Guest Week: Ed Baron

Futuresex/Lovesounds- Justin Timberlake

What do you think of when someone mentions Justin Timberlake? Many would immediately associate him with N*sync, singing popular songs like “Bye, Bye, Bye” and “Tearin’ up my Heart”. Others would think of him as the scrawny ghetto white boy around Cameron Diaz’s arm. And still others think of him as the solo artist who broke away from his boy band image with his 2002 solo project Justified. In fact Justin did “justify” himself with his first album. He became a superstar who mixed pop and r & b to create songs that had people dancing and singing in the privacy of their own homes or cars. People feared liking Justin Timberlake. Fear no more. Mr. Timberlake is back and bringing sexy with him.

With his new album Futuresex/Lovesounds, Timberlake matures and mixes his sultry voice with rough, high energy club beats to create a great album. Justin called upon some of the greatest producers in music to help him with this album. Timbaland, Rick Rubin and Will.i.am, from the Black Eyed Peas, all contributed to the album. “SexyBack” , the first single off the album, features Timbaland and really sets the tone for the whole album. The heavy drum beats, typical Timbaland style, and catchy lyrics “SexyBack” exposes Justin’s dirty style in which he proclaims “I’ll let you whip me if I misbehave.” This song is far from his teeny bopper lyrics of the late 90’s. Timberlake also has a winner with the song “My Love” which features the new “king” of rap T.I. This song is the “Cry me a river” of his latest album and doesn’t disappoint at all. T.I. dominates the song with his rap, while Justin’s lyrics and the synthesized club banger beat helps to make this song work.

A majority of the songs on the album are really up tempo. However, Justin does offer some slow, emotional, ballad type songs on his latest album as well. “Until the End of Time” is a real slow typical “quiet storm” type of song, while “All Over Again” has Justin tickling the ivory in what I would classify as a baby making song. The song that I find most unique is a song that for once Justin doesn’t sing about a lady in. In “Losing my way”, Justin helps to paint a picture of a person who is struggling with addiction problems as well as family issues and other problems. The smooth sound of the drums and emotional lyrics helps to make for a great song. The song that really caught my attention is the high energy Will.i.am produced song “Damn Girl.” This song offers everything a Justin Timberlake song usually offers. In typical Justin style, he smoothly sings his catchy lyrics behind a crazy busy beat with a catchy chorus. Oh and in typical Justin style he has Will.i.am rap on the track.

Altogether this album has a lot to offer in what is a pretty short album. Only 12 songs total in the album and yet none of them will have you reaching for the skip button. Justin has yet again delivered with his sophomore album and has shown he is done with the boy band stereotypes. The teen we once loved to hate is now the man we hate to love.
It’s ok to like Justin Timberlake. I know it sounds crazy. But let’s face it, it’s hard not to these days. He’s everywhere. Futursex/Lovesounds might help everyone realize that it’s ok to admit being a fan of Justin Timberlake.

Must hear: “Damn Girl”, “My Love”, “Losing My Way”
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Note: Big ups to Ed Baron for his contribution to guest week. Whan I said that Ed had his hands in a lot of things, I wasn't kidding. In the last two years alone, Ed has been a radio personality, grocery store manager, amature chef, freelance journalist, college basketball player, gambler, and salesman. He has been connected to comedian Jimmy Shubert, taken pictures with Carmello Anthony, and he was once a close friend of Ashley Simpson. Ed dosn't give this album a rating, but who the fuck am I to tell him what to do? For all I know, Ed's going to be my future boss. He's like Young Joc, if you see him in Philly, NYC, or Rhode Island, it's going down.

Stadium Sized Album Can't Rock Like a Hurricane

Artist: The Red Hot Chili Peppers
Album: Stadium Arcadium

Comments: One of my theories about music: Stadiums are where rock bands go to die. Now, don’t misunderstand my intention here, I don’t mean to say that once a band starts playing stadium sized concerts that they aren’t good anymore, or that they’ve lost their integrity, or anything like that (although, these two things can sometimes be true). What I mean is that for rock and roll bands, there is no retirement home or pension plan, but there are stadiums and reunion tours and farewell tours and the state of New Jersey. Bands get good, then they get old, then they tour stadiums (and occasionally make albums that have no chance of relevance to play on said tours); that is just the way rock music works. There is no shame in it, and any musician would be insanely lucky to get to that point in their career.

One of my other theories about music: double albums are generally boring, overwrought, bloated failures. Once again, do not misinterpret. There are some very important, very excellent double albums out there (The White Album is the best example and first to mind). However, for every White Album, there are 200 more “Mellon Collie and the Infinite Sadness” albums out there with a few standouts and a lot more that should have been left on the cutting room floor. The vast majority of double albums are nothing more than indecisive artists spending too much time in the studio.

Now, why even bring up these two theories? Because the Red Hot Chili Peppers’ new album “Stadium Arcadium” stands in the direct path of both these theories and (in my mind) proves both my points. The follow-up to 2002’s “By The Way” shows the Peppers aging with grace, but suffering from indulgence.

The long walk begins with the hit single “Dani California” in which Anthony Kiedis sings “California, rest in peace.” One can only hope that this statement signifies the end of all California themed songs and albums as the Pepper’s obsession with their home state was getting a little out hand. The single is a good rocker for the summer, regardless of how much it sounds like “Last Dance with Mary Jane” by Tom Petty. It starts off the album with an energy that the Peppers can’t seem to find again in the next 26 tracks.

It’s common knowledge that the Peppers are an intensely talented band, and there are plenty of songs that allow each member to shine individually. Examples of John Frucsiante’s guitar virtuosos and Flea’s bass chops are on literally every song. Sadly, great musicans can still make bad songs. A lot of stuff on this album sounds like the same song over and over again, and it doesn’t matter how good of a musician you are; if you play the same songs over and over again, people will still get bored. There is just to much music here without enough variation. And when the songs do vary, the tend to suck. Example: the forced funk of “Hump De Bump” sounds stale and false.

The real shame here is that in between all the songs that sound exactly like “Californication” (which is about ¾ of the album) there are some real good songs. “Torture Me” is a punk number that almost matches the energy of “Dani California”. “Warlocks” is as close to the wild old early 90s that the Peppers come on this album. The song “Wet Sand” would have made an excellent “Under the Bridge” type ballad, but instead the Peppers decided to take it over the top with continuing build until it all explodes in one rock-and-roll-sonic-boom breakdown. It’s indulgent, but still charming.

Sadly, the same cannot be said for the rest of the album. What I hear on this record is the sound of a band ageing gracefully. The Red Hot Chili Peppers sound like they are ready for the stadium treatment that is entitled to all veteran rock acts. However, rather than usher in this era with a simple yet powerful statement, we are given a rotting corpse of an album; too long to be enjoyed by anyone but the biggest fan or the most patient saint. There are some really good songs on this album that the young Peppers would have never been able to make, but most of it is the kind of music that the young Peppers would never have wanted to make.

