CD OF THE MONTH
 Magic Apron — Orphan Harmony
Produced by Chad Larrimore, Johnny La Rocha, and David McLung
Mixed by Chad Larrimore and David McClung at New Street in Atlanta, GA
Mastered by Ed Rawls at the Living Room in Atlanta, GA
Magic Apron is the latest project from Atlanta’s David McClung. For the past six years, McClung has recorded as The Soulraydio; however, this release marks a new chapter in the 24-year-old’s musical career. Orphan Harmony is not only McClung’s first LP on the New Street label, but it is also the first to boast the vocal stylings of newcomer Joanna Bajandas. Together, the co-ed duo delivers an album that is simply soothing and beautiful.
Orphan Harmony is the embodiment of what a therapeutic indie-folk record is meant to be. McClung and Bajandas croon in unison over humble acoustics to produce a mellow, transcendental musical escape. The album was conceived in a bedroom, on a bed and, fittingly, this serves as the perfect venue for its listeners, seeing how Orphan Harmony is the ideal soundtrack to anyone’s REM sleep. The record is soft, delicate and could probably lull even the crankiest of babies into slumber. This is mainly due to the fact that the record plays like one long instrumental track as the songs flawlessly flow into each other. The quietly whispered lyrics are few and far between, acting merely as an accessory to intricately played instruments. The songbirds acknowledge this trend in “Flowers Flew Out His Skull” when they decide to abandon lyrics all together, opting for a hypnotizing trance composed solely of what sound like variations of a simple two-chord melody that seems to repeat infinitely.
This homogenous chord progression is the foundation for each track, coincidentally, seducing the listener into an inescapable spell. This feature successfully strings the songs together; however, it simultaneously seems to draw away from the individuality of each track. The songs on the album are almost indistinguishable and lack that anticipated mid-song climax, with the exception of a couple tracks, “Tender Ghosts” and “Ours.” However, it is questionable to even note these qualities as flaws. The album seems to almost purposefully avoid complicated melodies and dramatic climaxes.
Orphan Harmony is meant to be played in its entirety, in the most ambient of settings. David McClung and Joanna Bajandas’ collaboration is organic, pure, and absolutely delightful. Orphan Harmony is very true to its name and is nothing short of sweet serenity. (New Street Records)
www.myspace.com/thesoulraydio
-Nelly Khalil
 Chris Unck & The Black Roses — Country Roads And Love
Written, produced, engineered, mixed, and mastered by Chris Unck at the 585 and SoundsAtlanta
With Country Roads And Love, Chris Unck brings the listener along on a walk through his world. His lyrics are straightforward; his songs are personal. On the CD’s first song, “Winding Rivers,” he sings, “Welcome to my life,” as he ushers the listener onward.
The music is a blend of country, blues, and Southern rock, which is well suited to the stories of relationships, drinking, and life’s general foibles as told through Unck’s lyrics. The saxophone combined with the harmonica on “Got No Sleep” and “Winding Rivers (Reprise)” convey the gentle, bluesy tone of the music, while the slide guitar, lyrical style, and song arrangement on “Don’t Send Me Roses” and the title track, “Country Roads and Love,” exemplify the more folk and country aspects of the music. “Crackerbox Palace” and “Lucy Twine” utilize whistling and “I’ll Find My Way Home” features hand claps to give them their own unique sound.
Unlike most singer/songwriter-generated CDs, this one features a variety of vocalists in addition to Chris Unck’s raspy lead vocals, which just adds to the diversity of the overall sound. This is a long CD by today’s norm, 16 songs and over 70 minutes of music, but the diversity of the music and the stories of life make it an easy ride.
The inside cover of Country Roads And Love reads: “Chris Unck, you have managed to capture a year and a half of your life very well.” That he has. (Self-released)
www.myspace.com/chrisunck
-Kat Coffin
 Jeremiah Meyer — Rock ‘n’ Roll
Produced by Brian T. Murphy and Clint Wells
Mixed and mastered by Paul Scodova at Red Mountain Music studios
Rock ‘n’ roll never forgets, Bob Seger sings. Aptly, Jeremiah Meyer flaunts his influences like a Vegas showgirl on his debut EP, Rock ‘n’ Roll, with India.Arie, Elton John, Bob Seger and Fiona Apple having obviously graced the ears of this Birmingham, AL artist.
