THE HEADPHONE TRAVELER: June 29th, 2009

Howdy, folks!

SPAZ here!



Welcome to the very first edition of THE HEADPHONE TRAVELER, a new series of blogs where I offer up a few tidbits on some choice CDs that have come across my desk recently...

I've just buckled myself in, clamped on the headphones and I'm ready to take you on a trip.

I hope you enjoy the ride!


PAUL CARRACK/I Know That Name: Paul Carrack scored his first hit, "How Long", way back in the mid '70s with his band Ace. Since then, he's been a member of Squeeze (he sang their biggest hit, "Tempted"), Nick Lowe's band, Mike & The Mechanics (that's him singing "Living Years") as well as some choice solo hits including "Don't Shed A Tear" and "I Need You". On I Know That Name, he proves that he still possesses one of the most wonderfully soulful voices in Rock. In fact, he sings better now than he ever has, retaining all the power and emotion of his earlier recordings but adding years of experience to his palette (so to speak). While some of the material is 'good', much of this album as tasty as anything he's done in the past. If you dig modern Blue Eyed Soul, then Carrack is your man. Oh, BTW, "I Don't Want To Hear Any More" features superb backing vocals from Eagles members Don Henley and Timothy B. Schmidt.

BLACK LABEL SOCIETY/Skullage: Zakk Wylde is best known as Ozzy Osbourne's axe-wielding sideman these days, but he's been making quite a racket on his own for nearly two decades now. First, as a member of Southern Hard rockers Pride & Glory and then as the leader of Metal maniacs Black Label Society. Skullage is the 2009 collection from Zakk and his BLS brethren and is the perfect introduction to Wylde's diverse musical output. Beginning with Pride & Glory's "Machine Gun Man" and the acoustic-based "Dead As Yesterday" (from his solo album Book Of Shadows), Skullage kicks into high gear with "All For You" and the tempo rarely lets up after that. Personally, I love the Southern Rock influenced cuts over the riff-heavy head bangers, but I guess it really just depends on what mood I'm in! For others, Wylde's riff-heavy rockers are the meat and potatoes of what he's all about. The great thing about Skullage is that you get to hear all facets of Zakk's talents. and that is what it's all about. Remember to check out the Skullage DVD or the limited two disc package which contains the DVD and this CD. You might also want to grab the BLS, Zakk Wylde and Pride & Glory remasters which have just hit the street as well. Most of them contain bonus material!...

CAGE THE ELEPHANT/Cage The Elephant: Now, here's a weird one. Cage The Elephant come from Kentucky, right? Well, for some odd reason, they started attracting attention in the UK long before the U.S. finally took notice. So, they uprooted themselves and headed over to jolly ol' England and became the talk of the town, releasing a few singles and their self-titled debut album over there before finally being picked up in the States! It seems to work the opposite for American bands, though: they create a big buzz in their home state, then in the big U.S. cities and then get signed, all before they've even set foot in another country. But then again, Cage The Elephant are an unusual band! They are hard to pigeonhole, but I'll try to explain it as simple as possible: Imagine The Black Lips influenced by the spirit of Red Hot Chili Peppers with some Beastie Boys, Southern Rock and Post-Punk flavors thrown into the pot to spice things up a bit. There's nothing here that screams Top 40 radio, but there are plenty of "cruisin' down the highway with the top down" moments that make life a wonderful thing. Probably sounds great while eating a bucket of chicken while sitting on a sandy beach, too!


SCOTT WALKER: 30 CENTURY MAN/Music Inspired By The Film: Scott Walker is a living legend in the UK and most of Europe. Yet, Scott Walker is American! And Scott Walker isn't even his real name (his folks bestowed the name Noel Scott Engel on him when he was birthed). So, how does an American musician named Noel become a musical legend outside of his home country under the name Scott? Well, because he's Scott Walker, dammit! If you were ever touched by his '60s work with The Walker Brothers or his now-legendary solo albums, you'd fully understand the magical spell he has cast upon his listeners. A few years ago, there was a documentary made about the man and his music called Scott Walker: 30 Century Man (named after the song "30 Century Man" from the Scott 3 album). The received limited theatrical release in the U.S. and is finally seeing a DVD release in Summer of 2009. But as cool as that seems, this particular CD is a cool little treat to enjoy before AND after you see the film. While it doesn't contain any recordings from the film, it contains cover versions of Scott Walker tunes by a wide range of artists including Saint Etienne, Dot Allison, Laurie Anderson, Jarboe, Damon & Naomi and many others. Although it's more of a tribute album than a 'soundtrack', it is very much part of the same overall project and, like the documentary, presents the music of Scott Walker to a new generation. And that can only be a good thing! It's a remarkably co-hesive collection that retains the beauty of the originals while offering a new look at an old classic.