Rating: 4 out of 10. If this were one album, then I think it would have gotten somewhere around a 6.5 or 7, so I rounded up a little bit.

Key Tracks: "Dani California" "Tortrue Me" "Wet Sand" "21st Century"

Worth The Money: Only for diehards
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Note: No guest today, but later this week We'll be getting reviews from a singer songwritter revied on this very website, a drummer from the only lo-fi noise punk band worth hearing, and a man whose got his fingers in so many pies that...well...I don't know how to finish that comparison, but he's connected. Stay tuned...

Guest Week: John Adams

Artist: Against Me!
Album: Americans Abroad!!! Against Me!!! Live in London!!!

Comments: I am usually opposed to live CDs. I feel like they are just re-releases, shitty re-releases. Essentially you pay $15-$20 for the same songs you bought before except this time the songs are a lot sloppier. Although I’m opposed to live cds I still buy them out of support if one of my favorite bands happens to puts one out.

This past august Against Me! put out their first live cd and their last cd on Fat Wreck before moving on to Sire Records. The cd starts with the recording of “A Brief yet Triumphant Intermission” and immediately breaks into their most recent single “From Her Lips to God’s Ears”. I was surprised to find that they had slowed the song down unlike most artists, who tend to speed everything up when they play live. Even more surprising however is how tight the band sounds you almost get the impression that the live cd was done in Blink-182 fashion (recorded in a studio with a crowd mixed in afterward).

The next two songs on the cd are short but hard hitting. “Rice and Bread” serves as a great set up for fan favorite “Reinventing Axl Rose”. After that quick blast, comes the one new song that the band did for the cd, “Americans Abroad”. If you liked Against Me!’s last studio cd, Searching for a Former Clarity, then you’ll like “Americans Abroad”. The new song, about the insecurities of being an American in another country, starts witch just guitar and drums quickly picks up in Against Me fashion to pound the song home.

Then the band play “Those Anarcho Punks are Mysterious” followed by “Miami” the opening track for Searching. Then the band plays their most commercially successful song, “Don’t Loose Touch”, followed by the most unique song Against Me! has written, “Unprotected Sex with Multiple Partners”. Most people would never guess that Against Me! would ever write a song like Unprotected Sex, when the song starts it sounds like a Franz Ferdinand rip off band, but by the end of the track it is still clear Against Me! hasn’t abandoned their folk-punk roots.

The next five songs are all high-energy crowd favorites mostly from “As the Eternal Cowboy”. In the middle of that block they play “Turn Those Clapping Hands into Angry Balled Fists”, one of the high points on the cd. Clapping Hands starts as one of the slower song on the cd and is a song that is about everything from what most houses are made of to insulting the drummer, Warren Oakes’ drum beats. As the lyrics finish it almost seems like the band that had been unbelievably tight until now breaks down. The bassist isn’t actually playing anything, the guitars are out of time and out of key with everything, the only part of the song that hasn’t gone to hell is the drums, and just when you’re wondering just how much more you can take the band snaps back together to finish the song like nothing happened.

The band finishes the regular set with their most beloved song “Pints of Guinness Make you Strong” and even though the band has been at it over forty minutes they still sound as fresh as they did at the beginning of the cd. The boys of Against Me! come back for their encore with more energy than ever, starting the extra songs with “Cliché Guevara” and ending the whole show with “We Laugh at Danger (and Break all the Rules)”. When the band starts We Laugh at Danger the crowd who had been more then audible the entire cd explodes, especially at the end of the song where the crowd sings and claps on their own, putting a smile on your face and making you feel like you were at the show.

Rating: 7 out of 10

Key Tracks: “Rice and Bread”, “Reinventing Axl Rose”, “Turn Those Clapping Hands into Angry
Balled Fists”, and :We Laugh at Danger (and Break all the Rules)”

Worth the Money: Only if your already a fan, if not buy Reinventing Axl Rose first

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Note: Big thanks to John for kicking off Listen Up!'s first ever guest week. John is the lead singer, bass player, and primary song writter of one of western NY's most up and coming punk bands, Back For Seconds. Their first album "Get Awesome" is avaialbe through the band's myspace. Here's the adress: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=12504920

Mr. Dogg Classic - The Blue Album

Artist: Weezer
Album: The Blue Album

Comments: As I type this, “My Name is Jonas” is playing on my speakers. This song is everything an album opener should be; it gets the listener excited and drawn into the album. For my money, the first track on Weezer’s first album is still their best song to date. More and more it’s looking like its going to be their best song ever; there most recent release “Make Believe” is one of the worst albums I’ve ever bought, not to mention the whole “hiatus” situation that Weezer is currently in. I always hate to hear that a band is going into hiatus, it seems to me once a band does that, they never come back; even if the band doesn’t break up in the time off, any new stuff just doesn’t sound the same. After hiatus, all a band is doing is trying to prolong the magic, and that never really works (except as a title to a Cake album).

“No one else” is playing now. The Blue Album came out in 1994 and if it were a person it would be just about 12 years old now. It would starting to notice girls, probably doing its best to fit in at the expense of the nerdy kids in class, and just starting to get angst-y. This strikes me as somewhat ironic seeing as how these feelings of adolescent insecurity and the balance between innocence and maturity are what keep drawing me to The Blue Album. No matter how old I am, or how many times I listen to these songs, the feelings are still there, and the songs still speak to me. For example, “The World has Turned and Left me Here”, which is a song about feeling alone after a breakup, still holds true to me now at like it did at age 13. I’m not sure that there is any age in life where getting dumped no longer hurts, and because of this, I don’t think there’s ever going to be an age when this song is going to sound stale.

Weezer’s first big hit “Buddy Holly” is one of my least favorite songs on the entire album. That’s not saying much though, this is one of the greatest albums of all time to me, and I really don’t think that’s going to change anytime soon. I’ve never really been a big fan of singles in general; I’m more of a deep cuts kind of guy. But I’m only lying to myself if I say I don’t like this song. It’s a fun, well crafted, charming pop song that keeps me tapping my toes no matter how many times I hear it. I always seem to forget about the goofy keyboard in the middle of the song, throwing back to all the cheesy stadium rock anthems and goofball metal of the late 70s and 80s. People wonder how Weezer fell so far from grace on their last two albums, but the clues are all over on this album. Maybe we should have seen it coming and not set Weezer’s bar so high. Still, it’s goofy, simple, and perfect for the song.