However, this is certainly not a showboat album. Its piano-driven pop explores many themes, from living dreams in the title track to love lost in “Not This Time,” traveling from hopeful to sullen and back again. “I’m Gonna Take My Clothes Off (And Make A Video)” adds a light-hearted critique of the music industry, and even Nelly might be surprised to hear “it’s getting hot in here” in the lyrics. Later, “1959” pays danceable homage to Elvis and to the budding genre from that year.
Though it would be easy to write him off as just another blue-eyed white boy playing piano and mimicking his favorite artists, Meyer’s rich voice makes the listener reconsider the hasty generalization. Though there are guitars, a keyboard and drums on the album, they only add depth to the music — Meyer’s voice and his piano remain focal points throughout.
Not only is Meyer a talented pianist, but also his lyrics are both smart and entertaining. His voice captures the intensity of his music without getting out of range, showing that the time he spent singing a cappella on a celebrity cruise gave him the experience he needed to put out an impressive debut. (Self-released)
www.myspace.com/jeremiahmeyer
-Selena Lawson
 Ocean Street — Ocean Street
Produced, mastered, and mixed by Brian Stephens at BonzoTunes Studio in Atlanta, GA
Ocean Street, the self-titled album from the Atlanta band, shows what happens when an experienced producer meets talented musicians. Brian Stephens, the band’s drummer, also owns his own studio, and as a 12-year veteran in the local music scene, he has produced music for national artists as well as local musicians, and it is apparent that he pulls this six-piece band together.
Overall, the album is loyal to the poppy, Southern rock genre hallmarked by artists like Edwin McCain and Hootie and The Blowfish, though it is more believable as a pop-country album. Lance Price shines as the bands electric guitarist, adding both flavor and depth on “Pandemonium,” while Mark Kovaly proves he spent hours on the keys with the captivating piano lines on “Cold.” With well thought-out lyrics, themes of traveling and moving on carrying throughout the two songs, “Pandemonium” and “Cold” are by far the standouts of the record.
The only handicap of this album is the lead vocalist, Andy Kropf, who, despite being touted as the centerpiece of the band, sings flat for most of the album. However, he compliments the talented musicians nicely when he lets his Southern twang come through in “Galveston,” “Cold” and “Pandemonium.”
With the exception of this shortcoming, the band can thank its talented producer for a debut album that bears the markings of a major label release — quite an accomplishment for the indie band. (Self-released)
www.oceanstreetmusic.com
-Selena Lawson
 Antic Clay — Hilarious Death Blues
Recorded at Starlight Studios in Asheville, NC
Produced by Laine Pierce and Antic Clay
Engineered by Laine Pierce
Hailing from Georgia, Antic Clay classify themselves as a “gothic/blues” band, and while that is true, this band also brings a mix of western swing and dark rock as well. The first disc of the double CD set for Hilarious Death Blues is more light-hearted than the second, which is downright scary at times. Their fist disc demonstrates a tone of eeriness with creepy whistling and husky singing. Lead singer Antic Clay sounds like a mixture of Jim Morrison and Nick Cave, with a deep, hypnotic voice that continues the same eerie nature of the songs on the first disc.
While the double disc is titled Hilarious Death Blues, the band named each disc separately. The first album is called The Riderless Horse, and the second The Horseless Rider. As mentioned previously, The Horseless Rider is far darker than The Riderless Horse. Perhaps this is due to the change in singing: Clay’s vocals grow deeper as the lyrics add to the overall tone, making this “death blues” possible. To demonstrate, Antic Clay sings of “larval apples and knives and scalpels,” as well as “stagnant skeletal sperm.” To make his point more thoroughly, Clay uses exclamation points in the liner notes, and he isn’t shy in doing so; for example, “Through lootings, lynchings, shooting sprees! / Through wholesale slaughter, massacres! / The agony! / The apathy! / The screaming mouths of mothers name the infants that they lost!”
