Tony J. Cocuzza

Someone Gets The Blues

2012-01-28T10:11:00.002-05:00

SAVOY BROWN////Voodoo Moon////RUF Records

The opener "Shockwaves" is a 'Boogie' (that word!) tune - and why not? Bellwether Kim Simmonds newest lineup retreats to only a few bluesweary cliches on the straight rockers like "Natural Man" and "Too Much Money". Six of the nine are sung with sufficient melody and grit by sometimes Saxman Joe Whiting, but its Simmonds' well-crafted guitar solos that are worth the wait, even on those mid-rank compositions. This band is not ashamed to 'Rock and Roll' (remember that-Anyone?) with slide guitar propulsion "She's Got The Heat" and the no-vocal "24/7" (Uh-Oh - cliche!) "Voodoo Moon" sustains its 6:45 with Whiting's ominous vocal building a boggy bridge to Kim's fog-cutting solos. On "Meet The Blues Head On", he exhorts the listener to persist in life's uphill battles as he has done. In his 40 plus year career, he has outshone the mainstream divinity of his early cohorts and the fast-fingered formulas of his imitators.
TONY C.

Silken Trench

2011-12-28T20:16:00.002-05:00

CLASS ACTRESS////Rapproacher////Carpark

From the opening burst of "Keep You", Elizabeth Harper.s sultry musing is locked in immortal struggle with detached keyboards and slap-drumming. On "Love Me Like You Used To", her melodic urgency wins that struggle and nearly does on the echo-tinged "Need To Know". Overall, RAPPROACHER lacks the come-hither charm and 'dance space to infinity' of their 27 minute debut JOURNAL OF ARDENCY. For variety, there is shivering Reggae and the bouncy, nearly-rocking "Bienvenue". She emerges from her silken trench for "All The Saints" to battle cute and sour synths. "Missed" is ponderous and effective - the Romantic loss that a weary-eyed New Order may have expressed. This was recorded in Ms Harper's Brooklyn apartment and she could have reduced her electric bill by singing at least half of these songs A Cappella.
TONY

SHE (from There)

2011-12-21T16:06:00.002-05:00

THE SOUNDS////Something To Die For///ARNICKI

Following an icy intro, "Dance With The Devil" insists that Dance equals Life while "Better Off Dead" suggests a plunge into lethal love-making and "Something To Die For" rocks well beyond its Synthetic Orchestra and muddled morbidity. The Ska beat of "Diana" is nearly trampled by layers of aggressive guitar. On "Yeah, Yeah, Yeah", Maja (the voice of young Sweden) exhorts -
You MUST Dance! and she is more convincing than the usual radio pulsate and thump. Clanging guitar and her scattershot outcry carry "Won't Let Them Tear Us Apart" to an imposing consummation (!). Youth is outlasted by its energetic glory - that is the charm of "Best Of Me". The set concludes with "Wish You Were Here", where acoustic strum and pensive vocal overcome languid lyricism. I have already played this too frequently. There are no guy-crushing songs here like "Seven Days A Week" or "Reggie", but I am still attracted to their exuberant sincerity and Euro-push and - they've got Maja!

TONY

That Good Old Gang of Mine

2011-11-20T19:39:00.002-05:00

GANG OF FOUR///Content////YepRoc///
Jagged guitar and semi-spastic rhythms can mean only one thing - even in Great Britain, there's still plenty to bitch about. The tension begins with a salute to misguided social interplay "She Said 'You Made a Thing of Me'". Class warfare has its casualities "I Can't Forget Your Lonely Face" and "You'll Never Pay For The Farm" at a livlier speed. "It Was Never Gonna Turn Out Too Good" concerns losing jobs to 'Eastern Men' , using an irritating Vocoder but it is mercifully short at 2:44. "I Party All the Time" could inspire semi-spastic dancing. The melodic crooning of "A Fruitfly In the Beehive' is acceptably out of character. Original Gang leaders Andy Gill and Jon King have made it clear - their music is not for the white wine and wicker crowd.
TONY

Trumpet Talk

2011-10-20T12:11:00.002-04:00

TOM HARRELL////The Time Of The Sun////HIGHNOTE

A near-contact with my favorite trumpet player occurred a few years ago as I strolled by Mr. Harrell, relaxing in a hotel lobby chair following a Berks Jazzfest show. He nodded implicitly to my fleeting praise. Restrained as they are, "The Time Of The Sun" and "Estuary" establish the quintet's formula - a seldom-changing rhythm and three solos. With these players, this formula is a successful one. On nine minutes of "Ridin'", Wayne Escoffery's tenor sax and Johnathan Blake's drum space do their finest to follow Harrell's lengthy trumpet extroversion. He sets the theme for "Modern Life", more relaxed than its title due to Danny Grissett's gleaming piano. Wayne, Tom, then Danny provide the spines for straight funk "Cactus". "Otra" is as pleasing as a tropical storm can be. Harrell's beautiful tones and unselfish approach to ensemble play soar far beyond the corporate 'phone on hold' stuff that is lazily accepted as 'Modern Jazz'.
TONY C.

Not So Wicked

2011-10-03T20:01:00.000-04:00

THE ETTES ////Wicked Will/////KRIAN

At first listen, these 13 short, simple-tech songs were not what I seek in a 2/3 girl band. "Teeth" begins the strife - strummy and nearly cute, then Coco's guitar solo unveils their prevailing fatless approach - fuzzy bass (Jem), Poni's low-thumping drum set, and guys and dolls skirmishes, sparked by vocals more tenacious than seductive. All of the above emerge on "You Were There", the mid-70s scratty stomp "You Never Say" and the agitated motion of "One By One". "My Heart" and "My Baby Cried All Night Long" (Lee Hazelwood- their only cover) lured me to a dirt road booze joint and Coco's solos don't waste a note. That guitar is delightfully overwrought on "Don't Bring Me Down". Simple piano lines provide "The Worst There Is" with a chastening effect. Their diction is guiless and, despite some inflexible rhythms and brittle clank, they have quickly become my favorite suffix trio.
TONY C.

Where Have I Been?