The first four tracks on the album blow past in less than 15 minutes time like a roller coaster. Everyone is having so much fun on the first four tracks that it’s over before you even realize it, and then out of nowhere, it’s “Undone (The Sweater Song)” to slow things down. For the life of me, I don’t really know what this song is about. I’ve listened to this song a whole bunch of times, and I’m pretty sure its just about a guy losing his sweater. Of course, it could all be a metaphor for people in general, how one small thing can serve as a catalyst for a total breakdown. This idea is further driven home in my mind by the breakdown of melody at the end of the song, with all the jangling and noise that emerges from what was once a pretty song. But the party dialogue in the song still cracks me up every time.

“Surf Wax America” is a great one, and one they seem to like to close shows with. I get the impression that the boys in Weezer don’t actually surf, rather they observe it from a distance. It’s a documented fact that the guys in Weezer are terminal nerds, and as a result this song plays as such; it’s an outsider looking in, a loser looking at the cool kids with longing, admiration, and even a little adolescent jealousy. The proof is in the lyrics; calling kids “hunnies” and saying “I don’t like you face” is snotty early 90s teen, and is reminiscent of awkward kids trying to use cool slang and sound cool; the words are there, but it never really sounds right. Either way, it’s a perfect sentiment for the mass population of the uncool; it’s an anthem for the freaks and geeks of the world who haven’t come to terms with themselves yet.

“Say it ain’t so” is the “serious” song on the album (as if heartache and longing aren’t serious things). I’m not really sure what to say about this one other than it’s about alcoholism and how it can destroy a family. The really strange thing about this song in particular is that it seems a little less personal than the rest of the album. Now, “In the Garage”, there’s a personal song! This is another clue to Weezer’s future; they’re telling us flat out how they love metal. Kiss posters for crissake! But everyone can relate to this song because everyone can relate to a personal place where “we feel safe” and where “no one hears us sing our songs”. Even the most sure and confident people need a place to be alone with themselves and this song is about exactly that.

“Holiday” is the runt of the litter. It’s nothing more than a nice pop song with some passable harmony in the bridge. Ahh, but “Only in Dreams”, there is a powerful song. One of the great things about this album is that it starts with a blast and ends with a blast. “Only in Dreams” is an epic, sprawling pop rock song that stands out because it makes the listener wait. The pervious nine songs are all quick pops of excellent song writing, great instrumentation, and humble eloquence. “Only in Dreams” challenges the listener to wait and accept the song on Weezer’s terms. And the payoff (in the form of a powerful decrescendo in the closing minutes of the song) is nothing short of moving beauty.

And as the final bass notes come to rest, The Blue Album comes to a close, but I am not done with it. No one can ever really be done with an album like this. Weezer’s first (and best, Pinkerton be damned) record finds the universal. As long as we as listeners can remember our youth and all the mixed emotions of joy, freedom, hope, rejection, lonesomeness, and awkwardness this album will be a masterpiece. These are things which all people can relate to; this is an album for anyone. For everyone.

Rating: 10 out of 10

Worth The Money: If I was only allowed to have 5 albums for the rest of my life, this would be one of them. GET THIS ALBUM NOW!

Key Tracks: Not one bad song, listen to it on a car ride all the way through.
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Note: Thanks everyone for the nice welcome back. More reviews this weekend, and some GUEST REVIEWERS next week! Stay tuned!

The Roots get Pissed

Artist: The Roots
Album: Game Theory

Comments: The Roots have always been a dark horse in hip hop. They are the anti-snap music; hip hop for the thinking man, not for the clubs. Always willing to tackle complex subjects and send a message, The Roots get a little darker and a little angrier on Game Theory, their darkest album to date, and best effort in years. With songs like “Don’t Feel Right” and “False Media” and subjects ranging from war on drugs to betrayal to death, one gets the idea that this is no party album. And while the album is very serious, it is never depressing or damning. It is a cautionary tale, a warning, and a call to change.

On the Roots’ last effort, 2004’s The Tipping Point, ?uestlove’s drumming was barely noticeable; there was never a moment on that record that caused me to sit up and appreciate how good he really is. Thankfully, Game Theory erases any concerns about ?uesto’s skills. In almost every song, the drums are pushed to the front of the mix showcasing ?uesto’s signature style of even handed, jazzed influenced kit banging. From the opening cadence in “Don’t Feel Right” to the laid back soul groove of “Long Time”, ?uestlove is all over this album, killing these songs; he quietly reminds you without being a showoff that he is the best drummer in hip hop (a genre built on rhythm and beat). ?uestlove also produced the album, and keeps it moving along quickly and with focus; there are no mid song breakdowns giving way to 5 minute jazz jams on this album, it is all business for the Roots crew on Game Theory

“Clock with No Hands” emerges as the standout track of the second half of the album, and its all because of Black Thought. Thought is a paradox; he rhymes best when he is in full on battle mode, but his laid back, peanut butter smooth delivery conveys very little emotion. This is why he is often criticized for being a poor front man and catches some noise about not being a good MC. This is nonsense; Black Thought is one of the best lyricists in hip hop even if his delivery lacks punch at times. On “Clock with No Hands”, Thought is in his battle mode speaking on unfaithful friends with a sincerity not often heard in his voice. When he declares “I might forgive/ But I do not forget”, one gets the sense that Black Thought really does have teeth after all; you can hear the anger and regret in his words, and it really makes the song work.

So with the twin dragon of ?uestlove and Black Thought firing on all cylinders, the album is a resounding success. This album calls back to the days of Things Fall Apart when the Roots were at their best. Gone are the mid song jazz freestyles, time wasting skits, and half songs, replaced with a new focus and a sense of determination. Rather than the sporadic flashes of brilliance mixed in with the mediocre, the Roots produce consistent above average, thinking man’s hip hop. The Roots are ready for war against mainstream hip hop, or the government, or the police, or the war on drugs, or anything, and this is their battle cry.

Rating: 8 out of 10

Key Tracks: "Game Theory" "Don't Feel Right" "Baby" "Clock with no Hands"

Worth The Money: Yes. Fans of Talib Kweli, Mos Def, Common, and the Roots other albums will eat this one up.
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Note: "Listen Up!" is back! New updates begin this week. Email me at Mrdogg45@yahoo.com if you want to know when the next one is, or just keep checking back (like thursday or friday).

Get Excited!!!

Reasons to get excited:

1) Summer is over. This means no more 100 degree days, and for 3 glorius months, it is completley alright to drink apple cider.

2) New Decemberists Album! New Roots Album! New Hold Steady Album! New Cursvie Album! New ...And You Will Know Us By The Trail Of Dead Album!

3) Football season bitches!!!! GO! GO! BUF-A-LLO!!

4) New reviews, top fives, and classics coming at you very soon.

stey tuned, We're almost back.

Quickly Going the way of the Buffalo

Hey everyone.

This site is going on indeffinte hiatus effective the minute I'm done typing this. The reasons for this hiatus are many, but the most pressing reason is that I just don't have the money to spend on new albums right now. Cash is tight, especially as I move into my new place for the summer. So untill I get my finacial situation in order, I'm not going to buying any new albums.