Until next time!
Stephen SPAZ Schnee

MICHAEL JACKSON-In His Own Words 2

"Gone Too Soon"

(From the album Dangerous)

Like a comet

Blazing 'cross the evening sky

Gone too soon

Like a rainbow

Fading in the twinkling of an eye

Gone too soon

Shiny and sparkly

And splendidly bright

Here one day

Gone one night

Like the loss of sunlight

On a cloudy afternoon

Gone too soon

Like a castle

Built upon a sandy beach

Gone too soon

Like a perfect flower

That is just beyond your reach

Gone too soon

Born to amuse

To inspire to delight

Here one day

Gone one night

Like a sunset

Dying with the rising of the moon

Gone too soon

Gone too soon

MICHAEL JACKSON-In His Own Words

Excerpt from Dance of Life

“So what does a star do after it quits shining?” I ask myself. “Maybe it dies.”
“Oh no,” a voice in my head says. “A star can never die. It just turns into a smile and melts back into the cosmic music, the dance of life.” I like that thought, the last one I have before my eyes close. With a smile, I melt back into the music myself.

Michael Jackson - 1992

Memories of MICHAEL JACKSON: Spaz pays tribute (sort of)!

I grew up listening to music. It was always around and was most definitely my first love. Well, platonic love, I guess.

I was barely six months old when the Beatles infiltrated the U.S. market in 1964, but I don't remember that too well.

When The Monkees first started airing in 1966, I was three and my folks later said that they could put my brother and I in front of the TV and that was the only half-hour of the week when we'd behave ourselves. I don't believe them. I'm sure we caused some kind of ruckus during the commercials!

The first band that I totally latched onto as my very own was The Jackson 5. I think I was six at the time. Sure, I loved all the stuff my folks played and I loved the songs blasting from the AM radio, but out of all the music I heard on a day to day basis, it was The Jackson 5 that fascinated me the most. Perhaps it was because there was an honest to goodness real kid singing the songs? Or it could have been that I loved things like "ABC", "I Want You Back" and "The Love You Save".... In any case, I loved 'em.

One day, I was watching the J5 perform on TV and they did a song called "Going Back To Indiana" and I loved it! I was seven years old and asked my mom for their album (also called Going Back To Indiana) as a present for my forthcoming eighth birthday. That was their latest album at the time and I REALLY wanted it.

Well, I didn't get it for my birthday that year (1971). Was I bummed? I don't think so. I was eight and there were probably plenty of cool toys to play with, so I probably just forgot.

BUT a few days later, my mom says that my Aunt Wendie was going to come over and wanted to know what I wanted for my birthday. I suddenly remember that I didn't get the Going Back To Indiana album by the Jackson 5 so I asked for that, excitedly.

Wendie shows up the next day with an LP sized gift and I was overjoyed! I quickly opened it up and, there it was, the Jackson 5's Maybe Tomorrow album! YIPPEE! HOORAY!

Wait just a minute, there, bucko! Did I see that correctly?

Maybe Tomorrow?

Maybe Tomorrow?????

BUT I WANTED GOING BACK TO INDIANA!!!!!

But me being the good kid that I am, I didn't say it was the wrong record. In fact, I gladly accepted it and ran into my room to play it. And it was a great record! I must have worn the grooves out on that one. I know that I played it at least 100 times over the next few years. So, thank you, Aunt Wendie! (I discovered years later that Maybe Tomorrow was their newest album at the time, being released shortly before my birthday. I guess the Going Back To Indiana album was old news by then, being six months old!)

A few years later, I took great pride in the fact that my man, Michael Jackson, sang the theme song to the movie Ben. My brother and I were big fans of the movie Willard, so we were super excited about the sequel, Ben. And since we were kids, we loved the movie. And, oh my goodness, that theme song was perfect for the ending of that movie! Or so I though when I was 9 or 10. I guess I still do now, but I have to pretend that I don't in order to uphold my macho appearance.

I've followed Michael's career since then, but I never reconnected with him and his brothers like I did when I was a kid. I don't regret that at all because I know that gazillions of other people were there to pick up the slack!

So today, when I think of Michael Jackson, I don't think of anything sad (as you can probably tell by the tone of this blog post). I don't think about the scandals. I don't think about the controversy.

Today, I celebrate the music he leaves behind. I celebrate that music that helped me to appreciate diversity. I celebrate the memories. Thanks, Mikey!

You know, I never did get that Going Back To Indiana album!

Got to be there,

Stephen SPAZ Schnee

MICHAEL JACKSON-1958-2009

Michael Jackson,

the performer often referred to as "The King Of Pop" and one of the most successful musical artists in history, has died at the age of 50.

LOS ANGELES, California (CNN) — Michael Jackson, the onetime “King of Pop” who in later years was acquitted of child molestation and plagued by financial woes, died Thursday, according to the Los Angeles coroner’s office. Jackson was 50.
Jackson, under cardiac arrest, was taken by paramedics to UCLA Medical Center under cardiac arrest where he was pronounced dead at 2:26 p.m. (5:26 EST), said Lt. Fred Corral of the coroner’s office.
Corral said an autopsy will be performed Friday to determine a cause of death. Results are expected Friday afternoon.
Brian Oxman, spokesman for the Jackson family, told CNN that three Jackson siblings — Randy, Jermaine and La Toya — were at the hospital. He said Jackson’s father, Joe Jackson, was on his way from Las Vegas.
“Everyone is rather speechless,” Oxman said. “I cried with them and I am just stunned. The atmosphere here is so very sad.”
At the medical center, every entrance to the emergency room was blocked by security guards. Even hospital staffers were not permitted to enter. A few people stood inside the waiting area, some of them crying.
Some of Jackson’s music was being played, said Oxman. The sounds of “Thriller” and “Beat It” bounced off the walls.
“It is one of the most unbelievable, surreal scenes I have ever experienced,” Oxman said. A large crowd was gathering outside the hospital, according to video footage.
Producer Quincy Jones, who helped Michael Jackson craft such hit albums as “Off the Wall” and “Thriller,” said, “I am absolutely devastated at this tragic and unexpected news.”
“For Michael to be taken away from us so suddenly at such a young age, I just don’t have the words,” Jones added in a statement.
Jones said Jackson’s music continues to be heard throughout the world “because he had it all — talent, grace, professionalism and dedication.” He called Jackson the consummate entertainer whose legacy will be felt around the world.
“I’ve lost my little brother today and part of my soul has gone with him,” Jones said.
Jackson’s former wife, Lisa Marie Presley, said she was “shocked and saddened” by Jackson’s death. “My heart goes out to his children and his family,” she said.
Outside of Jackson’s Bel Air home, police arrived on motorcycles. The road in front of the home was closed in an attempt to hold traffic back, but several people were gathered outside the home.