2011-09-01T10:48:00.002-04:00

BLACK 47////Bankers and Gangsters// UFO
Was I hiding out from 'The Authorities' when this CD was released last March? Singer/guitarist Larry Kirwan leads the invasion of E-Street "Long Hot Summer Comin' On" and the lusty "Celtic Rocker" bursting with whistles and pipes. The mid-tempo suggestion that "Bankers and Gangsters" are synonymous is followed by a clash of cultures "Izzy's Irish Rose", a bouncy jig disrupted by the Yddish thing I cannot spell, pronounced 'Hava Nageela'. Kathleen Fee's tartish denouncement pushes "Wedding Reel", an energetic breakup song. The well-charted Brass and the Celtic solos are under control, moreso than Kirwan's emotive testimony - "Red Hugh" is the Theo-Political entry in the Soapbox Derby. Unless you were born ductless, the doleful, love-lost "One Starry Night" will have you crying in your Killians. "The Long Lost Tapes of Hendrix" is longish and confusing and somehow involves a guitar-playing ghost and unwilling copulation with a 200 pound woman. Trapped on the wrong side of oppressive law, the exiled protagonist of "Bas in Eireann" finds Australia and Hell, like Bankers and Gangsters, to be synonymous. For Black 47, no paralel band exists, not even in the Bizarro World.

TONY C.

Start Her Up!

2011-07-24T22:42:00.002-04:00

THE CARS Move Like This HEAR MUSIC
Upon learning that The Cars were in motion once again, I played Ric Ocasek's THIS SIDE OF PARADISE (on cheap rack cassette!) and found it to be a logical, likeable extension of the band. A raunchabilly riff serves as backbone on "Too Late"; timeless Synth and Chord stabilize self-emergence "Keep On Knocking" and muddled people-bashing "Free". The cumpulsory slow-downs are "Soon", a thickly-layered ballad oozing Schmaltz and a consolatory Calypso "Take Another Look". Ocasek delivers these ten songs with oddball sincerity, though nothing here will inspire rush hour sing-alongs like 'those four songs' from their bygone Cavalier Era (Come on- you Car Crazies know THOSE four songs!). The rocking finality of "Hits Me" waves the flag of survivorship in a troubled world. Cleaning up after that long, messy party commonly known as the 198os.

TONY C.

Re-Wired

2011-06-08T20:48:00.002-04:00

WIRE// Red Barked Tree// CARGO
A cohesive compound of precise drumming, able guitars, and pointed verse -It MUST be the return of British (now-trio) WIRE! The stab, then twist treachery of "Please Take" is followed by the faster-moving "Now Was". Faster still is the the cockney recital "Two Minutes" which lasts uh...two minutes. Its back to medium speed and the tension of a corrupt and crowded 'tribal' world "Bad Worn Things". As a singer, Colin Newman is charmingly deadpan as always. As a guitarist, he avoids solo schemes, prefering grim-faced chording "Moreover", buoyant clatter "A Flat Tent", or dense pulsation which dissects the vocal melody in "Smash". Eventually, hopeful (?) strum appeals to "Red Barked Trees" for Healing. 33 years after their disobedient onset, WIRE emits enough brittle displeasure and Orwellian clouds to outlast their dreary descendants.
TONY C.

Draggin' That Ball and Chain

2011-05-02T19:42:00.002-04:00

SOCIAL DISTORTION // Hard Times and Nursery Rhymes // EPITAPH

Singer/Guitarist Mike Ness has asembled a new band, as stylishly powerful as the first incarnation, improperly linked to Orange County 'Country Club' punk back in 1990. The wordless aggression of "Road Zombie" precedes the band's attack - unvarnished, revealing verses and his nail-spitting solos. On "Machine Gun Blues", he's an Evil-doer on the run. Mike's spleenish testimony binds several thick-chorded ballads. He's a "Diamond In The Rough" stagnating in a stagnant town and on the slower "Bakersfield", he ponders - does he have a woman awaiting his road-weary return? Guitars ring optimistically only on the "Farside Of Nowhere", which declares - if you've got a sunny day, a hot car, and a warm companion, you've got nothing to lose. Though Dreams seem as empty as last night's Liquor bottles, Ness mounts his electric pulpit one more time to exhort "Can't Take It With You" with finger-wagging backup singers and bar room piano as his deconry. I was mildly puzzled by unfavorable (and unknowledgeable) Cyber reviews of this CD. Maybe they were expecting the 'High-Q' punk of Bad Religeon or The Cramps 'Dirtybilly' instead of tough and timeless ball and chain dragging Rock and Roll.
TONY C.

Appleseed- In West Chester, PA of all places!

2011-04-10T10:47:00.004-04:00

Johnny Clegg HUMAN Appleseed For 24 years, South African activist Johnny Clegg has written and performed Music which manifests its intentions as Philosophical or Political as the listener allows. The cover artwork is an attractive lure to what lies within -a dozen songs of Sincerity and Strength in less 'Native' trappings than those of his previous band, Savuka. HUMAN lives up to its title and is a long way from 'Commercial'. Johnny's precise guitar picking and timely mini-choirs are still evident. "Congo" is sung in tongue, outlining the suffering of that 'Democratic' nation at the hands of profit-seeking Militias. "Magumede" is a tradional dance song, acceptably risque. Refuge can be found in a virtuous protector "All I Got Is You" or an Existential waltz "I Know That Sound" Guitar-driven compositions explore the Symbiosis of Love and Hope "Here Comes That Feeling Again" and human triumph over its mortal imperfections "Hidden Away Down", both more powerful than brooding radio pablum. On "Nyembezi" (Tears), his dual-language clarity is the calm before the deluge of Dan Patlansky's guitar burst. As a young white Zulu, Clegg endured the inside of an Apartheid prison. With each song, Johnny and band drive another nail into the coffin of Tyranny. TONY

The Future Was Now

2011-02-08T19:56:00.003-05:00

CLASS ACTRESS Journal Of Ardency TERRIBLE

The Brooklyn 3-piece 'maybe dance' minimalists seem to be 2/3 Machine. Any extraneous sounds you hear are those of guys killing each other over the other 1/3 - irresistible singer Elizabeth Harper or chaining themselves to the mast of a slow-moving ship. It's her flowers wilting on the trancey opener "Careful What You Say" then "Journal Of Ardency" is slower and Cure-ishly crushed by Love. Two mini-returns to this Planet are bouncy and rewarding. That voice plus guitar clarity on a Norseland rocker "Let Me Take You Out" and Calypso crooning beckoning from a 60's Luncheonette "Adolescent Heart" are equally inviting. Her pant-inducing plea is able to humanize the 4-note synth and slap drum of "Someone Real" before it canters impassively into a joyful Abyss. If forced at butter knife-point to describe this 27 minutes, it would be Instellar Siren Space-beat.
TONY C.