Overall, this album is very well produced, and it is not surprising that Antic Clay spent three years making Hilarious Death Blues. For those who are interested in a listen, just make sure to play this album with the lights on! (Stickfigure Records/The Furnace Songs Record Company)
www.anticclay.com
-Lauren Alexis Begnaud
 Dottie Rager — Gone But Not Forgotten
Produced by Dottie Rager
Recorded and Mixed and Mastered at OGM Studios
Engineered by Charlie Chadwick
“I’d rather be gone but not forgotten,” Rager sings in her title track. This 2007 release combines the harmonies, vocals and arrangements that make Rager sound as if she were removed from another era. With big hitters like Patsy Cline and June Carter Cash to live up to, the Nashville native brings a few more contemporary tricks to the metaphorical table, while paying obvious tribute to those female country singers that came before her. Her voice is mellow and deep, and at times is reminiscent of Ms. Cline herself. In fact, track three, “Fool, Fool, Fool,” sounds like a variety of Patsy Cline songs. Perhaps this is due to the use of pedal steel, upright bass and both acoustic and electric guitars. Additionally, Rager has a very sophisticated vocal style that is worthy of attention. Sure, she has the sound of your typical, sultry country crooner, but what sets her apart is her ability to incorporate vibrato and octave changes into her singing in a seamless manner.
The songs themselves are about subject matter that seems rather familiar to this particular genre. The overall tone is somewhat melancholy (with the exception of “I Said I Love You,” which starts with an almost tango-like intro), and Rager sings of the heartaches from a past love. The song titles themselves best describe her thoughts: “Lonesome,” “He Still Thinks I Care,” “That’s What I Miss About Us” and so on. But don’t think this is your run-of-the-mill country album — quite the contrary. Rager definitely has a pleasing voice and a delightfully different way of combining old country with new country, which sets Gone But Not Forgotten apart from the pack. (RetroVue Records)
www.dottierager.com
-Lauren Alexis Begnaud
 One Hand Loves the Other —One Hand Loves the Other
Recorded at Hot-Tub Studios
Produced by Mikey Johnson and Lou Rodriguez
Mastered by Keith Vogelsong
From the beginning, it is apparent that Atlanta-based band One Hand Loves the Other is almost impossible to categorize. Synth-pop would be the closet recognizable genre, but this album is far too diverse to be limited to one musical category. With the use of strings, synths, Dntel-like computerized effects, and cello, this album contains a veritable cornucopia of sounds and arrangements.
The first track, “Interpret a Poem,” sounds very circus-like and the same four lines of lyrics are repeated throughout: “Don’t try to interpret a poem / Leave it alone / Soften theories over the phone / Nobody’s home.” It seems only natural that when a band speaks of poetry in their lyrics that they will take that love of words and translate it into further wordplay throughout the album. On this note, OHLTO does not disappoint. Their song “Burden of Barnacles” contains examples of literary alliteration, and the like. For example, “Plausible pausing / Of an unfinished nation / Pittance of pennies / Permanent isolation.” The result is quite clever.
Later on in the album, the song “Petey Pennance” marks where OHLTO begins to grow in intensity. Classical piano and cello play quickly as vocalist Lou Rodriguez sings passionately, and as the chorus comes around, he belts out in vibrato and falsetto tones. This falsetto nature is reminiscent of German legend Klaus Nomi performing his opera arias, and like Nomi, Rodriguez achieves his high-pitched tones, and the result is nothing less than beautiful.
The entire album is extremely well conceptualized and lyrically sound. Tracks flow perfectly from one to the other, and the pairing of classical instruments with the electronic is ingenious. This album is beautiful, from beginning to end. (Stickfigure Records)
www.myspace.com/onehandlovestheother
-Lauren Alexis Begnaud
 The Human Condition — *five
Produced by Steve Connelly, Zen Recording in St. Petersburgh, FL
The Human Condition truly touches on the emotional condition of a man or woman’s soul in the heat of romance or tragedy. The band knows how write and perform music that draws in the exuberance and appeal of youth, and in their new release, the members dig deep into their well of feelings to translate emotion into music.
The artsy songs of *five kick off energetically with the rocking gem, “Purple Heart,” segueing candidly into the smooth, polished heartbreaker, “Sorry in the Meantime.” Finalizing the album is the fifth track, “From,” a well-structured, brutal attack on electric lead guitar, neatly balanced with riveting bass and gripping percussion, all overlaying a grunge-like vocal style, giving the band a recognizable identity.
