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"

-------------------------------------------------------------------------------------------------
NOTE: RANT BELOW! READ AT YOUR OWN RISK!
-------------------------------------------------------------------------------------------------

(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.

Punk Rapper With a Laptop Takes on The World

Artist: MC Lars
Album: The Graduate
Release Date: 3/21/06 (Available now on iTunes)

Comments: Rather than trying to define himself, MC Lars decided it would be easier if he just up and created his own genre of music. And so, MC Lars's "The Graduate" is the first "post punk laptop hip hop" release in 2006, and to my knowledge, the first ever. True to his genre, MC Lars was in a few punk bands in the California area before moving to England where he decided to pursue a career in rap. As to how he made that transition, you're guess is a good as mine. But the combination is interesting to say the least.

Lyrically, MC Lars is unimpressive to say the least. But in this case that's ok, because these songs are more about what is being said than how they are being said. MC Lars takes on almost everything from writer's block (21 Concepts) to the commercialization of hip hop (Generic Crunck Rap) to the record industry (Download this song) to Hot Topic. (Hot Topic is Not Punk Rock) And while his raps are sophmoric and simple at their most complex, his ability to speak his mind with clarity and send a message makes up for it.

There is a problem though. MC Lars likes to joke around. Songs like "If I Had a Time Machine, That Would be Fresh" and "Space Game", while hilarious, detract from his overall message of DIY ethics and independent music and lifestyle. It's hard to take MC Lars seriously when he talks about the fallacy of the record industry on one track, and plays six degrees to Kurt Kobain on another track. It makes one wonder how MC Lars can preach with his tongue so firmly planted in his cheek.

One of the draws of MC Lars is that his live shows consist of anything from a full band to a single laptop, and that is reflected in the album. Many of the beats are simple and sound like a kid making his first beats on the families laptop. This simplicity is both a blessing and a curse, as it sometimes works (21 Concepts) and sometimes falls right on its face. (Roommate From Hell) Overall, the simple beats just furthers the DIY theme that covers the album. This point is further driven home by the guests that appear on the album. Both MC Chris and Ill Bill contribute lyrics to the album, giving MC Lars credibility and steps up the lackluster lyrics on the album.

The perfect combination of tongue in cheek humor and thought provoking message is found in the last track, "Singing Emo" which tells the story of the rise and fall of the fictional emo band "Hearts that Hate". This combination of commentary and comedy makes for the key track of the release, and shows that MC Lars has the potential to be a voice for a new generation of the technologically overfed youth, if he can just be taken seriously.

OVERALL RATING: 7.5 out of 10
TRACKS: "Download this Song" "Singing Emo" "iGeneration" "Hot Topic is Not Punk Rock"
WORTH THE MONEY: Fans of DIY punk, DIY hip hop, or fans of fun but poignant music should pick this one up ASAP.

Ambitious EP From Upstate NY Beatmakers

Artist: Abbrev.
Album: Abbrev. EP
Website: http://www.myspace.com/seanmoretti

Comments: Not much ever really comes out of Olean, New York, the upstate farming community that is home to the two drummers-turned-producers that make up Abbrev. (Which is an abbreviation for the word abbreviation) Chances are, the only thing you're going to find in Olean is cows, college students, and drugs, and I'm pretty sure two of the three were involved in the making of this EP. Whatever fuel this EP was recorded on, what has come out is a collections of songs showing ambition, promise, and youth.

The standout track in the collection is definitely "Death Toll Methane(Fetamine)." Solid drum rolls and fills rule this track, all while a horror movie like melody plays in the background, giving the song a haunting sense of urgency and importance, while never seeming desperate. This track would sound completely at home on an Aesop Rock album, or maybe Del tha FunkyHomosaipen. At the same time, the fact that it is able to stand on its own without and lyrics over it says a lot about the track.

