talent to make chaotic rock sound beautiful.

The only foible in this group is the vocals, which are just mediocre, especially when compared to the greatness of everything else. Someone with more of a range would fit with the incredibly broad brush of these musicians. Eclectic Mayhem runs the turbulent gambit of moody pensive tracks to raucous electronic experimental bridges within a minute’s time and pull it off. The vocal is too punk and unsophisticated to ride well with the music, which becomes very apparent on songs like “On My Way” and “Fun With Guns.”

However, on “For the Birds,” the juxtaposition of the intricate beauty of the guitar and the rough-hewn strain of the vocal are magical, and I think I might have picked up a harpsichord in there somewhere. It might have just been a mixture of different sounds but if the listener can’t even tell what instruments you’re using you are doing something right. There is not a lot of variety in the background vocals or with vocal harmonies at all, which I would be interested to hear them play with a bit more.

“Inside Your Head” has a mid-90s alternative feel to it that is nice to have on the second half of the album. The tracks evolve nicely into each other and while there is cohesion, everything is so different that nothing falls into the background. There aren’t any boring songs on this album, which is a feat to brag about. This being Eclectic Mayhem’s first album, it’s an incredibly rich debut and I look forward to the next.


Eclectic Mayhem:  Pat Conley (vocals, drums), Dan Cooley (guitar), Nate Dreher (bass), Jonathan Khouri (keys, guitar).
Tracks:  Again. Want It All. Takin’ Time. Let You Down. On My Way. For the Birds. Bender. Fun With Guns. Inside Your Head. Better Off Dead. I Don’t Mind. Lost.

Lauren Parker