What Do I Know?

2011-01-31T21:09:00.002-05:00

Chico Mann ANOLOG DRIFT Wax Poetics
What do I know about Latin, Dance, or Techno Music? Have you heard me speak Spanish or witnessed one of my infrequent Dancing fits or my sad attempts to use a charge card machine? Employing little studio trickery (or other musicians), Mann plays, sings, and produces most of his debut on the always interesting Wax Poetics label. His linear, well-mapped vocals (mostly in Espanol) do not coerce but echo a smooth optimism, helping to animate the unswerving mechanics of one or two compositions, like "Menitrosos". "Anima", cleverly built around 7 bassy notes, is livelier and so is "All That Is Rising", elevated by sketchy keyboard notions. Talking Heads' "Once In A Lifetime" hops along faithfully; "El Silencio" grasps Song and cohesive Funk with equal tenacity. "This Love", sung by Oneika Phillips, dances to a high-flying finish,and 3 bland synth notes.
Though I often seek the open-ended complexity and abstract labyrinths of 'Free' Jazz, my appreciation of ANALOG DRIFT suggests that my ears have evolved, not regressed. AND, I am improving with that charge card machine! TONY

All I Can See...

2010-11-29T19:24:00.002-05:00

JOSIE COTTON Pussycat Babylon SCRUFFY RECORDS
I have neglected Josie for 26 years since her 'Dance and Glance' Triumph "From The Hip" and I hope to atone for that grievous Sin here. I was unmoved by the slap-drum opener "Calling All Girls" but when pushy guitars emerge on "Everything's Oh Yeah" and her Royal Edict "Pusscat Babylon", primordial B-52s bounce is achieved. References to Entertainment and the Orient are stylishly abundant. "See The New Hong Kong" finds her yearning wistfully beyond life's mundane chores. Despite a bubbling bass line and a frigid R2D2 solo, "Stop Iggy Pop" is shrouded in a cloak of Cultural Alienation and I can't resist that. "All I Can See Is The Face Of Bruce Lee" is a joyous dance party on the Great Wall. She dwells only briefly in the Tropics. "Super 8" is a likeable calypso while "Hey Now" is a bit stiff due to inorganic percussion. "Hi I Like You" spews its hell-bent Social Discourse at Pogo speed. The gum-cracking finish is two dance-beaten versions of her dishonorable Masterpiece "Johnny, Are You Queer?", the 2nd one slightly faster with more bottom and less background chatter. Josie has discovered the Fountain of Youth, if not Couth. She is the Empress of this Babylon. Won't someone Please hide this CD from Me? TONYC.

Glacier View

2010-11-12T14:13:00.003-05:00

INTERPOL Interpol MATADOR
Let the name-dropping begin. Singer Paul Banks' approach to Human Relations lodges doggedly between the flowered Romanticism of Diego Rivera (Elefant)and the funerary frowning of the late and lamented Ian Curtis (Joy Division). These ten coldly-structured songs are oftimes prefaced by a spare, strummy intro, yet always mobilize into Colossal Drama devoid of instrumental flash.These elements, plus a hoppy bass and beat intro, elevate an otherwise average song "Barricade". I admire the power of "Lights", where grim surges of guitar and Banks' despair fiercely compete to rule the Kingdom of Middle Woe. "Memory Serves" is an acceptable marching ballad. On "Try It On",delicate piano and crispy drumming yield to overt pleading of a Romantic case. "Always Malaise"(vocabulary check!) is muddled Me-Talk, ending abruptly and mercifully while the sluggishness of "All Of The Ways" seems to last several hours. The final petition "The Undoing" is overseen by a persistant church organ, its belated rocking not sufficient to fill the collection plate. Dreary flaws aside,INTERPOL displays enough Power and Grace to avoid the scrap heap where I have tossed recent let-downs by We Are Scientists and Echo and the Bunneymen. and so the name-dropping ends.
TONYC.

They Have Been Trying To Tell You.....

2010-10-25T19:16:00.002-04:00

BAD RELIGION The Dissent Of Man EPITAPH
Although this band should be proud of their lyrics, the clarity of Greg Graffin's pointed oratory renders the 16-page booklet uneccessary except for the informative Anthropological drawings. Fast songs about Bad Situations abound, stimulating Eco-Fear "Only Rain" and the leaderless meandering of "Wrongway Kids" nullifies its 'Whoa-Oh' refrains. They slow down enough to question the Justice of Jesus "Won't Somebody" then "The Devil In Stitches" bass walks to one of many concise, fatalistic guitar solos (3 guitarists!). An oppressive Patriarch is exposed "Pride And The Pallor" and also revealed is a rare plea for 0ne-on-One Loyalty "Turn Your Back On Me". Despite its Mainstream bounce, I think "I Won't Say Anything" concerns the inflexibility of self-made Authority figures. Bad Religion offers the same as always - 15 songs that are fast, tough, topical and can be Disruptive. TONYC.

Where Oh Where Could That Little 'N' Be?