The rest of the EP shows promise, but is flawed. For example, the interesting if not grating "inFLUxenza" uses a carnival like melody over solid beat making, but the big feature is the use of coughs and sneezes to enhance the song. This is impressive, simply in the fact that even in the hands of seasoned producers, this could sound more like a gimmick than an aid to the song, but Abbrev. avoids this completely. The only problem with the song is that it seems just too long, and the tempo changes are bound to give someone an epileptic seizure.

Overall, this collection of offbeat beats serves as a promissory note for good things to come. Whatever flaws the songs might suffer from (length is an issue, some songs seem too busy to be held together by the middle) in the end it is ambition youth that makes these tracks life. Keep an eye on Abbrev. because it won't be long before they get it perfect. And when they do, you're going to want to be there.

But bring some drugs. Lots of drugs.

Overall Rating: 4 out of 5 (EP ratings only go to 5)
Tracks: Death Toll Methane(Fetamine)
Sounds Like: A pinball machine making love to a synthesizer making love to a nintendo on speed.

Mr. Dogg's Top Five

No album review yet. No concert review. (which was fun, thanks for asking) But still, I really want to put something up here, so I decided to do one of my world famous, rarely seen, always appreciated TOP FIVES!

OK, so all this really is, is a chance for me to list a bunch of songs that I enjoy like the pretentious assclown I am. But still, you guys read it, so I must be doing something right.

Anywho, this is Mr. DOGG'S TOP FIVE SINGLES OF THE LAST 20 YEARS
(Why the last 20 years you may ask? Well because the top five singles of all time requires alot more research than I am willing to put into this right now. Also because it covers the most important 20 years in music, the 20 years that I've been alive. Question answered? Good!)

5) Blind Melon - No Rain
Everyone knows about this song. Maybe you know about it from the bumblbee girl in the video, maybe you know about the lead singers struggle and eventual death from heroine, or maybe you're just a diehard Blind Melon fan. (all six of you out there) Regardless of who you are, when this song comes on, people sing along, people listen, people enjoy.

4) OutKast - Hey Ya!
Man alive, if you didn't like this song, chances are you don't have a pulse. Everyone has got an opinion about OutKast, but when this song came on, it didn't matter if you were a socer mom or a trap star, you were dancing to this catchy-as-all-hell song about shaking it like a polroid picture.

3) R.E.M - It's The End of The World as We Know It (And I Feel Fine)
This is the official challenge. If anyone out there (besides my friend Evan, who always impresses me) can sing to me in one try the correct lyrics to this entire song, I will crown he/she the official king of music. Faster than all hell, stream of counsiousness, and flat out fun. If the sky falls, I know I'll be playing that song on the stereo.

2) Weezer - Buddy Holly
Not only did this song launch a thousand black rimmed glasses, but it also made Happy Days cool again. You know, not to mention the fact that it helped to launch one of the best rock groups of the last 20 years, and is still played on alternative radio stations all over the county. HAPPY DAYS PEOPLE!

1) Nirvana - Smells Like Teen Spirit
Cop out? Maybe. Is it the truth? Yes. I can't really say anything about this band, this album, and this song that hasn't allready been beaten into our heads by long haired flannel wearers and rock journalists for the last 15 years. It was important, really really important. But more than that, it was a good rock song that I can still listen to.

HONORABLE MENTIONS! (Either these are songs didn't fall in the 20 year category, or wern't very good singles, or just didnt make the top ten.)

Violent Femmes - Blister in the Sun
Blink 182 - Dammit
Pavement - Cut Your Hair
Unwritten Law - Seein' Red
Journy - Don't Stop Believeing
Bruce Springsteen - Born in the USA

Problems with my list? I'd love to hear em. mrdogg45@yahoo.com

Whoops!

Happy V day all you musical nuts!

Well, it looks like i haven't revied a CD in quite some time. My bad. I'd like to say I've been busy, but i haven't. Truth be told, I've been a little low on cash this month, but I swear I'll try to get a review up this week.

In the mean time, I'll be at the Flogging Molly show tonight, so stop by and say hello. Maybe I'll review the show.