There is always the chance that'll I throw a reivew of an older album or a Mr. Dogg Classic up here somewhere, and If i do, I will let you know via the mailing list. Thanks alot for reading, and I hope you guys will read again if I ever come back.

Living vicariously through the music of other,
Mr. Dogg

First Party Record of 2006

ARTIST: Gnarls Barkley
ALBUM: St. Elsewhere

COMMENTS: It’s been almost a full year since I’ve heard a song that qualifies as “My Jam”. In order for a song to be “My Jam”, it has got to excite me instantly upon hearing it; it has to whip my body into a frenzy that can only be cured by dancing it out, regardless of how terrible of a dancer I am. Previous “Jams” have included “Be” off of Common’s recent release of the same name, and “Ghettomusick” by Outkast. Thanks to Gnarls Barkley, I can officially say that I once again have “My Jam” for the summer.

The song that has got my toes tapping is “Go Go Gadget Gospel”; the opening track off of “St. Elsewhere”. It is a quick two minute blast of funky horns, hand claps, marching band drums, and honey dipped soul vocals. It’s the kind of song that makes the listener sit up and pay attention, commands them to move, and dares them not to like every second of it. It sounds like the opening theme to a 70’s cartoon show about funky soul ninjas (that sentence makes a lot more sense in my head than on paper).

The madmen behind this wild frenzy of funk and soul are producer Danger Mouse; best known for his work on “The Grey Album” and his collaboration with MF Doom on “The Mouse and The Mask”, and Cee-Lo Green of Goodie Mod fame. Once you realize who is behind this wild mess, it makes a little more sense; Danger Mouse has already proven himself more than able to make pop music (his work on the Gorillaz most recent album) and Cee-Lo is trying his best to be the bastard child of George Clinton and Isaac Hayes.
Put these two together and something good was bound to happen.

And for the most part, “St. Elsewhere” is something good. Gnarls Barkley is a soulful album that throws back to the early 70’s of R & B, Soul, and Funk, while still managing to sound modern and new. I have to give most of the credit to Danger Mouse; he really runs the show. Cee-Lo’s high pitched singing can range anywhere from arousing to creepy, and he is clearly really good at what he does, but its Danger’s beats that steal the show and keep this from being a throwback album. It’s only about 40 minutes long, but it packs a punch in that 40 minutes. “St. Elsewhere” is full of songs that make you want to shake, wave, shimmy, and boogie. I guess what I’m trying to say is that it’s one of the most fun albums I’ve heard in a while.

Not to mention, one of these songs is a Violent Femmes cover. And I know I might get angry emails for this, but Gnarls Barkley does it better than the Femmes ever did. Now if you’ll excuse me, I’m going to put my jam on and dance my face off.

RATING: 7 out of 10

WORTH THE MONEY: Fans of soul, hip hop, or having fun should give this a listen. “Go Go Gadget Gospel” and “Smiley Faces” are worth the price of admission for me

KEY TRACKS: “Go Go Gadget Gospel” “Gone Daddy Gone” “Smiley Faces” “Transformer”

Babyshambles Is Funnier When You're Drunk

ARTIST: Babyshambles
ALBUM: Down in Albion

COMMENTS: When I’m not listening to, writing, playing, or talking about music, I usually read about it. My general rule of thumb is to not read about any album I’m reviewing until my review is done. I do this so that my opinions will be my own, and not impacted by the words of someone else. Even though I haven’t read much of anything about Babyshambles, I know that they’ve been getting mixed reviews. That simple knowledge is a strike against them.

But the good news is that I never listened to the Libertines. Apparently, one of the dudes from the Libertines (lead singer maybe? I don’t really know, I’ve never really listened to the Libertines) is the front man of this new band. And while Libertines fans may hate this album right off of the bat because its not a new libertines album, the only snap judgment I could make is that “Babyshambles” is a funny word, like poppycock. Oh those crazy Brits and their gibberish.

But nonsense words aside, let’s get the album. It starts off with “La Bella Et La Bete”; which is a swing number that threatens to lose control and burst out at any moment, but never gets around to it, even though the track is five minutes. The next song, “Fuck Forever” is a sloppy mess; it starts out hard to listen to before springing into a catchy hook that salvages the song. Lead singer and ex Libertine Pete Doherty slurs and wails in an erratic way that is both obnoxious and endearing; he is a fitting mouth piece for this chaotic collection.

Sometimes Babyshambles sounds like The Clash (“A’rebours”) and sometimes sounds just fucking ridiculous ( WTF “Pentonville”?!?!). But mostly, this sounds like the work of a man with a lot of ideas, some better than others, whose previous band wouldn’t allow him the creative room he needs. It jumps from Brit pop, to punk rock, to reggae, to new wave hipster stomp, then back over the same ground again. An album like that, while therapeutic for the creator, lacks the focus needed to make it a good album. But there is something in this albums sloppy riffs and slurred vocals that makes it endearing. At the end of the day, “Down in Albion” is a sexy mess; not so much an album as a collection of songs that play like Franz Ferdinand drunk on cheap vodka and high on pills. This album is that smashed girl at the bar who is spilling drinks all over everyone and making an ass of herself, but is still strangely alluring.

RAITING: 6 out of 10

KEY TRACKS: “Fuck Forever” “32nd of December” “Pipe Down”

WORTH THE MONEY: Not for full record store price, but used or discounted I would say so.

Smells Like Flannel

ARTIST: Pearl Jam
ALBUM: Pearl Jam

Comments: I missed Pearl Jam by about five years. I had a copy of “Ten” and I recognized their songs on the radio, but I never really thought they were anything special. At the height of their popularity, I was just too young to really appreciate their music. Now that I’m older, I understand their importance, but I’m still not a huge fan by any means. I listen to their greatest hits album, which is very good, and the more popular tracks off of “Ten” and “Yield” but I am by no means a fan boy like some of my older peers.

So when I heard that Pearl Jam had a new album coming out and that it was supposedly their best album since “Ten”, I was excited. This album was going to be my chance to really listen to Pearl Jam and try to understand what they were really all about. This was going to be my way of making up for the fact that I was just too young to appreciate them; this was my chance to give them an honest look. What I see in Pearl Jam is a band that can still has the magic, but is struggling to remain relevant.

The grunge “revolution” of the early 90s was a big time for rock music; it shattered the stranglehold of ridiculous hair metal and androgynous synth-pop that was the late 80s. Pearl Jam was one of the three big bands who were leading the charge with their stripped down, aggressive sound and their less outrageous, more grounded lyrics (the other two being Alice in Chains and Nirvana). But the grunge revolution is long over, and Pearl Jam is the only one of the three still active. The point of all of this is that Pearl Jam had a decision to make; do they build off of their roots and try to change with the times, or do they keep on rocking like its 1993?