2010-09-27T13:45:00.003-04:00

Tracy Bonham MASTS OF MANHATTA Engine Room

As I have suddenly discovered, Tracy is a Musical Prodigy - Singer, Writer, Violinist and Pianist. The low-voiced Rhumba "Devil's Got Your Boyfriend" is a clever idea whose overstated duration (4 1/2 minutes)is less noticeable than 4 minutes of the snailish soliloquy "Reciprocal Feelings". Tracy the wry Humorist emerges on the toe-tapper "We Moved The City To The Country" and the strummy, descriptive "In The Moonlight". Bonham's conversational tone can induce relaxed affiliation "When You Laugh The World Laughs With You". The restrained Beauty of her violin is her second voice, trading sketchy bursts with guitarist Smokey Hormel on the Euro-Peasant Blues "Josephine". Her stubborn pursuit of Artfulness does not exclude some rhythmic exertion. "Big Red Heart" evolves slyly into a rocker with simple, effective guitar space. "Your Isness" is steered by an ornery bass line and pushed by 'Pause and Effect' drumming, though I'm not sure what she is saying, which is Rare.
MASTS OF MANHATTA could easily provide the songs for an intriguing 'Way-Off' Broadway Musical that I would pay hard-earned Money to see.
TONY C.

NYC, Not Belfast

2010-09-07T19:25:00.003-04:00

TED LEO AND THE PHARMICISTS The Brutalist Bricks MATADOR
To Some ears, this is 'Punk' Rock, except... Leo's hard-charging four pieces are not merely one-chord drones and his elastic tenor, not the expected aimless, monotone bitching, eloquently and pointedly assails his over-confident targets. On the tensely-drummed " Mourning In America" it is Racism and "The Stick" is hopped-up anti-Government ranting (Those Corn Subsidies Are Killing Us! On the subject of Trust, he has found an ally in troubled times "Ativan Eyes" but admits that trusting 'Progress' was a regrettable mistake, asking "Where Was My Brain?". A sadder realization is that "Even Heroes Have To Die". Mostly loud and fast, these are Folk Songs - Songs about People. "Woke Up Near Chelsea" is the rallying cry for the Commonfolk who, like he, were all 'Born of Despair'. The lightly rocking "One Polaroid A Day" is about 'Control', then the incendiary guitars of Leo and James Canty propel the joyless fatalism of "Gimmie The Wire". You don't have to agree with their subservise stance to admit that these are Powerful Songs.
TONYC.

Something Old, Something Blue

2010-08-23T09:32:00.003-04:00

I usually avoid analysis of 'Way Back' Music, but I did not hear much of this when it was new.
I was probably listening to Wilson Pickett, Young Rascals and The Stones.

Muddy Waters ELECTRIC MUD Chess/MCA

Water's 1968 gamble was met with mild amusement from the callow 'Psychedelic' crowd and a resounding 'Thumbs Down' from Blues 'Purists'. Three shrill and fuzzy guitars slice through semi-danceable funk (Phillip Upchurch is the most notable) with Muddy's 53 year-old voice in reasonable timbre. The opener "I Just Want To Make Love To You" is the lethargic exception. The Stones' "Let's Spend The Night Together" was an unwise song choice - it's faster but rather wobbly. "Hootchie Coochie Man" is a slow-paced rhumba and there are a few high-flying sax solos by Gene Barge. Despite its seven minute length saturated by paisley guitar cliches, "She's All Right" succeeds. Why? It sounds like The Cream and bounds over a bassy bridge to The Tempations 'My Girl' theme. Waters avoids the standard boogie and 12-bar until the finale "Same Old Thing", a shuffle with stinging wasp guitars. As with Ornette Colemann's 1959 "The Shape Of Jazz To Come", the critical fuss was exaggerated. Ambitious, stylishly flawed, and at times more Quicksand than Mud, I enjoyed hearing this 42 years later. TONY C.

Dis Is Heavy

2010-08-03T09:53:00.003-04:00

STYGIAN

Fury Rising

(Mortal Music)

The highly recommended quartet wears black T-Shirts and a uniformy grim demeanor - who doesn't these days? The well-named "Fury Rising" is a stylistic sample, its Fury pushed rudely along by thick chords. A discontented ballad "My Regret" displays singer Frank Leary's acceptable groan and grit and brief acceleration. A bassy build-up and carnivorous guitar redeem the redundant "Last Redemption", Throughout these ten compositions, guitarist Patrick Hayden's squealy rises and stentorian frowns are a solid backbone, even on "The Fear", an effectively unpleasant boogie. Within the ambitious structure of "Glass Legacy", Leary emotes over Hayden strum, yielding to a piano finish (guest Max Kosterma) that is elegant and disarming. I suppose I am not the right person to review this band. Though I have grasped the 'Heavy' concept from its earliest foundaries, I have not enhanced my skin with piercings or tattoos and I own several brightly-colored knit shirts. This I Know - If you are planning a headlong plunge into the swirling Vortex of Hopeless Doom, why do it quietly?

TONY COCUZZA

Pseudo Science

2010-07-19T22:35:00.003-04:00

We Are Scientists BARBARA Masterswan

The CD's booklet is dedicated to over -30 Frat Brat humor concerning Hearts and Wilted Flowers. On BARBARA, the Brooklyn duo plus drummer for hire (this time its Andy Burrows) takes the topic seriously, though for only ten songs covering a scant 32 minutes. Singer Keith Murray assumes an Outlaw stance on the free-wheeling opener "Rules Don't Stop" (Me) but he is quickly on the defensive "I Don't Bite". BARBARA doesn't bare its teeth often enough. The hairstyle croonfest "Pittsburgh" is the sappiest of four slower songs which dominate the CD's sagging mid-section. The most acceptable is "Ambition", whose white flag waving is interrupted by the bouncier "Break It Up", a stubborn attempt to preserve a fast-fading Romance. "Central AC" is a strong finish, unleashing Scientific guitar action by Keith (A SOLO!)

These Scientists continue to thrive as one of my top shelf bands. Though they still emit sufficient Melody, Melodrama, and harmonious Songplay between Murray and bassist Chris Cain, I am forever smitten by their debut WITH LOVE AND SQUALOUR, an uneasy exhibition of Social Tension and Release and its ambivalent, hung-over aftermath.

TONY C.