The songs are beautifully placed in the order given, lending the entire thematic aspect of the album meaning. Charming songwriter Dean Johanesen is backed up nicely by a group that churns out one dazzling performance after another. Each tune is crafted with subtle, yet very well drawn-out creativity as the melodies carry a certain weight that pulls, tugs, and at times, rips at the heartstrings. The vocals are passionate and from the heart, the choruses build and build, a climax that adds to the excitement.
Inspiring and thought-provoking, this little EP is well mannered, yet the listener is left hanging in sorrow, eager to find out more about this band. A nugget of golden musical bliss, both vivid and graceful, this record is just that perfect glimpse one needs. (Self-released)
www.human-condition.com
-Shawn M. Haney
 Two Dollar Pistols — Here Tomorrow, Gone Today
Produced by Rick Miller
Recorded at Kudzu Ranch Studios in Mebane, NC
Mastered by Dave Harris at Studio B mastering, Charlotte, NC
Full of that much needed twang and topsy-turviness to blend in with the lights and sunsets of a July night out on the town, the new Two Dollar Pistols record may be just the right prescription to cancel out any summertime blues.
A dazzling effort, Here Tomorrow, Gone Today tries to bring the listener to the realization that “today is gone, and one has already touched the essence of tomorrow.” Yet the songs, with carefully placed lyrics and full-blown instrumentation of great texture and thought, speak of more than just having only tomorrow to look forward to.
“Hard times are creeping through,” sings out tired-eyed lead singer John Howie, Jr., the principle songwriter, in “Anyone Else But Me,” a story of heartache and loss, redemption and longing. Scott McCall takes us on a journey through sad and lonely country with his charming guitar work and lead phrasing. Mark O’Brien adds a deft touch on bass, complete with pulsating notes that float through the record’s overall production. Matt Brown provides a beautiful backing foundation for the Pistols on the percussion set.
The instrumentation is stellar, and the performances are liquid gold. Howie Jr. has come through nicely with a satisfactory vocal technique, his lyrics bleeding pain and sorrow, emotion and the hope of happiness found.
Surely seeing Two Dollar Pistols live on tour in a gorgeous club in Nashville or Austin would be heaven, bringing out the best of this veteran band and showing their countless hours of practice and hard work. (8th House Records/Yep Roc)
www.twodollarpistols.com
-Shawn M. Haney
 The Jack Straws — Deuce
Recorded and mixed by Erich Netherton at R!OT in Atlanta, GA
Mastered by James Taylor Jr. at Gold Dust in Decatur, GA
The Jack Straws’ debut album, Deuce, was recorded over one weekend, live in a studio, serving as a reminder that rock is often best served quick, dirty and raucous. The CD’s cover dons a grainy photo of a 1950s stock car, suggesting something rockabilly, indie, or punk rock.
Upon listening to Deuce, these initial assumptions are confirmed. The band boasts a variety of rock influences that could all fall under the working class tent. They make the mix of influences work, and they make it catchy at that. Songs like “Dirt Devil,” “Sam Hall,” “Blue Rooster” and “Stone Mill Turns” are all evidence of the band’s solid foundation in Southern and Midwestern Americana. Other offerings such as “Ticket” and “Stink Palm City” showcase the band’s indie rock and punk leanings. The album is definitely eclectic, but the sound is still cohesive and always high-energy.
Ryan Paul’s drumming is the force that keeps the energy in constant forward motion with plenty of nice fills sans all the frills or pretense. Mike Hester’s deceptively simple bass lines serve the songs and attitude well, and his occasional lead and backing vocals add to their diverse sound. Then there is lead singer, guitarist and main songwriter Jeff Carr, who hails from Iowa by way of Boston, and as a veteran of many punk-inflected rock bands he clearly knows the drill: write, record, and spoon up the sugar through a distorted Marshall, and make it rock; a tried and true formula that many current bands tend to forget.
