Album Reviews
DAVID ANDREWS
Get Me Out of This Place
(Siren)
David Andrews, former frontman for the band Calobo, doesn't need any kind of gimmicks for his music. No electronic drum loops, no superstar sidemen or rock star patronage, no duets—just straightforward, meat-and-potatoes singer/songwriter roots rock, take it or leave it. A sensitive guy (and that's not meant as a snide comment), the Portland-based Andrews writes tunes like "Mistress of the Moon," "Make Me Happy" and "Ballad of the Sad Cafe" with no frills but plenty of sincerity. Backed by tasteful arrangements for guitars and basic rhythm section, with occasional mandolin or fiddle for spice, Andrews ruminates on relationships, as his characters ponder the often ill effects of love on their lives. The best song is unquestionably the gently melodic "Stitched in Wool," in which the protagonist waits for a family reunion and considers his relationship with each member, wondering if their presence will make him feel any less alone. By ignoring trends and presenting his music unvarnished, Andrews creates a timeless, affecting album. Michael Toland
For fans of: Pete Droge, Pierce Pettis, Jackson Browne
CONTINENTAL DRIFTERS
Better Day
(Razor & Tie)
The Continental Drifters' 1999 record Vermilion garnered widespread critical raves and it was truly deserving of the praise. Better Day picks up right where Vermilion left off. It is a brilliant album that glides seamlessly across the terrain of American music. The Drifters stake their claim as one of America's greatest purveyors of mature, organic music. Whether it is the full-blown, horn-fueled R&B of "Live on Love," the funky celebratory organ and call-and-response vocals of Peter Holsapple and Vicki Peterson on "(Down by the) Great Mistake" or the beautiful melancholy pop of Susan Cowsill's "Snow," Better Day weaves itself in and out of various musical and emotional places that few bands could hope to pull off so effortlessly. But then again, the Drifters have so much talent and have obviously enjoyed playing together for so many years now that this is what you would expect. Fortunately this what you get. Brad Rice
For fans of: NRBQ, Los Lobos, Sheryl Crow
FIREKING
Live a Little, Love a Little
(Blueberry Pie)
In the cookie-cutter world of power pop, it's often the little things that set a band apart. In Boston duo Fireking's case, the little things include 1.) a raw but clear production quality that removes the gloss with which such bands often slather themselves, 2.) a high energy level that's in short supply outside of hardcore punk and 3.) the unfashionable attitude that rock is supposed to be fun. Couple these elements with a strong singer in Anthony Kaczynski (ex-Figures on a Beach) and simply excellent tuneage and you've got a tasty treat of an album. Check out the sardonic put-down "I Don't Mind" ("If you need a shoulder to cry on/I hope it's not mine that you've got your eye on"), the tongue-in-cheek "Big Priest of Love" and the stunning craft-marries-expression showcase "Blue" and see if your pop taste buds aren't satisfied. Enough little things will add up to one big thing, and Live a Little, Love a Little is the proof. Michael Toland
For fans of: early Semisonic, Foo Fighters, the Plimsouls
GORE GORE GIRLS
Strange Girls
(Get Hip)
Motown may be long gone, the auto plants may be shut down, but one thing Detroit can always dependably produce is trashy garage punk. This trio of young women in leopard-print tunics know their three chords inside and out, and like their spiritual predecessors, the Gories, they use 50s R&B and rock 'n' roll as the template for their fuzz-encrusted symphonettes. With 12 songs in 25 minutes, the GGGs obviously don't fool around, at least in the studio. Songs like "Getting a Room," "Hunt You Down" and "Cattle Call" indicate they're perfectly willing to fool around anywhere else, however. With someone who lives up to their high standards. On their terms. Don't intercourse with them. They'll kick your ass. Are you man enough for Strange Girls? Michael Toland
For fans of: the Gories, Maow, Nuggets
THE PRAYER BOAT
Polichinelle
(Atlantic)
At first listen, Polichinelle, the latest album from Irish quartet the Prayer Boat, will sound like yet another entry in the "quiet is the new loud"/"sounds like Radiohead" sweepstakes. The band produces long, languorous, medium-tempo and slow songs with a singer who can actually, you know, sing, and wraps them in an almost-stifling blanket of melancholy heartbreak. Any similarity to artists living or dead (in the water) would be a misconception, however. First of all, the Boat's career predates that of Radiohead, Coldplay, etc. by several years, as they released their debut album in 1991. Secondly, unlike many of the over-emoting hordes to whom they'll be inevitably compared, the Boat stay within the boundaries of taste, avoiding the opulence and self-indulgent clutter that other bands often drown in. With strings and horns used sparingly, the basic guitars/bass/drums arrangements exist solely to frame frontman Emmett Tinley's emotion-soaked tenor. His songs sound more folk-based than those of his peers—the band is basically a confessional singer/songwriter backed by his buddies. Finally, Tinley wallows in his romantic misery for a reason, working through the pain of "It Hurts to Lose You" and "Paralysed" in order to come out whole. He'll have none of the gratuitous self-loathing of Thom Yorke and his disciples, contrasting his treatises on suffering with glimmers of hope in "Saved," "In My Arms Again" and the title track. The limitations the band puts on itself only enhance the emotional impact of the songs, and Polichinelle's general austerity makes the Prayer Boat a daisy in a field of thistles. Michael Toland
For fans of: Rufus Wainwright, American Music Club, the Lilac Time
SWAG
Catch All
(Plug/Yep Roc)
Swag's rep was inflated before anyone had heard even a note of their music. Thanks to their lineup—Cheap Trick bassist Tom Petersson, Wilco drummer Ken Coomer, Mavericks bassist-turned-guitarist Robert Reynolds, singer/songwriter and Mavericks keyboardist Jerry Dale McFadden and singer/songwriter Doug Powell—expectations were sky-high and the hearts of pop fans palpitated like mad for months before this record was recorded. Thankfully, these guys are pros and it shows in the dozen sparkling gems on Catch All. The tunes in which McFadden or Powell had the heaviest hand, like McFadden's "Louise" and "Trixie" and Powell's "I Get By" and "When She Awoke," just reaffirm their mastery of hooks and melody. The surprise here is Reynolds—his sweet songs and even sweeter voice on tracks like "Near Perfect Smile," "Lone" and "She's Deceiving" make a serious case for criminal negligence on the part of his main band. The only caveat here is the overt Beatles worship. The band doesn't even try for anything original (though Powell's tunes sound like his solo work), instead whipping up a Beatlesque soufflé that would do World Party proud. The lovely ballad "Different Girl," sung by guest Scotty Huff, sounds like a long-lost McCartney track from the late 60s—it's almost slavish in its imitative aura. Of course, for many pop fans (if not most of them), too many Beatles cops is a definite plus, and Swag sounds more comfortable with being a faux Fab Four than 99% of their like-minded brethren. If melodic and harmonic bliss regardless of originality is your cup of hippie ice tea, get all the Swag you can.
Speaking of which, Swag has posted several ace tunes that aren't included on Catch All at MP3.com. Michael Toland
For fans of: the Beatles, Badfinger, Owsley