Too Many Bosses

2010-05-23T10:20:00.002-04:00

The Mighty Mighty Bosstones PIN POINTS AND GIN JOINTS Big Rig

The first four tunes set forth the usual Philoso-Ska, with little variance in duration, tempo, or brassy presentation. A less gritty Dicky Barrett insists there is no "Graffiti Worth Reading" and self-applause is clearly audible on "The Road That I Took". A guitar edge emerges on "Too Many Stars" and "Wasted Summers" rocks with wrathful regret. They fall back to Parochial Reggae "Sister Mary" with help from a gliding organ and "Death Valley Vipers" has unlikely Rodeo bounce. I was prepared to remove one 'Mighty' from their name until they reminded me that Labor and Loyalty are not rewarded on this Earth "The Bricklayer's Story" and that a person can begin a life-altering crawl from that chasm of self-doubt, this ascent inspired by an eight-piece rockaway and an inspiring sax solo "A Sad Excuse".

The Bosstones continue to write and play their songs with stylish consistency and have encountered no shortage of vice-laden War stories, barbed-wire decisions, and clever horn ideas.

TonyC.

Look Skyward, Young Man

2010-04-05T19:36:00.005-04:00

VEDERA Stages EPIC

What's that up in the Sky? It's Kristen May's uninhibited voice, soaring above her rocking band on the opener "Greater Than". That voice can be the antidote for an Epidemic of drab or overcooked ballads ("Satisfy") and medium tempo 'Maybe Hits' relating the Reward and Punishment of the Heart with dramatic familiarity. After an oft-used piano intro, "A World Apart" is an isolated lament, while 'Look Around" offers a gray view of 'that other person' and some decent guitar space from Brian Little. The boy-girl buoyancy of "If You Go" is a mood lifter for all, including Me, a reminder of being Young with a Job and a Girlfriend (Did I ever really have ALL of those things?). The final Passion Play "We Sing" begins and ends with her courtly piano; her wounded voice steering a serious Rhumba across an effective guitar bridge, arriving breathlessly undaunted on the other side. Then, the 'repeat mode' of my car stereo lures me hastily back to song #1 and my assertion that Ms May's delivery is 'Greater Than' most anything I have heard lately.

TONY

Shallow Purple

2010-03-22T20:41:00.002-04:00

IAN GILLAN One Eye To Morroco Eagle Records
On the opener, "One Eye To Morroco", Howard Wilson's drums are rolling and exotic; his
linear crash unfolding on "No Lotion For That", where Ian is not exactly spitting nails. "Texas State Of Mind is the preferabe rocker, aided by overlaid piano and organ. His convincing growl on the shuffley Blues "Better Days" belies its mild optimism and "The Sky Is Falling Down"unveils a foreboding dance beat and some concise space from guitarist Michael Lee
Jackson. Gillan and his cohesive band coast home on two ballads - "It Would Be Nice" leans heavily on Meat Loaf drama and high-minded flugelhorn. He was once a Rock Demigod shouting
tonefully from a craggy peak to his loyal subjects below (He nearly aspired to that on Deep Purple's 2005 return "The Rapture".) Surprisingly, Ian and his songs held my interest, so he
avoids Exile to the 'Martini and Munchies' Lounge Curcuit. TONY

I've Got My Crocodiles

2010-03-08T19:32:00.002-05:00

Echo And The Bunnymen THE FOUNTAIN Ocean Rain

Following a lengthy recording lapse, the frantic whirlpool ride of confusion and self-doubt
has yielded to a less strenuous flow of song ideas. The guitar frameworks remain sharp and sobering "Forgotten Fields" and Ian McCulloch's voice has retained sufficient youthful yearning;
in "Shroud Of Truth" believing that Romance is created by Destiny or is it the reverse?
"Life Of A Thousand Crimes" is passable dancefloor Pop and "Pony" is nearly TOO cute, stepping lightly in its own Bubblegum. Exacting guitar textures and piano refinement allow
"Drivetime" to transport Me far beyond earthly routines; then "The Idolness Of Gods" is a final
inconspicuous march.
THE FOUNTAIN is a mere Echo of The Bunnymen. 1980's CROCODILES is a better choice
if You wish to take that frantic whirlpool ride once again.

TONY COCUZZA

Baltic Boat to the 80's

2009-09-01T21:13:00.002-04:00

THE SOUNDS Crossing The Rubicon Arnioki Records
When that bewitching blond Maja Ivarsson asserts "No One Sleeps While I'm Awake" over the Glorious bounding of Guitar and Synth, you HAVE to believe that Love IS worth the struggle. "4 Songs and a Fight" is an effective dramatization of a difficult night performing at Club Peril. "Beatbox" fulfills their Euro-Hop obligation, followed by the muddled interlude "Underground". Melodic and rocking slightly more than Abba, "Midnight Sun" finds Maja gazing more skyward than guyward, seeking her Destiny. "The Only Ones"'s overcooked nostalgia is saved by Felix's thick 80's style guitar play, then they rally with "Home Is Where The Heart Is",
a likable finale that is nearly Uplifting.
This is easily my least favorite of The Sounds 3 offerings. Perhaps it's the fresh coat of studio polish that renders the forced rhymes less excusable and the Duchess Ivarsson's mawkish diction less charming. Still, I would gladly move to Sweden to hear Women actually talk and sing like this, even though the Suits in Stockholm would extort 63% of my paycheck in exchange for that pleasure.
TONY COCUZZA

Save Yourself

2009-08-13T19:15:00.004-04:00

MERCY Rocco DeLuca and the Burden Universal Republic
Some self-assured music 'Authorities' might dismiss DeLuca as merely another high-voiced Urban 'Folkie' who doesn't rock much. Daniel Lanois' pithy guitar aggravates the nail-spitting mood of "I Trust You To Kill Me". "The Painting" exemplifies DeLuca's Dobro playing and 'soaring to the Sky' vocals while "Nightingale" is love-lorn and magnetic. This semi-assured music Authority insists that he and his Burden CAN rock. "Save Yourself" is a slide guitar moan rising from a Mojo and Mosquito Swamp and "Losing Control" is a dramatic power ballad evoking the early reign of Robert Plant. Despite Rocco's seemingly patient crooning, his "Junky Valentine" finds 'getting high' to be less risky than Romance. Like a restless apparition moving from room to room, DeLuca and the Burden carry the listener from one song to the next; a poetic examination of the Human Character intended neither for a Sunday afternoon Joy Ride or the dateless Dormitory dweller.
Tony Cocuzza