MICHAEL JACKSON:

August 29,1958-June 25, 2009

Three KIM WILDE reissues on CHERRY POP!

There are two things I thought of when British Pop vocalist Kim Wilde scored her first U.S. hit in 1981 with "Kids In America":

1. Hey, this is a cool song!

2. What a total babe!

Yes, in that order. I've always been a music geek and I have a tendency to listen to the TUNE before even paying attention to what the lyrics are or what the artist looks like. And remember, back in '81, you didn't have easy access to videos and such. Sure, MTV launched in August of that year, but not many folks had cable at that time.

So, the only real option I had was to concentrate on the music, which is the most important thing, right?

(But I gotta admit that Kim was second only to Debbie Harry in the 'rockin' sex kitten' category!)

Though Kim's reign in the upper regions of the U.S. charts only lasted for that one glorious single, she continued to release some fine POP singles and albums in the UK, Europe, Japan and beyond and all of them are worthy additions to any of you looking to build up your Power Pop, New Wave, Pop/Rock, Girl Pop or '80s collections.

Nearly 30 years after she debuted, the fine folks at Cherry Pop have released digitally remastered and expanded editions of Kim's first three albums and they look and sound great! Each release has an extensive booklet featuring info, lyrics, song comments from Marty and Ricky Wilde (Kim's dad and brother, who wrote most of the tunes), pictures of single sleeves and more. The packaging is wonderful, to be honest: nothing extravagant, mind you, but very tasteful and informative. Certainly worth the price of replacing your old vinyl LPs!

Released in 1981, KIM WILDE is the album most music fans are familiar with, mainly because it contains the aforementioned hit "Kids In America". While much of the album tends to lean heavily towards the same musical formula that made that song a hit, there are a few songs that break away from the early Blondie influences of "Kids...".

"Everything We Know" has a lovely melody that glides upon a Police-like Reggae rhythm while the playful "26580" ups the Reggae BPM to a Ska beat, adding a horn section and an instantly catchy chorus.

"Tuning In Tuning On" is New Wave for Acid lovers, it's Psychedelic swirls spinning around Kim's seemingly innocently coos.

"Chequered Love" takes the "Kids... " formula and adds equally catchy hooks throughout, making it equally delightful as the hit, if not more so.

"You'll Never Be So Wrong" is an absolutely wonderful Pop song that doesn't stray too far from the formula, but stands out as a great lost gem.

As for the bonus tracks, "Shane" and "Boys" are just as good as anything on the album (especially the latter). The Single Edit of "Water On Glass" is not that different from the album version, but is a welcome addition for us completists!

After the success of the Kim Wilde album, there were were only two directions that the Wilde clan could go: either record a carbon copy of the debut album or take Kim forward, embracing modern technology and wrap her Pop tunes in synthesized clothing. Thankfully, they chose the latter since they'd already taken the "Kids..." formula as far as it could go without it becoming boring and cliche-ridden.

With Select, Kim Wilde jumped head first into the future without losing any of the charm that made her self titled album such a success. While still upbeat and energetic, electronic keyboards dominate the album and the the guitar presence is toned down. Retaining the use of live drums and bass, the songs bounce along with glee, and while the production is a bit dated, it stands out as an under appreciated gem in the annals of New Wave music.

Kim's voice, while not having a huge range, is very distinctive and her vocals dominate all of her albums, so no matter what instruments you lay down, it's always going to sound like a KIM WILDE record! And from the moment she starts singing on album opener "Ego", Select is definitely a Kim Wilde record!

Though the album has fewer outstanding singles than her debut, Select is actually a better album as a whole. The hooks are more subtle and the album, overall, has a more confident quality to it.

"View From A Bridge" is most certainly a product of the '80s, but has a simplistic chorus that sticks in your head.

"Ego" sounds like Midge Ure-era Ultravox if they had been influenced by '60s girl groups.

"Words Fell Down", "Can You Come Over" and "Chaos At The Airport"sound like they could have been written for her debut but reworked into perfect little synth pop nuggets.

"Just A Feeling" is an elegant electronic pop gem that vaguely recalls some of 10cc's late '70s/early '80s recordings.