The answer is found in the opening riffs of the first track, the fast passed rocker “Life Wasted”. With its 4/4 drum beat and lead guitarist Mike McCready’s stadium rock riffs, this song could sound right at home on “Ten” or “Vs”, Pearl Jam’s first two albums. Lead singer Eddie Vedder is in top form, all of his screams, slurs, and croons sound as sharp/stupid as they always have, depending on your opinion. As “World Wide Suicide” kicks in, it becomes obvious that Pearl Jam are fighting the clock and sticking to their guns. And for the first two tracks, it works. Carried by confidence, Pearl Jam dares you to tell them the revolution is over and that their music is out of style.

The act gets old quickly though. The drums keep beating, the guitar keeps squealing, Vedder keeps screaming then talking then screaming. It all starts to run together until it sounds like one big 20 minute song that just keeps repeating the same chorus over and over without much change. It starts to sound like the same solos, the same howls. Vedder’s lyrics, sometimes inspired but often flimsy, deal with issues like the war in Iraq in thinly veiled metaphors and clever turns of phrase, but never make you sit up and listen like they can on some better Pearl Jam tracks.

When Pearl Jam slows it down a little bit, the songs seem to get good again. Songs like “Gone” and “Come Back” change the pace of the album, and give it a sense of intimacy and sincerity that if often lacks. However, you start to wonder if these songs only stand out because they break up the average songs which surround them. Pearl Jam finishes the album off strong with the seven minute epic “Inside Job” which builds on sounds of records skipping and a haunting guitar harmony played over an acoustic riff peppered with some piano.

At the end of the day, this album stands as a testament to a band trapped in time they cannot hope to understand. Maybe it’s better that Nirvana and Alice in Chains died; they served their purpose and changes music, but would they have become anything more than an afterthought after 1996? Pearl Jam is trying to fight off obscurity the only way they know how, with grinding guitar and wild man howls mixed with slower ballads. The final problem with this album is that it delivers on its promise; it sounds like Pearl Jam from the 90s.

RATING: 6 out of 10

KEY TRACKS: “Life Wasted” “World Wide Suicide” “Inside Job”

WORTH THE MONEY: Diehard Pearl Jam fans will love this, but average Jack and Jill should save their money

May News

Hey party people. Here's the skinny on the first days of May.

1) I could offer an excuse as to why I havent posted a review yet (final exams, moving into a new apartment, ect) but in reality I am just undiciplined. Should have a review up by tuesday, but if you dont want to check back every day to see if I'm doing my job, why not sign up for the newsletter? Email me at Mrdogg45@yahoo.com to get added to the list. The list right now is admitabbly small, which means less work for me sending it out, but more checking this site unnessisarrily.

2) New Albums!!!
Neil Young!
Bruce Springsteen!
Tool!
Pearl Jam!


3) um... thats actually it. check back on tuesday


-Mr. Dogg

Epitaph Strikes Again with The Coup/ Mr. Dogg Gets Writer's Block

Artist: The Coup
Album: Pick a Bigger Weapon

Comments: I’m having a really hard time writing this review. Is it because I’m lazy and can’t seem to focus? Is it because I’m not really sure what I think about The Coup’s latest album “Pick a Bigger Weapon”? Or is it because this album is so good that it might change the face of hip hop? Well I know it’s not the last one; Pick a Bigger Weapon is without question a good album, but it’s not revolutionary. And I do know what I think about the album; I think it’s a great hip hop album with some flashes of brilliant production and professional word slinging, with some flat parts that don’t play out to well. I guess I’m just lazy then.

Well, how should I go about writing this then? Well, I guess I could start by saying that The Coup is made up of Boots Riley, the lyricist, and DJ Pam the Funkstress, the producer with a kick ass name. I could go on to say that the band that backs them on the album is extraordinary; it contains some original P-Funk All-stars, not to mention Tom Morello of Rage Against The Machine (and sadly, Audioslave). Maybe I should point out that The Coup signed to Epitaph Records for this release, which is a good sign for them seeing as Epitaph is on a hot streak with hip hop acts as of late; just look at Atmosphere and the Danger Doom album. I guess all that star power and hype would have given me pretty big expectations if I had heard of The Coup before this album.

That’s the back story of the album, wonderful. Great. Grand. But what the heck does it sound like? Well, it starts of pretty weak, which is both unusual and unwise. The first track “Bullets and Love” is only about a minute thirty in length, and features some pretty mediocre production and played out gansta lyrics. The second track “We Are The Ones” is longer, but still has uninspired production. As far as the lyrics are concerned, there are some good rhymes and the subject of the song is worthy (struggle of the middle class) but is done in some kind of terrible English accent which is really distracting and annoying.

With two strikes against them already, The Coup launch into “Laugh/Love/F***”, and this is where the album starts to get good. DJ Pam backs the track with what I can only describe as what a Sega Genesis playing 70s soul would sound like. It’s a bit unexpected and a bit weird, but it works in the best way. The track solid lyrical work, but nothing amazing as it lets the beat law down a mellow funk feeling. Very cool. The next track, “My Favorite Mutiny”, features Talib Kweli and Black Thought of the Roots crew, and despite the lyrical powers of the two guests, its Boots who steals the show, rising to the challenge set by the visitors. With the score even two good tracks to two bad tracks, “I Just Wanna Lay Around All Day In Bed With You” tips the album into the land of the good, with Boots serenading his woman over a truly soulful production. Think of it as Barry White with skills.

From there, the album just takes off. The Coup spend the majority of the album from that point using their soapbox to motivate change. “Head(of State)” speaks out against Bush and the US’s history of Iraq, while “AssBreathKillers” speaks about stepping up and speaking out rather than kissing ass of superiors. The production by DJ Pam falls into two categories, the soft and soulful (“ShoYoAss) or the funky fresh (“I Love Boosters!”). Lyrically, Boots never comes down from the bar he set on “My Favorite Mutiny” and is consistent in his message of public awareness and call for changing of crooked politicians and a system that holds down the people within it. His case is strong, but at times is a little bit immature and sophomoric about his need for change. But overall, its strong lyrically.

Well ok, so what do you think of the album as a whole? Well, I think it’s a really good album that trips over itself at first, but then takes off and rarely comes back down. I think DJ Pam’s production is inspired if not always impressive, and when mixed with the backing band, can be downright amazing. I think Boots’s lyrics are sharp and on point for the most part, although at times he can take himself a little to seriously and lacks some sophistication at points. I think the closing track is amazing. I think that The Coup is important for hip hop, that they channel the militant spirit of Public Enemy and soulful flow of Curtis Mayfield, and that feeling of sincerity intimacy that the album gives off is what is missing in hip hop today.

(Whew, hopefully no one realizes that the questioning myself method is just to cover the fact that I’m a terrible writer.)