Low Heels Beware

2009-06-18T22:36:00.002-04:00

THE COCKTAIL SLIPPERS St. Valentine,s Day Massacre Wicked Cool

Stevie Van Zandt's gushy liner notes inform me that this Gal band is from Oslo (Norway-Oh Yeah!) but I detected little of the reckless abandon or charming Scandy speak that I long for daily. "Sentenced To Love" leans on two guitar slashes and three urgent syllables and is a promising start, then "You Do Run" is a slick variation of early 60's Shirelles. The quintet time travels with studio-clean efficiency from circa 1980 "St. Valentine's Day Massacre", a heart throb drama worthy of inclusion in a Blondie 'Best Of' , then regressing to a passable remake of "She's A Fool", Leslie Gore's brooding nasality. With rising organ and plastic-coated Passion, "Anything You Want" has a tough enough sound and so does the dizzy romance "Round And Round". What these Slippers truly lack is the humorous nasty streak that inspires The Donnas to assail those Guy-Skanks who have no style and weak pickup lines and put them on the defensive. We guys NEED that kind of abuse once in a while. TONYC.

It's A Miracle I've Made it This Far

2009-05-05T21:29:00.002-04:00

MORRISSEY YEARS OF REFUSAL Attack
HE has returned with a rocking band, his rangy theatrics denouncing the medications which have failed to alleviate his dim view of modern life "Something Is Squeezing My Skull", then announcing "I'm Throwing My Arms Around Paris" because only the 'Stone and Steel' of that Heart-driven city will accept his Love that flesh has rejected. Despite its lively gallop and Bullfight Brass, "When Last I Spoke To Carol" presents a too-little, too-late Tragedy.
His twin-guitar quartet provides Yeomen service to this updated Passion Play whether he is trying to justify Romantic futility "That's How People Grow Up" (wasting his time looking for Love) or lash out at a detractor with Ego, his only remaining weapon "All You Need Is Me".
The erosion of Tenderness can take on ballad form "It's Not Your Birthday Anymore" or the medium-rocking "Sorry Doesn't Help", an equally regrettable situation. The disc ends as it began -hitting hard and fast but with renewed Confidence "I'm OK By Myself"
Initially, I was less attracted to "Years Of Refusal" than I am to "The Queen Is Dead" and a few songs from "Your Arsenal" yet there is something about this that compels me to play some parts of it nearly every day. There are still some Artists, seen or heard, that are able to remind you of your innermost self-truths. TONY C.

Blue remains Blue

2009-04-19T20:35:00.002-04:00

MEMPHIS MINNIE The Best Of (1933-37) Columbia

One lonely night back in the 90's, this tortured, tonal wail sprang from FM Rustic Radio speakers and I remarked to no one in particular (I was alone) 'This Guy can Really Sing!'. That 'Guy' was Memphis Minnie, not J.B. Lenoir or Johnny Shines as I suspected and this 20 song set is evidence that she is still the most Powerful female Blues voice of all time. The rhythmic structures vary only moderately; strum to shuffle to boogie and the themes rely upon those two Human staples - Love and Food. She boldly flaunts risque allegory - "Ice Man (Come on Up)" and back-alley morals "Black Cat Blues". "Strange Man" lays bare the isolated aftermath of a One-Night Stand. Minnie's spare compositions are bolstered by either of her guitarist husbands Joe McCoy and 'Little Son Joe' Lawlars and her sly approach to nutritional advice "Keep On Eatin'" and "Good Biscuits" promotes Gluttony and a perverse connection to that 'Other' theme.
As a "Hoodoo Woman", she is a carrier of Bad Luck and a target of resentment from those who would banish her (Back to Tennessee!). On some latter tunes, clarinet and piano (both un-credited) connect her to tent show theatrics and a gossip contest "Ain't No Use Tryin' Tell On Me". These songs (1933-37) were issued and marketed in the throes of that 'Thing' (The Great Depression) yet sold very well, though her fluidly unpredictable style would barely survive a couple rounds of scrutiny from today's American Idol judges. That IS depressing.
TONY C.

The Other Shoe

2009-03-16T20:15:00.002-04:00

OPETH

WATERSHED

Roadrunner

This well-arranged marriage of Melody and Metal was highly recommended by some Indie 'Insiders' I know AND the band is from Stockholm - You know where THAT is!

The pastoral strum and verse of the opener "Coil" surrenders to the destructive chords and sore-throated Demon Croak of "Heir Apparent" and back to the pasture again, all welded tightly together by theses skilled Metallurgists. I am most attracted to "Burden", a majestic march, beautifully sung with magnetic Organ, then Guitar solos and curiously un-tuned acousticpicking which strays into "Porcelain Heart", a love-lost ballad soon evolving into early Sabbath-like power rambling. They may be too youthful to know it, but Opeth has advanced the ideas of early 'Progressive' (it WAS back then!) innovators like Wishbone Ash, Procal Harum, the affiliating Yes and its unstable half-brother Flash.

"Hessian Peel" re-unites all of these elements at great length, causing Art-Rock Aristocrats to wince 'That croaking Demon again!' and the Clang and Crush crowd to cry out 'Death Metal - Where Is Thy Sting?'. Their ability to perplex the listener has already endeared them to Me.

TONY C.

I DO know my Opeth from my elbow

2009-02-23T19:44:00.000-05:00

ELBOW

The Seldom Seen Kid

Geffen

I will lead with the Elbow (just like the guys in the NBA, though I do not share their pituitary abnormality.)

I was unsure what to expect here - maybe bouncy, eclectic Power-Pop, probably nothing involving metal alloys of any sort. Led most often by Craig Potter's clear piano lines, sometimes framed by Orchestra or Synth, their images and stories unfold with a restrained civility, elucidated by the likable Guy Garvey.