The album's centerpiece is most definitely "Cambodia", a 7+ minute opus that is broken into two halves: the moody and melodic Part One and the pulsating mostly instrumental Part Two (Reprise). It was a daring song then, yet it still sounds wonderful 25+ years later.

Of the five bonus tracks, they are all worthwhile Pop tunes although the chorus of "Bitter Is Better" sounds like a rewrite of "Kids In America". The single version of "Cambodia" is included, which is essentially Part One of the full length album version.

With even more electronics, Catch As Catch Can finds Kim Wilde and company at a crossroads: should we make a Pop album or a Dance album? The end result was a mixture of both, and would serve as a transitional album for the Pop vixen. Moving even further into the electronic realm, the live drums were replaced by programmed drums and keyboards had kicked the guitar to the curb and had taken over. Still, Kim's voice sounds more passionate and confident on the album, as if she was finally comfortable in being Kim Wilde, the Pop vocalist.
"Love Blonde" is a cheeky '80s rewrite of the Peggy Lee classic "Fever" and Kim feels comfortable biting into this lighthearted slice of Pop.
"Dream Sequence" is a nice slice of Psychedelic synth pop that would have fit as the album's opener with it's long, atmospheric opening.
"Dancing In The Dark" (NOT the Springsteen tune) and "Shoot To Disable" are, to be honest, worth skipping. The less said, the better.
The original album's three closing songs ("Can You Hear It", "Sparks" and "Sing It Out For Love" are the three best tracks on the album, which is strange since they seem to be buried at the end! What's up wid dat?
Of the five bonus tracks, "Back Street Driver" is a great Pop tune that recalls the spirit and vibe of the first two albums and is practically worth the price of this CD alone. There are also two bonus versions of "Love Blonde" and....er.... "Dancing In The Dark".
Overall, Catch As Catch Can is certainly a worthwhile release that deserves your attention, but is made even sweeter by the bonus tracks. Shame about three versions of "Dancing In The Dark", though! Well, I must admit that the Nile Rodgers remix is certainly better than the album version!



So, there you have it: three more reasons why Cherry Pop is a labels that you need to start collecting right away! And for you Kim Wilde fans out there, if you don't have these, buy them now. Not tomorrow, not next Friday... NOW!

And I still think Kim Wilde is a total babe!

Dancing in the dark,
Stephen SPAZ Schnee

ALBUMS YOU NEED TO OWN #1: Sex & Violins: The Best Of MY LIFE STORY

In the '90s, while Britpop was ruling the airwaves, many folks outside the UK were too busy paying attention to the often boring albums released by all the BIG names of the genre including Oasis, Blur, Pulp and others. Sure, these bands put out some amazing records, but their immense fame enabled them to lose touch with reality and, worst of all, their fanbase.

While these band fought a decent fight to stay in the charts, there was one band who may not have captured your attention initially, but were far more deserving of your time and well-earned money: MY LIFE STORY.

The band was led by singer/songwriter JAKE SHILLINGFORD, who had a musical vision that far exceeded anyone else's imagination at the time. Shillingford was able to successfully mix the drama of a Bond theme with the bombast of ABC's Lexicon Of Love album mixed with the emotional fragility of solo Marc Almond and the suave and sexy moodiness of Scott Walker, creating a sound that recalled the aforementioned influences but retained it's own unique qualities.

My Life Story released three albums (Mornington Crescent, A Golden Mile and Joined Up Talking) and a slew of great singles in their relatively short career (1995-2000). Although they achieved Top 40 success in the UK, Shillingford's musical vision came to an end before they could even release a note of music in the U.S.!

Released in 2006, Sex & Violins: The Best Of My Life Story is an absolutely perfect introduction to the band. It includes some of the finest Pop singles you're likely to hear in your lifetime including "Sparkle", "Strumpet", "If You Can't Live Without Me Then Why Aren't You Dead Yet?", "Empire Line", "12 Reasons Why I Love Her" and many others. Not a dull moment here folks. This is pretty much what great Pop music is all about: big, bombastic, dramatic, fun, emotional and fantastic!

If you dig this, you might want to check out the two CD rarities and b-sides collection Megaphone Theology, which contains 40 more great tracks including demos, b-sides and more.

After laying My Life Story to rest, Shillingford formed the Electronic band Exile Inside, releasing two albums: Ei034 and Ei060.

In 2008, Shillingford then released his debut solo album, Written Large, which contains Jake accompanied by acoustic guitar and piano, revisiting songs from his catalog as well as brand new material. The album is perhaps the prettiest thing he's released yet.

Let's hope Shillingford continued to release music. If he does, then I'll always be there to listen... and tell YOU about it!

You don't sparkle,

Stephen SPAZ Schnee

GREAT BUILDINGS/Apart From The Crowd review

Back in '79, PUNK ROCK had seemingly run it's course but certainly had made a huge impact on the charts. There were still plenty of worthy Punk bands from all over the world (and still are) but, although the Punk scene had kick-started the indie label scene, the major labels tended to avoid all but the most melodic of the Punk breed (The Clash, The Jam, 999, Buzzccocks, The Stranglers, etc.).

Slowly but surely, the musicians that were energized by the whole movement began creating a new sound that retained the energy of Punk but added melodic hooks and a clean, commercial polish. This sound was called NEW WAVE and it became one of the biggest musical movements since... well, Punk! The New Wave sound was a lot easier to promote and had a better chance of chart action, so the major labels began snapping up any band capable of writing a catchy hook.