Final Rating: 8 out of 10

Worth The Money: Yes sir

Key Tracks: “My Favorite Mutiny”, “I Love Boosters!”, “A*sBreathKillers”, “The Stand”

News Update

Hey there music nuts. Happy Easter/Passover/ any other religious holiday.

Here's the skinny.

1) No review this week. Money is especially tight and there isn't anything I am really keen on buying. But keep your eyes peeled, because a free copy of the new Saves The Day Album might be coming my way and if it does, ill throw that out there.

2) I've decided I'm going to start up a mailing list. All you've gotta do is send me your email adress and I'll send you notifications any time the site gets updated with reviews or news posts. Ill also throw in some concert info and other music news. So leave a message here or email me at Mrdogg45@yahoo.com and I'll put you on the list.

3) Last week I reviewed the Less Than Jake EP and then went on a rant. One of my readers sent my comments to J.R from Less Than Jake and he sent a resonce back. I'll be posting that sometime this week

4) Have you seen the lineup for Lollapalooza? It's like an indie nerd's wet dream. Im gonna be surrounded in scarves and tight cloths and indifference music snobbery the likes of which the world has never seen.

OK, thats about it for today. There is some more Jared Adams news, and Atreyu has a new album out, so you can pick that up. Also, Ghostface Killah's album is suppsoedto be hot fire, so get on that. Built to Spill has got a new one out for you indie folks, and as I said, Saves the Day's new one is out too. So there's stuff to listen to untill I get around to a review. Peace Out!

Mr. Dogg

Less Than Stellar

Hey hey folks! Just an EP today, real busy.

Artist: Less Than Jake
Album: Absolution for Idiots and Addicts

Comments: I have no love of major record labels. I believe major labels see bands as a way to target a new demographic and nothing more; that albums are nothing more than a comparison of profit margins to produce successful fiscal quarters. And I am ok with this, because as much as I believe music should be about art and expression and beauty and soul, I realize that music is a business. I guess I'm a sellout, as the punk rock kids might say.

I'm guessing that they would call Less Than Jake sellouts as well. For those unfamiliar with this particular group, I'll give a brief history. Less Than Jake is a ska band from Gainesville Florida who were part of the third wave ska invasion of the early and mid 90s. From their humble beginnings on "Pezcore" to their most recent release "Anthem" Less Than Jake has used their high energy, off key harmonies, blazing horn section and brash indifference towards adulthood to build a loyal fan base. They received some backlash with the release of "Anthem" because of its departure from their signature ska sound, relying more on pop punk guitars and hooks. They were on a tightrope, dangling between their old fan base and the potential for new fans.

With that position in mind, they released "Absolution for Idiots and Addicts". This EP sounds like an attempt to please both the old ska kids and the new pop punkers. The first track (entitled "Overrated (Everything Is)") and the last track ("The Rest of My Life") seek to draw in new listeners. These songs sound more like Bowling For Soup than Less Than Jake, but are easy on the ears and will draw in the alienated youth market that is so important these days. With their simple chord progression and catchy hooks they almost scream for radio play.

The other two tracks ("Negative Side of Optimistic Eyes" and "We, The Uninspired") shoot to appeal more to the hardcore LTJ fan. "We, The Uninspired" especially, which has the kind of ska riffs, rocking horns and jumpy walking bass lines that LTJ fans haven't heard since their earliest days. These two even have better song writing; here they sound more like the Loser Kings they are, as opposed to whiny teenagers they sound like on the other two tracks.

I never bother with EPs usually, but Less Than Jake and I have a history together. The goal of an EP is to get people excited for the new CD. While it didn't particularly excite me, I believe Less Than Jake will expand their fan base more than they will hurt it if this EP is any indication of the album.

OVERALL RATING: 2.5 out of 5
WORTH THE MONEY: Nope, wait for the CD. Or just go to myspace and listen there.
KEY TRACKS: "We, The Uninspired"

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NOTE: RANT BELOW! READ AT YOUR OWN RISK!
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(This EP is shit. Absolute shit. I know i said all that other stuff in the review, and I stand by what I said. What I say now, I do not say as an objective music critic, but as a longtime fan of Less Than Jake and their music.

What the fuck did I ever do to deserve this? I forgave "Boarders and Boundaries", chalking it up to FatWreck thinking maybe they just didn't know how to make a ska album so they tried to focus on other parts of your sound. I forgave "Anthem" which had maybe four good tracks on it because I believed you were still able to produce good music. Then I get this EP. The first track on this godforsaken EP is fucking Anthem by Good Charlotte. I shit you not. Where do you get off LTJ, making fucking Anthem part 2??!?! I know you want new fans, and I know your sound has changed, but god damn! If not for We, The Uninspired I would have no hope for this new album.

I am hoping that this is all a cruel joke. If this new LTJ sounds anything like this EP, i don't know how much longer I can call myself a fan. I'm running out of excuses for you now. I'm afraid that it might be time for me to just say a band i used to love is just not good anymore. And I hope that isn’t the case.)

April Notes

Hey All, a few quick things.

1) Money is kind of tight this week, so I won't be able to get out and buy any new records untill sometime next week. I'll put up a few Mr. Dogg Classics in between now and then, and maybe a Top 5, but as far as new albums go, it'l be about a week. Make sure to check back.

2) New Layout: I'd been getting some complaints that the old layout was alittle rough on the eyes, so i switeched layouts. Let me know if this is easier for all you with less than perfect vision.

3) I'm kicking around the idea of a mailing list to let people know when the site gets updated, keep poseted on music news, ect. Anyone think thats a good idea?

4) Dude, have you seen LOST lately? That show is friggin intense with a capital INTENSE.

Ok, thats about it for now. Thanks alot for reading. Feel free to email me your comments, concerns, or suggestions at Mrdogg45@yahoo.com or just leave em here. Adios

Adams Invites You To His World, Offers A Drink

Artist: Jared Adams
Album: Halls, Brawls, and Bathroom Stalls
Comments: Any failures (there are a few) or success (there are a few more) that "Halls, Brawls, and Bathroom Stalls" has in it are the fault of one man and one man only. Jared Adams stands alone on his debut album, making it a one man show where he is the opening act and main event. Adams's show invites the listener into his world, which he discribes through bloodshot eyes and beer soaked breath, as he takes the listener on a drinking tour of Albany, New York. Armed with only his guitar, his voice, and a handful of friends, Adams sets out to tell the story of every college kid, while putting his own spin on it.

Adams's songwritting is driven by the wild life he lives, fueld by alcohol and drugs. This is the main focus of the album, whether he is trying to convince a woman to leave the door open for him ("Don't Shut The Door") or getting caught by the police for public urination ("Pissin Ain't Easy"). This one sided focus on the non stop party of youth is something we can all associate with, but is limiting at times as the subject matter of the album rarely changes.