As it is V day, I reccomend you send it listening to "She Is Beautiful" by Andrew WK. Or, if you're alone today, put on some terrible victory records album and argue with your friends about who is more depressed

Love!
Mr. Dogg

More Scene Than Science

Artist: We Are Scientists
Album: With Love And Squalor

Comments: Its got that sound. You know the one I'm talking about. The one that The Strokes made mainstream. Thats same sound that made The Killers the breakout group of last summer. That sound that the Bloc Party used oh so well in their debute. That sound, my friends, is the sound of simplistic, 80's influenced rock. The kind of "Let's-make-the-guitar-sound-like-a-keyboard-unless-we're-actually-using-a-keyboard" sound. Repetative and simple drums that keep the songs focused. Basslines that occasionaly drift off, but for the most part anchor the guitar. We all know the drill by now.

We Are Scientitst have that sound all over, which makes them really easy to write off as another knockoff band. Right off the bat, the album opens with "Nobody Move, Nobody Gets Hurt" which plays more like a Bloc Party C side or Killers B side than anything else. Later on, "Inaction" sounds almost exaclty like a Hot Hot Heat song, or at least a song that they would play. This formula of sound almost exactly like other bands follows throughout the entire album, which not only gets old fast, but also reminds you of the other bands who did it better to begin with.

The album is not without its own merit though. Every now and again, you get the feeling that these guys just want to return to their garage roots and just rock out. And it is at these moments when the band sounds strongest, because they are not copying a style of music, but building on their own. Songs like "Callbacks" and "It's a Hit" play more like early 90's grunge with a bit of 80's postureing thrown in. It is at those times, when the band is pushing past their own scene, that they sound most relaxed, most focused.

I can see this album getting some radio play and selling a few singles, but not much more than that. At its best, its a group of kids trying to bring a touch of rock into a scene based on the effeminate 80's. At the worst, it sounds like a collection of other bands's demos and B sides. We Are Scientists have some potential, but choose to bury it in scarves and eyeliner.

Tracks: "Callbacks" "It's a Hit"

RATING: 5 out of 10

WORTH THE MONEY: Only if you can't wait for the next Killers album.

Mr. Dogg's Classics - Fuel For The Hate Game

I was going to write a review about the new "We Are Scientists" album, but I don't think i would be able to do a fair review of it right now. So rather than trash an potentally good album, I'm going to sing the praises of an album I allready love from a band that rarely lets me down.

Artists: Hot Water Music
Album: Fuel For The Hate Game
Year: 1997
Comments: I hate victory records. Hate it with the fire of a thousand suns, which is also proably one of the names of the bands on that suckass lable. I used to love victorty records, back before Snapcase turned into computers and broke up, and before Streetlight Manifesto got jack for all their equipemnt. These days, Victory seems to carry every single pop screamo band in the world; its a lable consiting of Taking Back Sunday and their respective clones. Its this kind of mindless repetition of style with no creativity that is killing music these days.

So you might be asking yourself, what does all of this have to do with Hot Water Music? The answer is that this album "Fuel For The Hate Game" is, in my opinion, a blueprint for all of these Victory record bands; a guide to how to make a style of music creativly without repetiton and mindlessness. "Fuel For The Hate Game" gets its strenth by playing off of its influences. In "Backjaw" and "Turnstyle", one can't help but hear a Sunny Day Real Estate style of emo, but fused with some more hardcore guitar work and furious drums. At the same time, its melodic enough not to turn off the casual listner. The vocals are raw and snarrling, with lyrics that pull at the heartstrings, all as the dueling guitars swirl around each other.

The true triumph in this album is how it sounds like a step forward. When this album was released, screamo wasn't even on the radar in mainstreem music. Hot Water Music was able to fuse their emo roots with their hardocre tendencies, and make something beautiful and strong. This album in my mind is the first real hardcore/emo/screamo album of its kind, able to appeal to casual listner and still make the snobs happy. Listening to this album makes me both happy and sad. Sad because a genre of music has been reduced to stupid haircuts and bad metaphors, but happy because it reminds me that all it takes is a little hardwork and a little creativity to breath new life into a genre.