One of New Wave's most respected 'sub-categories' was Power Pop. Power Pop was certainly not new, since early '70s bands like Raspberries and Badfinger had achieved great success years earlier but the scene was re-energized when The Knack became the first Power Pop superstars of the New Wave generation. In 1979, their single "My Sharona" and the album Get The Knack became major hits and practically every label started searching the underground New Wave nightclubs for 'the next Knack'.

Thankfully, there were plenty of worthy bands to sign including 20/20, The Plimsouls, The Beat (AKA Paul Collins' Beat) and many many others. Even quirky outfits like Jules & The Polar Bears (fronted by Jules Shear) became part of this burgeoning scene. In no time, L.A. became THE place to find the perfect Power Pop band.

Great Buildings were a quartet with roots stretching back to the mid-'70s. Vocalist Danny Wilde and bassist Ian Ainsworth had been members of the Sparks-inspired band The Quick, who had released their Mondo Deco album in 1976. The Quick actually ended up spawning some of L.A.'s finest: drummer Danny Benair, went on to help form The Three O'clock while guitarist Steven Hufsteter played in bands like The Dickies before forming The Cruzados.

But anyway, back to Great Buildings...

A while after The Quick split, Wilde and Ainsworth joined forces with guitarist Phil Solem and drummer Richard Sandford in a quartet they christened Great Buildings. Though they weren't immediately caught up in the Power Pop scene in '79, within a year, the labels came sniffing around and the band were eventually signed, releasing their debut album, Apart From The Crowd, in 1981.

And thanks to Wounded Bird, we get to experience this fab platter in all it's glory... ON CD!

Apart From The Crowd is about as perfect as a Power Pop album gets. Hell, it's a perfect Rock album and a perfect New Wave album, too! The melodies are infectious, the production is timeless and the harmonies are heavenly. The album's lead track (and single) "Hold On To Something", should have made these guys stars. It's catchy as sin and the arrangement is flawless. The energy and joy that leaps from the speakers during the song's 3 minutes and 47 seconds makes you want to go back and hear it again. And again. And again!

Thankfully, "Hold On To Something" is just the beginning of an exceptional album that definitely has stood the test of time (has it really been 28 years since this gem was released?). "One Way Out", "...And The Light Goes On", "Combat Zone" and "Love Goes Blind" are filled with all the same ingredients and also beg for repeated listenings. In fact, before you know it, 40 minutes after you push play, the album is over and you'll find yourself leaping up to start it all over again!

Robert Palmer must have felt this way since he ended up covering the track "Maybe It's You" on his Maybe It's Live release!

If you're hip to what Power Pop is all about, then this is essential listening. If you want to know what Power Pop is all about, then this is essential listening. If you just want to hear some great songs to cruise along to, then this is essential listening. If you're not picking up what I'm laying down, then let me spell it out: E-S-S-E-N-T-I-A-L!

Sadly, this is the band's sole release. They recorded a second album but it was never released and it languishes in the vaults.

Solem and Ainsworth eventually left the band, leaving Wilde and Sandford to carry on. They continued using the Great Buildings name for a few years, but the momentum was gone and they quietly split. Sadly, Sandford died a few years later.

Danny Wilde later signed a solo deal with Island, recruited Solem into his band and recorded the Great Buildings-like album The Boyfriend. Solem split again and Wilde continued as a solo artist. In 1990, Wilde and Solem reappeared on the music scene as The Rembrandts, scoring a hit with "That's Just The Way It Is Baby" and then, in 1995, hit paydirt with "I'll Be There For You", the theme song from the hit TV show, Friends!

Thus ends our lesson for today! There will be a quiz at the end of the week, so don't forget to study!

Hold on to something,

Stephen SPAZ Schnee

THE BLUE OX BABES/Apples And Oranges review

When DEXYS MIDNIGHT RUNNERS' 1980 album Searching For The Young Soul Rebels was a huge success, long-brewing tensions amongst band members and leader Kevin Rowland caused a major rift and the band split.

Rowland was left with the Dexys name while most of the band formed a similar sounding Soul-influenced outfit called The Bureau.

Kevin 'Al' Archer, who was Rowland's main musical partner in Dexys, left to form a new band that would head in a slightly different direction: The Blue Ox Babes. Archer's idea was to blend the Soul influences of Dexys with a Gaelic Folk sound, complete with fiddles and other traditional instruments. He even adapted a new look for his band: a less than fashionable raggle taggle gypsy fashion that was completely out of step with the early '80s. After a few demos were laid down and Archer felt the band was ready to make their debut, his former Dexys sparring partner Rowland caught wind of this new look and sound and fell in love with it. Before Archer even had the chance to make a name for his band, Rowland and the 'new' Dexys Midnight Runners released "Come On Eileen" and the rest is history. Rowland even had the nerve to 'borrow' Helen O'Hara, the fiddle player from The Blue Ox Babes demos, and add her to his new line-up (eventually marrying her!). Needless to say, this was a crushing blow to Archer and his musical vision and he decided to pack it in before the Babes even released a note. (To his credit, Rowland eventually fessed up in the '90s and gave Archer all the credit he was due... but a decade too late!)