Because the album is independently written, recorded, produced and distrubted, it posesses a very stripped down, basic sound. Most songs are just the man and his guitar, allthough the occasional bass line or chorus of friends can be heard on some tracks. This minimalist sound can sometimes hurt Adams; when he tries to sing outside his range, he has nothing to hide his straining voice behind. At the same time, his confidence and charisma can bend the basic sound into a song that is both intimate and engaging (the hilarious epic of "Pissin Ain't Easy" comes to mind).

Don't get the idea that Adams is nothing more than a drunk with a guitar. His guitar playing, while not mind blowing, is more than good enough to carry the songs. He playing style is somewhere between G Love and James Taylor (I would say young James Taylor, but that man was born at age 45), while his writting has a sort of everyman quality that remindes me of Bruce Springsteen. Adams even has a friggin folk ballad in the shape of the six miunte oddesy that is "Matty Rodgers". That being said, this is definetly a party album; songs like "Disco Shit", "Bum Rush" and "Havoc" will get the party rocking, but are somewhat shallow and unfullfilling.

Two songs on the album stand out amongst all other and give the impression that in time, Adams could blossom into a serious deal. The first is the title track "Halls, Brawls, and Bathroom Stalls" which touches on the sense of emptyness that one can feel from a life of non stop parting. The other is the 10 minute long "Thursday". The song, mid tempo and upbeat, focuses on the waiting and longing everyone feels, that if we could just have this one thing, everything would be allright. The first half of the song features voice mails from Adams's phone; friends calling to party. As the song winds down, we here Adams on his phone; his night over and his friends no where to be found. This peice of vocal imigry serves as a bridge between the glamour of the party and the wisdom that there is more to life, and suggests that Jared Adams has got potential to be more than just a party MC

For all its flaws (repetive at times, shallow material) "Halls Brawls and Bathroom Stalls" is a solid bedut from Jared Adams. Its an album that is made for the drunken college kid in all of us; partying hard making mistakes before we're forced to step into our real lives. Thats what Adams is doing now, parting hard. I for one can't wait to hear what he'l sound like when he starts his real life.

OVERALL RATING: 6.5 our of 10
WORTH THE MONEY: If you like to party on a Saturday night and think about it the next day, this album is for you.
KEY TRACKS: "Pissin' Ain't Easy" "Halls, Brawls, and Bathroom Stalls" "Matty Rodgers" "Disco Shit"

NOTE!!! - Spelling errors? You Bet! Will I fix em? No!

Matisyahu Praises God, Beatboxes

Artist: Matisyahu
Album: Youth

Comments: From the moment I first laid eyes on Matisyahu, I knew he and I would cross paths whether I liked it or not. My hope is that he would remain an underground college act, and he would never actually be popular enough that he would warrent my attention. I remember watching his video for "King Without a Crown", hoping I would never have to buy his album as he beatboxed and bounced around in full religious garb.

Why the concern? I was worried because when I saw him, I immediatly made three asumptions about his music. First, I was concerned that he was nothing more than a gimick or a schtick, no better than William Hung and just as disposable (Jesus, what a bad idea William Hung was. I didn't even pay for it and I want my money back). My second concern was that he wouldn't play actual reggae, but some sick twisted version that would make Bob Marley roll about in his weed covered grave. I assumed it would be something like Sean Paul and 311 mixed with a big spoonful of awful. Once I learned about Matisyahu's strong religious tones, my third concern was that all the god talk would be a distraction.

Judging a book by its cover is never a good idea, and Youth is proof of that. What could have been nothing more than a gimmicky one tirck pony release turns out to be an album with substance and general passion in it. Matisyahu is not some joke, he is an actual MC, and proves it on tracks like "Fire of Heaven/Alter of Earth" where he spits his rhyms with a quickness and authority that dares you to follow him without getting lost. If words aren't enough, he even drops some respectible, if not incredible beat boxes on a few tracks, most notibly "Shalom/Saalam".

The unstrumentation on the album is not reggae in the strictest sense of the genre, but succeeds none the less, as it builds and adds to the sound, making something new but still familiar. Surprisingly, Matisyahu sounds his best not when he is rocking out and ripping rhyms at fast pase, but when he and his band calm down and get more intimate. Songs like "Late Night in Zion" and "What I'm Fighting For" not only slow the album down, but also bring the listener closer to the music and the message, and lets the listener choose to accept it or not. But either way, it sounds nice.

The big problem on this album is similarity. While the standout tracks do stand out, the rest of the album has the tendency to run together, making hard to tell some songs apart. Also, the overall relgious message of the album can be a deturent for some people. The entire album is about faith and god, save for one song about his wife and one song about drugs. And while the single "King Without a Crown" is full of pop and energy, the rest of the album doesn't really deliever on that particular promise. I also have a problem with the band itself; at times the musicians seem to try to play outside of their range. The make a good reggae band, but not a good rock band at times.

Overall, this album took me completly by surprize. I am happy to report that Matisyahu is not a gimmick, but an actual artist with substance, and if Youth is any indication he plans to stay around for a while. I hope so, because the best part about Matisyahu is his passion for what he is saying. Whether or not you agree with his message, you have to respect his sincerity. In a time when losing a girlfriend is sold as deep and meaningful music (cough VICTORY RECORDS cough) anytime something with feeling behind it is put out, I'm on board.

OVERALL RATING: 8 out of 10
WORTH THE MONEY: Yeah, unless you don't like reggae even a little bit, then don't bother
KEY TRACKS: "Dispatch the Troops" "Late Night in Zion" "King Without a Crown"

Old 97's Frontman Doesn't Quite Convince

Artist: Rhett Miller
Album: The Believer
Comments: I'm a pretty big fan of the Old 97's. My uncle turned me on to them and within a year they became one of my favorite bands. For those of you who aren't familiar, the Old 97's are an alt-rock band who specialize in mixing country twang cowboy love songs with pop rock and punk. For some it's a little hard to swallow, but if you give it a chance it’ll sweep even the most hard headed of listeners off their feet (trust me, I once said I would never like anything even remotely country). When I heard that the voice and primary writer behind the Old 97's was putting out a solo album, I was pumped. I bought “The Believer” the day it came out.

"The Believer" by Rhett Miller has got a few problems. One of them being the music. While it is always sharp and precise, it is never edgy or adventurous. This is the problem with studio musicians in general, in my opinion. All of their stuff sounds like anyone could play it; there is no life to it, nothing in the music to distinguish "The Believer" from any other adult pop record. Not to say that the music isn't well played or well arranged, because it is. But overall, it feels impersonal and generic, which is never a good thing to sound like. Another problem I have with this album is that it feels overproduced at time, most notably on "Question", although it is present on "My Valentine" as well. It’s too slick, so much so that it loses its personality. Miller sounds best at his most stripped down and natural and the overproduction hurt him because it draws away from his strength, which has always been song writing.