Rating: 8.5-10
Key Tracks : "Backjaw" "Trademark" "220 Years"
Worth The Money: Yes, especially fans of At The Drive In, Sunny Day Real Estate, hardcore bands

Quick Note

1) Spelling Errors - I know, my posts are full of them. I would tell you all to fuck the hell off, but luckily The James has offered to help me fix errors. So WOO for The James

2) Another review should be going up Thursday

3) Fall Out Boy pisses me off, but their song titles make me giggle.

check back thursday, that it all.

Mr. Dogg Out!

Change is Good For Former Heroes of Rock

Artist: The Strokes
Album: First Impressions of Earth

Comments: Back in 2001 when The Strokes released their first album ("Is This It?") and spearheaded a new wave and 80's influenced dance rock, they were hearled as the kings of rock and roll the band that was forever going to save and change rock and roll for all time ever and ever forever. Whether or not they did that is irrelivent, what's important is to relaize that any band that gets that kind of press over their first relases is most likly going to make one, maybe two albums and break up. But lo and behold, five years have passed since rock and roll was supposably saved, and the strokes release their third album. And I say, good for them.

The two preceding albums sound almost exactly the same, like a double disc that was just relased two years apart. But on "First Impressions of Earth" The Strokes start to show signs of change and growth in their music. Granted, alot of the songs still have the same basic sound of the last two albums; "You Only Live Once" would sound right at home on either "Is This It?" or "Room On Fire". However, "Juicebox" the first single off the album shows some balls out rock that The Strokes have not deliveder up to this point. With the driving bass and desperate guitar solos paired with Julian Casablancas's howls and growls, the Strokes show that they're more than just hipsters from New York City.

The big changes on this album seem to be the in the rythm section and in Casablancas's singing. On previous albums, the bass and drums were almost mailed in while the guitars danced around each other with a Casablancas's voice distortion leading it all. On this album, however, drummer Fabrizio Moretti sounds like he discovered that his drum set has more than just a high hat, snare, and bass drum on it. Kudos for bass player Nikolai Fraiture, who must have taken lessons over the break period between albums, because the presnece of a rythm section is much more defined on this album. And as far as Casablancas's voice goes, he dropped the distortion all together. He's not a great singer, but he's good, and it's nice to hear his voice without anything to hide behind.

The weakest points of the album are the parts that sound the same as everything else The Strokes have done. While they do show some marked growth and development, too much of this album is repetition of old material. At certin points in the album, it sounds to me like The Strokes are just covering their own songs. (See "You Only Live Once") Also, it sounds like there is no fun in this album. One of the things I really liked about the other two albums is how much fun they sounded like they were having, and how the songs seemed to be played on emotion and feeling rather than skill. Some of that youthfull feel is lost on this album.

But still, the overall growth on the ablum out weighs the loss of inocennsse. All in all, "First Impressions of Earth" is a step forward for The Strokes, who sound like they are done trying to save rock and roll, and are just ready to be a part of it.
Key Tracks - "Juicebox" "Vision of Divison" "Ask Me Anything"

OVERALL RATING - 7 out of 10
WORHT THE MONEY - Yes, if you are already a fan of The Strokes

Just A Quick Note

Hey there all you musical nuts.

I'm in the middle of an album right now, you can expect the review to be up sometime tonight or early tomorrow. My goal for this is to review a new album ever week, with a review of a "classic" album, which is more or less an album that I like that was released before this year. The point is that if you know of any new albums you would like to see reviewed, or if you want to make a sugesstion or a complaint, feel free to post on the message board or to email me at mrdogg45@yahoo.com. Also, be sure to listen to my radio show "Get Awesome" every thursday night at www.wexpradio.com It's a streaming webcast, so you should be able to hear it no problem.

Thats all for right now, see you crazy kids later

-Mr. Dogg

Best of 05

Happy new year all you musical nuts.

Because the New Year is still relatively new, and because I haven’t gotten a chance to go to the record store yet this year, I'm going to kick things off by going over some of my recommendations for the best albums of 2005. But rather than just throw a bunch of albums out there, or do a top ten list, I'd rather break them up into genre. This way, it can serve as a polite suggestions as to what album is the best for each kind of music.