The Jack Straws clearly remember the ideals of both ‘77 and ‘57 and everything that made those periods great. Their self-released CD, Deuce, catches the band with a quick snapshot. (Self-released)
www.thejackstraws.com
-Nelly Khalil
 Stephanie’s Id — Grus Americanus
Engineered, produced, and mixed by Vic Stafford
Additional Engineering by Russ Fowler and Julian Dreyer
Grus Americanus is the third release by Asheville, NC-based Stephanie’s Id. The five-piece band combines modern rock with a vintage vibe to create their signature sound. Band members Stephanie Morgan (vocals), Chuck Lichtenberger (keyboards), Vic Stafford (drums), Rob Geisler (bass) and Michael Libramento (guitar) are joined by many special guests to help craft the unique tunes that fill the album.
The common thread of all the songs collected here is a steady, rhythmic beat, but then each song takes on its own personality with distinctive lyrics and varied instrumentation.
The first song, “Wash Us Down With Sea Saline,” isn’t the best song to start off this CD — its dark, somber tone belies the warmer treasures to be found on the rest of the CD, which steadily bring up the mood.
Lead vocalist and lyricist Stephanie Morgan has an eclectic singing style. While at times she sounds very similar to Bjork or Dido, on other songs her deep baritone is more comparable to Toni Braxton or Aretha Franklin. The soulful vocals and big hooks really make the tracks “Cindy,” “Hey Hey Hey (It’s Gonna Be OK)” and “Cold Cold” stand out far and above the rest of the songs on the CD, and are the most radio-friendly. (Nine Mile Records)
www.myspace.com/stephaniesid
-Kat Coffin
 Souvenir’s Young America — An Ocean Without Water
Recorded and mixed by John Morand at Sound of Music in Richmond, VA
Mastered by Scott Hull at Visceral Sound
Although their music is essentially progressive, Virginia trio Souvenir’s Young America doesn’t quite fall into the “progressive” category, due in part to the band’s entirely instrumental approach. However, they also differ from most “instrumental” bands. Each song on An Ocean Without Water offers more tension, resolution and everything in between than most strictly instrumental albums. Rather than focusing on repetitive grooves or long solos, the band blends delayed guitars, dark synths, and powerhouse drums to form complex soundscapes that evoke feeling rather than spotlight individual performances.
The average song is nearly seven minutes long, and each track rarely sits still for long enough to become too comfortable. “Mars Ascendent,” the album’s dynamic opener, often drops thick, low keyboard notes and thumping kick drum pulses for dramatic effect, but it repeatedly hollows out into ambient noise, delayed guitar notes, and ghostly, yet almost Western, harmonica lines. The juxtaposition makes for a great song, but almost all of the songs are so similar that it is difficult to say that one song is much better or worse than another. An Ocean Without Water is a great deal of the same dynamic tricks, executed in similar ways, with similar results. Each song varies dramatically in itself, but rarely does any song vary much from any other. Nevertheless, with standouts like “The Sheltering Sky,” a grandiose journey that alters between a confident stride and a brooding drag, and “Invocation In the Caldera,” which holds up a melodic guitar line as a “home base” to which the winding song keeps returning, the one sound they achieve is a good one. (Crucial Blast)
www.syarva.com
-William Cane
 Western Civ — Remington Steel Magnolia
Engineered and Mixed by Misty Dawn at Dying Breed Studios in Florence, AL
Mastered by Discmakers Soundlab
Underneath the muddy mixes and barebones production, Alabama’s Western Civ has some catchy songs and truly good (though somewhat underdeveloped) ideas to offer. Their latest album, Remington Steel Magnolia, is a throwback (if such a term can be used already) to the shoegazer sound of the 1990s. The doubled vocals go from a mumble to a strain and back to a mumble again, and although it’s an acquired taste, the record reveals an honesty that is missing from many of today’s up-and-comers.
The album’s simple opener, “Trampled = 4,” rolls on drums and bass that weave together quite well, though the song’s subtle dynamic only makes itself apparent after a few listens. The album’s standout is “Cherry Wine,” which has a great, understated chorus that drags through its deliberately slow tempo. The verses need more swing, however, and a few structural changes would be in order for this song to shine as the pop gem it could be.