"Audience With The Pope" is a Calypso with a rare (Mark Potter) melody-bound guitar solo and places a Romantic liaison above world events or Anything else. While "The Loneliness Of The Crane Driver" strums and stalls thru 5 minutes of slow and lonely self-doubt, "One Day Like This" depicts a hopeful, heart-driven hangover with strings and 'Beatles Forever' harmonies. "Grounds For Divorce" is somewhat of a rocker. It's a post-nuptial field holler - you just don't hear enough field hollers these days. "The Fix" uses a sneaky Jazz-Waltz tempo to flaunt Material Greed and Over-Confidence, sung by one-shot guest Richard Hawley. These songs and their presentation are both eloquent and elegant - it is not often I am so captivated by such a mannerly approach.

TONY C.

Where Have We Been?

2009-01-13T21:13:00.000-05:00

PEOPLE IN PLANES

Beyond The Horizon

Wind-Up

At first listening, these People In Planes are a skilled, eloquent, flexible quintet, oozing with accelerated Me! Me! Me! Neo-Grunge. Gareth Jones in a singing Martyr, isolated and crying out for attention "Last Man Standing" and "Mayday" (Help!). Ian Russell's piano lends refinement to "Pretty Buildings", a wounded ballad hinting at the avoidance of LSD and Animals (Eeek!). "Flesh And Blood" is a groaning, robotic Calypso, belying its title. At third listening, 3 compositions emerge, turbulent and triumphant. "Better Than Life"'s dramatic tempo shifts are more admirable than memorable and the drum/guitar (the potent versatility of Peter Roberts) sparring on "Beyond The Horizon" pays some tribute to Queens Of The Stone Age in their early reign. They are pursued by faceless Demons for 5:21 on "I Wish That You'd Fall Apart" and who has not felt that? At fifth listening, I realized that Beyond The Horizon offers more Build-Ups than Let-Downs and they are a skilled, eloquent .....have I said that already?
TONY C.

When Will I Learn?

2008-12-14T22:37:00.001-05:00

Although I have written 45 or 50 reviews of Jazz and its much-maligned step-sister Fusion (the 'F' word to some purists), I remain devoid of technical knowledge on the subject - I don't know Be-Bop from Bee Pollen or Chamber Jazz from the Chamber of Commerce or the Chamber of Horrors, but here We Go.

Jonh Abercrombie

THE THIRD QUARTET

ECM

Some may find the Expressionism of "Banshee" to be TOO formless, as Abercrombie's 4 and 5 note bursts compel Violinist Mark Feldman to do the same. He has long been my favorite 'Free and Open' guitarist, not bound by the constraints of Jazz tempo and textbook. "Bred" best displays the beauty and intrigue of their Guitar/Violin couplings with several timely rhythm build-ups. Joey Baron's drums and Marc Johnson's Double-bass lay impetuous groundwork on Ornette Coleman's "Round Trip" and they infuse an 'End of the Day' weariness into Bill Evans' piano ballad "Epilogue". "Elvin" moves cautiously into 9 minutes of small-band Swing, full of attractive solo interplay and Baron's sharp-sticked battering. The stirring quality of John's well-named Masterpiece "Timeless" (1973!) may remain unequalled, but The Third Quartet is worth one hour of ANYone's time.

Tony Cocuzza

Fjord Fever

2008-11-25T21:58:00.000-05:00

KERLI

Love Is Dead

Island

Cybernavian Kerli has long blond hair, large eyes, and a larger voice which can threaten to overwhelm a song (in some cases here , not a bad approach). "Love Is Dead" ushers in a mood of anti-Romance that is icily persistant. Most effective are the unhappy (pissed off at SOMEBODY) rocker "I Want Nothing" and "Bulletproof", a ballad that is charmingly wounded to its final desperate whisper. Rhythm and Rhetoric are relaxed only on the likeably Caribbean "Up Up Up" and a side trip down Tin Pan Alley "Creationist". A lame 'La-La' refrain enhances the creepiness of "Creepshow"'s Industrial Grind and Hurt Me" is hard-hitting, as you would expect from a masochistic ditty. Even her panting solo on the moping finale "Fragile" seems to push the girl choir out of her way. After several listenings, I concluded that Kerli's imposing vocal delivery can soar well beyond a marketable collage of Aggresso Girly Rock, Madonna Musing, and Cranberry Warble though her self-portrayal on the CD cover resembles Bride of Chuckie's good-looking sister.

TONY C.

Where HAVE I been?

2008-11-08T09:35:00.001-05:00

SEVEN MOONS

Jack Bruce/Robin

Trower

British All-Star Trio Cream had already disbanded by the time I nearly 'Understood' their Music, so I spent little time speculating upon how they might sound in the far Future. The Future is Now and their least-heralded member singer/bassist Jack Bruce continues his 'Think and Rock' songcraft. It begins very Creamishly with a ballad "Seven Moons" and the mid-tempo "Lives Of Clay", early reminders that the sage-like sincerity of Bruce's vocals is unchanged by Time. Venerable guitarist Robin Trower, seldom affected by Hendrix distortion or afflicted with the Curse of Clapton ('The Blues'), nearly redeems the rueful "Just Another Day" with one of his deliberate, thick-toned solos. On "She's Not The One", drummer Gary Husband, far less ornate than the self-exalted Ginger Baker, flexes his way through wilted Hearts and Flowers. On "Bad Case Of Celebrity", Jack concedes that he has outlived his Fame (but not the slow Blues shuffle he employs) and on the unvarnished rocker "The Last Door", a last-ditch effort is launched to salvage some Logic amid Global Chaos. "So Far To Yesterday" displays the peak of his genius -a philosophical Magnet with Melody and Punch. The clamorous Din of countless Power Trio 'Revivals' has been noted mostly for stale chords and fresh hair products. Jack (he is still a top-shelf Bass player) and his no-frills band have nothing to come back to - or from. They Never Left.