Dexys released the Too Rye Aye album in 1982 to great success, but Rowland eventually lost all credibility when he changed musical direction again and released the truly awful Don't Stand Me Down album in 1985 (The album was reissued in the '90s to great acclaim, with many critics falling over themselves, praising it a decade after they panned it. But to be honest, the album was and still is a total piece of shit!)

Archer reactivated The Blue Ox Babes in the late '80s, bringing in some former Dexys members and giving the music business another shot. After a few semi-successful singles, The Babes were set to release their debut album, Apples And Oranges, in 1988 when fate stepped in yet again: their label, Go-Discs, decided not to release the album at all and dropped the band from their roster!

Now, 21 years later, the album FINALLY gets an official release on Cherry Red complete with NINE bonus tracks and what a release it is! Apples And Oranges is everything you would expect a Dexys-related album to sound like... only better! Archer's voice recalls both Rowland and Liverpool legend Pete Wylie (with a little Marc Bolan quiver thrown in), while the band are accomplished and energetic. The production is top notch and the songs are FANTASTIC! I hate to compare them, but this would have been a great follow-up to Too Rye Aye! It makes you wonder why a label would choose not to release an album this strong, but it must not have fit into the then-current musical climate.

Stand out tracks include "It Could Have Been Love", "Walking On This Line", the instrumental bonus track "The Last Detail" and "There's No Deceiving You". The cover of "Take Me To The River" is a bit awkward, but the rest of the album more than makes up for it.

If you are a Dexys fan or just dig great timeless music, then this is a treat worth investing in.

Oh, and you are more than welcome to throw away your copy of Don't Stand Me Down! I did!



There's no deceiving ME!
Stephen SPAZ Schnee

THE SINCEROS/The Sound Of Sunbathing review

In the late '70s and early '80s, the line between Pure Pop bands and New Wave outfits became intertwined. Most bands that played slick, melodic Beatles-influenced pop were considered Power Pop in the mid '70s but by the time bands like Squeeze, The Sinceros, 20/20, Nick Lowe, The Plimsouls and other like minded acts hit the music scene, they were quickly branded New Wave and marketed as such.

This was not necessarily a bad thing in terms of commercial sales, but we all know that when a music scene dies, it takes most of the bands with it. Some bands (Squeeze, Nick Lowe) were able to rise above but when New Wave became old news, then the bands lost label support and any momentum they had built up.

The Sinceros were an excellent Pop band consisting of four great musicians: Mark Kjeldsen (vocals/guitar), Ron Francois (bass/vocals), Don Snow (keyboards/vocals) and Bobby Irwin (drums). While Kjeldsen was the main frontman and wrote the majority of the songs, both Snow and Francois offered some tasty treats to The Sinceros' repertoire.

On The Sound Of Sunbathing, the band's 1979 debut, was a hook-filled Power Pop party dressed up in dayglo colors... with a little New Wave spice thrown in for good measure. Like Squeeze, The Sinceros' songs were instantly catchy and those lucky enough to hear them would have their melodies stuck in their heads for days, weeks, months and, for us lucky ones, decades!

The album is chock full of great tunes including Kjeldsen's "Little White Lie", "Quick Quick Slow" and "So They Know", Snow's "Hanging On Too Long" and Francois' "Good Luck (To You)", but two songs received the most attention: "World's Apart" and "Take Me To Your Leader". Unfortunately, these two tracks were, at best, average Pop tunes dressed up in quirky New Wave arrangements, which possibly made them more appealing to the masses. Thankfully, the rest of the album is loads better, so anyone suckered in by those two tracks were more than pleasantly surprised by the high quality of the rest of the material. Now, don't get me wrong, those are fine tracks, but compared to the rest of the album, they sound like b-sides!

For music fans not familiar with this great debut, the best way to describe it would be a cross between Squeeze's Cool For Cats and Argy Bargy: not quite as Pub-like as ...Cats, but not quite as accomplished as Argy.

While there's not really a bad song on the album, The Sinceros were still in the process of becoming a GREAT band, something they achieved on Pet Rock, their sophomore album (which I'm hoping is reissued soon!). After that, the band split and the members went their separate ways: Snow ended up in Squeeze (ironically enough) for their Sweets From A Stranger album; Francois joined The Teardrop Explodes and Irwin played drums for Nick Lowe for years and years. Kjeldsen unfortunately passed away in the '90s.

Cherry Red's excellent reissue of The Sound Of Sunbathing retains the UK album cover and track listing and adds three non-album bonus tracks, making this an absolutely essential purchase for any Power Pop, New Wave and '80s music fan.

I can only think of ONE reason why The Sinceros may not have clicked with the youth of the '80s: Kjeldsen's moustache! When New Wave was considered the music of the young generation, anyone with a mustache was considered uncool (including The Stranglers' Dave Greenfield!). Fortunately, Kjeldsen had a full, slightly more fashionable beard by the time of their sophomore album, but it may have been too late! The moustache did them in! Well, I'm not entirely serious... but kinda.

Pure Pop For Now People,

Stephen SPAZ Schnee

THE SINCEROS/The Sound Of Sunbathing review

In the late '70s and early '80s, the line between Pure Pop bands and New Wave outfits became intertwined. Most bands that played slick, melodic Beatles-influenced pop were considered Power Pop in the mid '70s but by the time bands like Squeeze, The Sinceros, 20/20, Nick Lowe, The Plimsouls and other like minded acts hit the music scene, they were quickly branded New Wave and marketed as such.