That being said, the saving grace of this album is the man himself, Rhett Miller. Miller has always had away with words, and has already proven himself to be one of the best songwriters of the last 20 years. This album just serves as more proof of this fact. Through his words he can take on any roll and play it convincingly, from a sly heartbreaker, ("Sex in war-time is sweeter then peace Yeah, it’s the one sweet thing about war") to a lovesick fool ("Love gets you in the gut Takes the top off of your head"). The title track is the album's best; a somber and emotional tribute to Miller's long time friend Elliot Smith, who recently committed suicide. And it is on this goodbye that Miller is at his most true and most charming, even with such dark subject matter. Rather than overstate his case, Miller keeps it simple and in a way, says more about his friend by saying less.

This is a solid pop album with a lot of smart, catchy pop songs on it. With the right band behind him (cough OLD 97S cough) this album could really have taken off. But the impersonal nature of the music itself is a real turn off. For those looking for some toothpaste pop with a smarter edge to it, this might be for you. It serves as a way to introduce a new audience to Miller’s brand of smart and charming song writing. Regardless of your opinion of this album, don’t dare write of Rhett Miller, because with the right landscape for his poetry, he can make a believer out of anyone. I’m proof of that.

OVERALL RATING: 6 out of 10
WORTH THE MONEY: Only for adult pop music junkies and Old 97's enthusiasts
KEY TRACKS: "The Believer" "Brand New Way" "Help Me, Suzanne"

Mr. Dogg Classics - Relationship of Command

Another Mr. Dogg classic. I'm doing this because I want to give the new Rhett Miller album another listen before it goes to the block. So without further ado......

ARTIST: At The Drive In
ALBUM: Relationship of Command
YEAR: 2000

COMMENTS: I am still mad at At The Drive In. I'm mad at them and I may never get over it. The kind of anger and sadness that I get when I think of this album would give every band at victory records 3 albums worth of material. But my anger is justified; these guys were supposed to save rock and roll. They were supposed to make it dangerous and edgy again. They were supposed to breath creativity and life back into an old and dying genre. They were supposed to bridge gaps between completely different styles of music. And I am mad because on "Relationship of Command" showed that At The Drive In could pull it off it they wanted. And then they broke up.

In a way its fitting that it happened. "Relationship of Command" is an example of a band walking away on their own terms, at the top of their game. Because make no mistake, they were at the top of their game on this album. The album opens with "Arcaresenal"; a blast of driving bass and intertwining guitar riffs that are a big part of At The Drive In's signature sound. By the time the vocals kick in, they already have you by the short hairs, and they don't let got anytime soon.

The album just keeps rolling from there. Songs like "One Armed Scissor" and "Sleepwalk Capsules" keep the pace with their fast passed driving drums and more guitars. It's not until "Invalid Letter Dept." that At The Drive In slow down, and the make or break point of the band is fully displayed. Vocalist Cedric Blixer uses a kind of stream of conscious lyric style that would make alot of sense if you were on acid, but ultimately means absolutely nothing at all. (Go ahead and try to tell me something like a vivid dissection that mocked the strut of vivisection semi-automatic colonies and a silencing that still walks the streets means ANYTHING) While this may bother some people, At The Drive In are good enough at their craft that the music more than makes up for the bizarre words. In short, they pull it off.

The album just gets better and better. While the band maintains their hard rocking post-emo-post-everything style, it never gets stale. Songs like "Enfilade", "Quarantined", and most notibly "Cosmonaut", which gets my vote for best song on the album, make sure that no track get skipped, and no face is left unrocked.

"Relationship of Command" could have just been the beginning. It could have changed everything about modern rock and roll. It could have, to use the cliché, saved it. But listening to the album, one gets the sense that At The Drive In never really bought that. And maybe, in the end, that is why they broke up, even though they made an album as good as "Relationship of Command". Maybe it was their way of saying rock and roll didn't need to be saved, it just needed to be refreshed. Mission: Accomplished

RATING: 9.5 out of 10
WORTH THE MONEY: God yes!
TRACKS: "Cosmonaut" "Enfilade" "Quarantined" "Arcarsenal" "Sleepwalk Capsules" "One Armed Scissor"

NOTE: Sorry about this Rhett Miller CD taking so long, I've been busy. But I promise I will have it up before friday, and maybe even another CD up by Friday. But look for the Rhett miller by friday at least.

Those Crazy Brits Are at it Again

ARTIST: Arctic Monkeys
ALBUM: Whatever People Say I Am, That's What I'm Not
COMMENTS: About two thirds of the way into the first track of the Arctic Monkey's first album, there is a moment of silence. A short 3 or 4 second pause that makes you think the song is over. It way seem pointless, or it may seem like a gimmick, but what it is really is a moment for the Arctic Monkeys to catch their breath. The opening track "The View From the Afternoon" features some tight drumming on the high hat, and the best kind on intertwining guitars, using a surf rock kind of sound. Not only is this one of the stand out tracks, but it also sets the pase for the entire record; fast, loud, fueled by youth energy, beer, and sex drive. No wonder they need to catch their breath.

From that first track, the album launches into an attack of fast drums, driving bass, and the perfect combination of surf rock and grunge. This is a formula, and as such has its pros and cons. The pro of this is that it paints a pretty convinving picture; you get the feeling that this entire album is set in a dive bar somewhere in the slums of England, and it comes of sincere, which is always nice. The problem is that it makes it hard to pick out a difference between any of the songs, and the monkeys come off sounding like one trick ponies with no varation in their sound, all be it a good one. By the time they slow it down on the seventh track (Riot Van) most people will find themselves tired out.

But those who have the engery to go on will be rewarded. Late tracks like "When the Sun Goes Down" and "From the Ritz to the Rubble" maintain the fast pased rock and roll, but feature better than average song writting, and only drive home the working class, frustrated youth theme that the Arctic Monkeys have worked an entire album to portray. Not all the songs are jems though, especially the poorly titled "Perhaps Vampires is a Bit Strong But..." which is thinly veiled metaphor for record compaines, a topic that I know that I am sick of.

The Monkeys have alot going for them. Good song writting, and I love the surf guitar sound that is found throughout the album. It's easy to see how a country fell in love with this CD. The major flaw with this album the repetiton and uniformity of the songs. You never want to have the feeling that if you've heard one song, you've heard em all, which is exactly how I feel after this album is over. What pulls the Arctic Monkeys through is their ability to bring the listener into their world; the authentic feel of the album is what saves it.

RATING: 6.5 out of 10
WORTH THE MONEY: Rock music fans should like this one, I'd say its worth the coin.
KEY TRACKS: "View From the Afternoon" "I'll Bet You Look Good on the Dance Floor" "When the Lights go Out"

PS - This issue of LISTEN UP! is probably full of spelling errors that I am just too lazy to deal with. I beg forgivness. Also, looks for another review this week since I didn't get to one last week.