TONY COCUZZA

I've Started Something

2008-09-11T21:37:00.001-04:00

THE TING TINGS

We Started Nothing

Columbia

I will avoid any Oriental coin-dropping jokes. "Great DJ" is a smile while you dance opener, followed too-cutely by cheerleader chanting "That's Not My Name". At her blond and bouncy best, singer Katie White is sweetly captivating on "Traffic Light", a love-lorn metaphor in Waltz disguise and "Be The One" is animated enough to avoid the Euro-Trash heap. Pulled by piano, "We Walk" is youthful proclamation of surprising coherency. "We Started Nothing" is the lengthy finale - hypno-gyration with useful horns. This duet (Jules DeMartino and Katie the Cute - that's all) lacks both the celebratory looseness of The B-52's and the erotic boy-girl tug of War flaunted by Mensen and The Sounds (Scandinavian - that Magic Word!) yet, despite their tin-plated rhythms and her lapses into designer-ghetto jive slang ("Shut Up And Let Me Go" Eek!), they could weak-arm you into submission.

TONY C

If they are 52s - they MUST be Fun!

2008-08-21T20:16:00.001-04:00

THE B-52s

FUNPLEX

Dust off those party toys! After a brief (16 year) interruption, The B-52s Girl Group Surfish Futurism still encourages drinking, dancing, and dizzy talk, so welcome to the "Hot Corner" and "Funplex". Fred Schneider's deadpan, often nonsensical interjections spar with Kate and Cindy's voluptuous sighs and squeals, wet-blanketed only twice - "Love In The Year 3000", coldly robotic as the subject would suggest and the hedonistic hyperbole of "Deviant Ingredient." The erogenous glide of "Juliet Of The Spirits" is a success in melody and mood. Their 3-part dialogue is effective on "Too Much To Think About", as the tough day routine serves as a hectic buildup to that moment "when bodies collide". "Keep This Party Going" features Fred endlessly name-dropping Geographical 'party sites' and he shamelessly exclaims 'We're just a bunch of Party Geeks!' as if you really need to be reminded. A well-named comeback for the stylish band.

TONY C.

They ARE Scientists

2008-07-28T21:03:00.000-04:00

WE ARE SCIENTISTS

Brain Thrust Mastery

Astralwerks

Engulfed by Synth and sour guitar, "Ghouls" is a foreboding intro, giving way to "Let's See It", an edgy Calypso which finds singer/guitarist Keith Murray already defending his unreliable past. His sharpened strings are more than reliable and his rangy vocals, a trifle British sounding, present a Brooklyn party brat wounded by incessant night life. Christopher Cain provides a timely and effective backing voice and uses his Bass to build dramatic bridges connecting to their already burning ones. New drummer Garrett Ray is an able successor to Michael Tapper's precise hyperactivity. "Impatience" is assertive mid-60s 'Mersey Beat' and the restrained "Spoken For" is a study in belated (morning after?) sincerity. "Altered States" is a stable rocker about a collapsing conversation. Led by Murray's impetuous fingers and lips, social mis-steps boil over into angry pleading "Chick Lit", then the suddenly mercurial trio unleashes the jittery complexity of "Dinosaurs", suggesting that civilization's clumsy demise may soon follow their own. "That's What Counts" is bouncy Mod-Pop built around a 3-note guest Saxophone and hints that, despite their inner and outer conflicts, they seek redemption in Romance, of all things.

Though I prefer 2006's LOVE AND SQUALOR, 36 minutes of jagged insecurity, this is a well-crafted exhibition, melodic and vexing . 3 or 4 of these tunes will creep into my head on some lonely self-critical evening when Id and Ego seem to be overwhelming my sense of Fair Play.
TONY C.

White on Blue Crime

2008-07-08T21:51:00.001-04:00

Here is one of my reviews from about 7 months ago. It remains unpublished, probably lying on or in a desk at the local newspaper under car wash coupons after use as a Coffee coaster (probably de-caf Latte).

OCTOPUS A BAND OF BEES

Astralweeks

This curious 37 minutes opens with "Who Cares What The Question Is", a whimsical ragtime tune that is probably about Love and closes with "End Of The Street", punctuated with humorous sound effects and animal outbursts. In between, they prove to be more expansive, offering paleface Caribbean "Left Foot Stepdown" and "Stand", a plucky position against the forces of deceit. Horns Emerge - there is glowing Sax to Trumpet innovation "Got To Let Go", recalling the early 70s' Flower Power brass of bands like Lighthouse and The Flock. Paul Butler is a solid multi-instrumentalist and a genial vocalist, aspiring to street corner pith on "Listening Man". "Better Days'''big city glide is cushioned by Warren Hampshire's sneaky Hammond.

Perhaps this Band Of Bees produces more honey than sting, but is able to entertain me well beyond the usual silly Funk or dusted-off Hootenanny.

TONYC.

Warming Up

2008-06-30T19:46:00.002-04:00

One New Review - not for the squeamish

Sex, Drugs, & Bill Monroe

NINE POUND HAMMER

Acetate Records

The Kentucky quintet has emerged from an extended hangover to relate more harrowing yet loveable yarns of shiftless degradation. Singer Scott LuAllen is not ashamed of his social status as a "Black Sheep" and his punch-drunk pontification conspires with a relentless two-guitar attack, painfully pulsating bass lines , and drums that seldom decelerate from their manic gallop. They don't like the clean and sober look "Everybody's Drunk" (but me) or having thei guns controlled "Fightin' Words". On several lapses in judgment, they set down the bottle just long enough to stagger after an ill-fated woman "I Got the Right". "Cookin' the Corn" encourages self-sufficiency and an alternate career for a Moonshine Preacher. "Rode Hard" crystalizes the low-life motives of a low life - mean-assed guitar chords and felonious short solos that jump at you like laid-off fish mongers on $2 Boilermaker Night.

Call it Cow Punk or Drunkabilly - this band INVENTED it. Driving fast, reacting slow, drinking too much and thinking too little - somehow they make it sound like FUN.

Tony Cocuzza

HE IS RISEN

2008-06-15T20:16:00.000-04:00

After 21 years of diligent and unrequited Music reviews, I have been cast aside by an un-named local newspaper in favor of the pre-edited triteness of the (ugh) 'Syndicated Review'. After months of sulking, I have risen to serve my Loyal fans of yesteryear (there are some VERY Loyal ones) with my views and reviews of current and sub-current Music and maybe some wry and clever notions about other things that We ALL think about. Though Anyone can makes these claims, I will begin their vindication in a few days so that You can be the Judge, Jury, and Hangmen/Women of their value.

TONYC.