This was not necessarily a bad thing in terms of commercial sales, but we all know that when a music scene dies, it takes most of the bands with it. Some bands (Squeeze, Nick Lowe) were able to rise above but when New Wave became old news, then the bands lost label support and any momentum they had built up.

The Sinceros were an excellent Pop band consisting of four great musicians: Mark Kjeldsen (vocals/guitar), Ron Francois (bass/vocals), Don Snow (keyboards/vocals) and Bobby Irwin (drums). While Kjeldsen was the main frontman and wrote the majority of the songs, both Snow and Francois offered some tasty treats to The Sinceros' repertoire.

On The Sound Of Sunbathing, the band's 1979 debut, was a hook-filled Power Pop party dressed up in dayglo colors... with a little New Wave spice thrown in for good measure. Like Squeeze, The Sinceros' songs were instantly catchy and those lucky enough to hear them would have their melodies stuck in their heads for days, weeks, months and, for us lucky ones, decades!

The album is chock full of great tunes including Kjeldsen's "Little White Lie", "Quick Quick Slow" and "So They Know", Snow's "Hanging On Too Long" and Francois' "Good Luck (To You)", but two songs received the most attention: "World's Apart" and "Take Me To Your Leader". Unfortunately, these two tracks were, at best, average Pop tunes dressed up in quirky New Wave arrangements, which possibly made them more appealing to the masses. Thankfully, the rest of the album is loads better, so anyone suckered in by those two tracks were more than pleasantly surprised by the high quality of the rest of the material. Now, don't get me wrong, those are fine tracks, but compared to the rest of the album, they sound like b-sides!

For music fans not familiar with this great debut, the best way to describe it would be a cross between Squeeze's Cool For Cats and Argy Bargy: not quite as Pub-like as ...Cats, but not quite as accomplished as Argy.

While there's not really a bad song on the album, The Sinceros were still in the process of becoming a GREAT band, something they achieved on Pet Rock, their sophomore album (which I'm hoping is reissued soon!). After that, the band split and the members went their separate ways: Snow ended up in Squeeze (ironically enough) for their Sweets From A Stranger album; Francois joined The Teardrop Explodes and Irwin played drums for Nick Lowe for years and years. Kjeldsen unfortunately passed away in the '90s.

Cherry Red's excellent reissue of The Sound Of Sunbathing retains the UK album cover and track listing and adds three non-album bonus tracks, making this an absolutely essential purchase for any Power Pop, New Wave and '80s music fan.

I can only think of ONE reason why The Sinceros may not have clicked with the youth of the '80s: Kjeldsen's moustache! When New Wave was considered the music of the young generation, anyone with a mustache was considered uncool (including The Stranglers' Dave Greenfield!). Fortunately, Kjeldsen had a full, slightly more fashionable beard by the time of their sophomore album, but it may have been too late! The moustache did them in! Well, I'm not entirely serious... but kinda.

Pure Pop For Now People,

Stephen SPAZ Schnee

AIR SUPPLY/Lost In Love & The One That You Love Review

OK, stop laughing.

No, really. STOP laughing!

While many "music" fans look at Air Supply as nothing more than pop fluff, they are missing the point entirely.

Air Supply may not have rocked out, they were never surrounded by controversy and they certainly didn't have much very much street cred... but the Australian duo (Graham Russell and Russell Hitchcock) never claimed to be anything than what they were: creators of radio-friendly pop nuggets that often veered close to melodic masterpieces.

Air Supply had previously released albums in Hitchcock's native Australia (Graham was a transplanted Englishman), but they didn't start making waves until their single "Lost In Love" was remixed and edited for the American market. This 1980 debut U.S. single was as close to 'perfect' as pop could get: great melody, great vocals and great arrangement. The song became a massive hit and proved to be the beginning of a long career that continues three decades later.

The single was followed by the album Lost In Love, which also featured the hits "All Out Of Love" and "Every Woman In The World". Though not every track on the album was released as a single, each song features the now-familiar Air Supply pop formula, which makes for a warm and inviting album of pop gems. Yes, it does get schmaltzy at times, but what's wrong with that?

In 1981, the duo released The One That You Love, another corker of a pop album! The album contained even more hit singles, including "Here I Am (Just When I Thought I Was Over You)' and "The One That You Love". And once again, the album is filled with plenty more where those came from!

While not a 'hits' package, Robinsongs/Cherry Red has issued this fantastic two-fer which contains both complete albums on one CD. You get six bona-fide hit singles plus many fan favorites that will take the listener back to happier times when Top 40 music was actually created by real people.. for real people.

I'm not the only one that thinks Air Supply deserves a lot more respect: I'm just the only one that will publicly admit it!

AIR SUPPLY-Lost In Love/The One That You Love (Robinsongs/Cherry Red) is available NOW!

Peace, love and pancakes,

Stephen SPAZ Schnee

GIRL IN A COMA/Trio B.C. Review

When I heard GIRL IN A COMA's first album, Both Before I'm Gone (Blackheart Records), I was impressed by the songs, energy and musicianship but it wasn't enough to blow me away. I certainly loved the way they wore their musical influences on their sleeves and shot a youthful feminine energy into the tired male-dominated Alternative Rock scene. As much as I wanted to LOVE them, I could only LIKE them... alot.