As always, these are based entirely on my opinions, and if you don't like it, you can sit on it and spin.

Now on to MR.DOGG'S BEST OF 2005

PUNK
Artist: Smoke or Fire
Album: Above the City
Comments: Smoke or Fire don't sound much different than your modern day punk band, and the fact that their on Fat Wreck Chords doesn't help to break them away from the pack any. But there is something about their first CD that pushes it above the pack. It might be the tight rhythm section, or the snarling vocals that are a throwback to the early 80's style of singer. In the end, I think it's just drive, ambition, and the fact that it sounds like these guys are having fun doing what they are doing. And in a time where emotion is bought and sold like appliances, any music with true emotion behind it is worth a listen.
Tracks: "Culture as Given" "Cops and Drugs"

ROCK
Artist: Foo Fighters
Album: In Your Honor
Comments: Before this album was released, a lot of people thought that Dave Grohl had lost his steam. Their previous album (One by One) had sounded flat and rehashed, like the Foo Fighters were covering their own songs, and people began to speculate that Grohl was spending so much time with his other side projects (Protbot, Queens of the Stone Age) that the Foo Fighters were done. With the release of this album, the Foos get their focus back, regain their swagger, and step once and for all out of the giant nirvana sized shadow they've been living in. "In Your Honor" if full of the kind of songs you always knew the Foo Fighters could make, the kind of songs that grab you by the short hairs and don't let go. Listen to "Deepest Blues" for the best rock song they've written since "Everlong".
Tracks: "In Your Honor" "Hell" "The Deepest Blues Are Black"

HIP - HOP
Artist: Common / Young Jeezy
Album: Be / Let's Get It: Thug Motivation 101
Comments: I decided to pick tow artists because of all the modern popular genres of music, no one genre is as split as hip - hop. (Besides indie music, which can fall into any genre as long as the word indie is slapped to the front of it) On the one had, hip-hop seems to be all about the hustle. Songs that make you think of street life and doing what it takes to get by. (Whether or not the artist had to live the life and get by) For the more hard aspect of hip-hop, look no further than Young Jeezy. However, hip-hop is also about poetry and history, about pain and soul. If you're looking for a more introspective and substantial brand, then Common's "Be" is the best album for it, hands down.
Tracks: "Be" "The Food" "Chi City" / "Standing Ovation" "Go Crazy" "Get Ya Mind Right"

INDIE
Artist: Bloc Party
Album: Silent Alarm
Comments: The 80's are back baby! Let the bad hair, stupid keytars, and lame synth riffs reign supreme! 80's revival has been big these last few years, and lot of bands are cashing in on sounds that were recorded over 20 years ago without expanding on them or changing them in any noticeable way. The big exception in my mind being Bloc Party. I'll admit that at first listen it sounded like a band riding the wave of success created by Franz Ferdinan and the Killers. However, those willing to give it a second listen will find a group with big ideas and the courage to just rock. But overall, it will sound like a step forward, using the past as a stepping stone, rather than a throwback with no originality.
Tracks: "Blue Light" "This Modern Love" "Luno"

MR. DOGG'S FAVORITE ALBUM

Artist: Sufjan Stevens
Album: Illinoise
Comments: Make no mistake, this is folk music. But it is also so much more than that. It is a well written and engaging story about the history and life of the state of Illinois. It is a cracked genius at work; with Sufjan Stevens waving his baton with a mad grin on his face, conduction everyone to play at the same time while marinating a sense order. It is an octopus, playing his banjo, guitar, piano, organ, glockenspiel, trumped, keyboard, drums, and bass; making full songs by itself. It is a choir, vaguely singing to god, but more to joy. But overall, it is an album of loss, love, regret, hope, and brilliance. My favorite album of the last five years, and the most beautiful one I have ever heard.
Tracks: "Chicago" "The Predatory Wasp of The Palisades is Out to Get Us" "John Wayne Gacy Jr." "Decatur"