Well, what a difference an album makes!

Trio B.C., the Texas trio's sophomore album, is a major leap forward for the band and one of the finest albums I've heard in eons. Instead of wearing their influences on their sleeves, they've covered them with tattoos and become a truly original band with their own unique GIAC sound. Vocalist/guitarist Nina Diaz may have a voice that might take a moment or two to get used to (sort of a cross 'tween Bjork and early Gwen Stefani), but she now sounds more confident and sexy than ever.

Alongside bandmates Jenn Alva (bass) and sister Phanie Diaz (drums), Nina and GIAC's songs are beautiful things, filled with atmosphere, emotion and a tenderness not found on their debut album. Now, this isn't 'tenderness' in a fake, convoluted American Idol kind of way. This is 'tenderness' that is raw, emotional and sometimes scary. It reaches into the listener's psyche and stirs things around a bit. It is comforting but also confrontational.

The melodies are both haunting and extremely memorable. The girls have traded their 'rock out' combat boots (figuratively speaking) for more comfortable footwear and tend to concentrate more on melody and song structure this time around, which helps to accent the songs' rich emotion, adding texture and a shimmering beauty to the tracks.

Standouts cuts include "Pink Lemonade", "Static Mind", "BB", "Vino" and "Baby Boy", but I've got to be honest: this is an album filled to the brim with standout tracks! My favorite songs change from day to day, so it's hard to really focus on one or two.

While not exactly playing the commercial card, Trio B.C. could be a huge monster of a record. Let me rephrase that: Trio B.C. IS a huge monster of a record. It's in my Top Ten list already and I don't see it leaving it's comfy position by the end of the year.

So, now I absolutely LOVE Girl In A Coma and anxiously await their 3rd album... although I reckon I'll be waiting awhile since this album is only two weeks old!

Life is good!

Stephen SPAZ Schnee

EMPIRE OF THE SUN/Walking On A Dream

You've GOT to get your hands on the debut album from Empire Of The Sun, a collaboration between Luke Steele from The Sleepy Jackson and Pnau main-man Nick Littlemore. Though the occupy the same aural terrain as bands like MGMT, Empire Of The Sun stand out in the crowd, chiefly due to their exceptional melodies and the fact that they don't take themselves too seriously. The spectacular album art was created by multi-Aria award winning design studio Debaser and will look amazing in racks and store displays.

The album's lead single, "Walking On A Dream", is pretty much a pop music masterpiece. It's one of those songs that may sound good on first listen, but the more you hear it, the more you WANT to hear it!

If you haven't heard it yet, then check it out NOW!

UK DECAY/For Madmen Only: Finally available on CD!

UK DECAY's 1981 album FOR MADMEN ONLY is finally hitting stores on CD in July, 2009! More details coming soon!

Here's what we know so far...

2009 digitally remastered and expended edition of this classic 1981 Punk album, appearing for the first time on CD along with eight bonus tracks taken from non-album singles. UK Decay were creators of the Goth and Positive Punk movements and had four #1 records in the UK Independent Chart. The band were among the first Punk groups to make music outside of the original 1234 Punk style, along with Killing Joke and Bauhaus, but retained the Punk spirit, touring the UK and the US with The Dead Kennedys. They also toured the West Coast of America in 1981 with the likes of DOA, Black Flag, Circle Jerks and X. 19 tracks.

DAVID BOWIE: VH1 STORYTELLERS’ TO BE RELEASED ON CD/DVD AND DIGITALLY JULY 14 BY VIRGIN/EMI

Hollywood, California – May 12, 2009 – David Bowie appeared on “VH1 Storytellers” on August 23, 1999, and his episode is remembered by fans as a highlight of VH1’s acclaimed performance series. On July 14, Virgin/EMI will release David Bowie: VH1 Storytellers on CD/DVD and for digital audio purchase from all major digital service providers. The CD/DVD features audio and video for Bowie’s televised performance of eight songs, plus bonus video of four performances taped during his “Storytellers” session, but not aired in the show’s original broadcast. The digital audio release also includes the eight originally televised songs and the four bonus performances.



Featuring intimate performances accompanied by personal stories and recollections by a diverse array of top music stars, each one-hour episode of “VH1 Storytellers” takes viewers behind the scenes with a single artist or group, including Ray Davies (whose 1996 appearance launched the series), Elvis Costello, Coldplay, R.E.M., Pearl Jam and Kanye West. To date, more than 60 episodes of “VH1 Storytellers” have aired on VH1.



“We were used to dealing with legendary musicians,” says “VH1 Storytellers” Executive Producer, Bill Flanagan, in his liner notes essay for the new Bowie release. “Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honor. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed. He never phones it in.”



Flanagan continues, “Bowie's ‘Storytellers’ was a unique theatrical event, a sort of off-Broadway ‘Evening with the Artist’ in which a great songwriter used bits and pieces from his life and career to show us all the roads leading up to a single moment, a complement to his current album but also a performance strong enough to stand on its own: a compelling introduction to David Bowie for the uninitiated and a fresh experience for the long time fan.”