The best quality of Remington Steel Magnolia is the players’ ability to come together and achieve their specific, fuzzy sound, rather than focusing on the performance of individual members. Even the lead vocal is treated as just another instrument in the mix, which usually works in the band’s favor. While the instruments come together cohesively in each song, the album, as a whole, could use much more sonic diversity. The guitar tone and vocal approach vary far too little from song to song, which takes away from the album’s overall dynamic. Hopefully, on future releases, Western Civ will continue doing what they do best, but will find more ways to do it. (Hoosier Daddy Records)
www.westerncivrock.com
-William Cane
 Ode Hazelwood — Radio Noise
Produced by Joe McMahan and Joseph Hazelwood
Recorded at The Hokum House in Nashville, TN
Mixed by Joe McMahan at Wow and Flutter in Nashville, TN
Mastered by Jim DeMain at Yes Master in Nashville, TN
The duo comprising Ode Hazelwood are specific in what they can and can’t accomplish, which is to say that their early-19th-Century swing/cabaret/folk can only cover so much ground instrumentally. An avant-garde and admirable album in its indefinite candor, Radio Noise is creepy in its seemingly innocent yet overwhelming provocation. Maybe the band has seen too many black-and-white movies about haunted old villages, but this album feels like one is either grabbing a drink with Andrew Carnegie or about to be stabbed.
The drinking half enjoys catchy, smooth melodies like “Jamestown,” “Mary Don’t You Weep” and “The Good Life,” which stand out as comparatively groovy next to counterparts “O’ Disgrace” and “Rough River,” whose country placidity are perfect for napping or enjoying a cigar. OH’s instrumentation is stripped down to typical acoustic guitar and vocals — any other instruments are song-specific and often brass. The addition of percussion provides extra-poignant tastefulness to the mix; “13th Floor” and “The Long Parade” get funky in Americana while Raven Hazelwood provides shaky, cabaret-style vocals to already crooked, trumpet-driven rhythms. Her and husband Joseph’s vocals are a double-edged-sword because while their exchange provides the majority of Radio Noise‘s personality, their raunchy, burlesque swagger noticeably undercuts the songs’ intentions.
With shy but suggestive lyricism and a shaky cabaret approach to singing stripped-to-the-bone blues, Radio Noise represents the makings of a promising sophomore effort. Joseph’s vocals get delightfully dingy in “Devil’s Radio,” where a single violin and acoustic guitar create a stilled and delicate Delta blues song about voyeuristic remembrance. OH’s creepiness shrinks to nuance when the two sing together, and the instrumentation provides enough milieu to show that the duo have reached their spooky aims. (Hokum House Records)
www.odehazelwood.com
-Brian Gilton
 Olga — Now is the Time
Produced and recorded by Olga and Jimbo Mathus for Delta Recording Services in Clarksdale, MS
Mixed by Will Dawon
Mastered by L. Nix and Co. at Ardent Studios in Memphis, TN
Now is the Time‘s challenge is to present songs that, with enough personality, bypass listeners’ tendency to easily put artists like Olga into the jam band category. The album inherently calls to mind the Southern rock and blues sounds of artists like the Allman Brothers Band and Alison Krauss. That’s the vein Olga works in. But does Now is the Time contain those gems that magically shed whatever drawbacks spawn from categorization?
In keeping with Olga’s style, the framework of Now is the Time is blues-oriented. While the title track kicks the album off with eerie slide-guitar ambiance and Shannon Crufman-style Southern rock riffing, “Weary” and “I Won’t Ask” stick to typical blues composition and offer little to no surprises. “Take Your Rest, Daddy” and “Gotta Keep Moving” demonstrate what Olga is capable of: inspired songwriting that captures the maturation of delicate lyricism and the excitement of arranged songs. Olga breaks the jam band mold completely with “Can You Forgive Me,” a ‘50s-esque doo-wop lullaby that wears its heart on its sleeve and, at its best, recalls the lofty melodies and electric-palm-muting sways of Roy Orbison.
At the end of the day, Olga’s vocals are what make her stand out. Country songs “What’s the Matter With the Mill” and “Stealin’” meld bluesy, acoustic picking with her always-familiar voice, which at times achieves the creamy-and-cool thickness of Norah Jones. These songs, along with a reworking of traditional classic “Goin’ Down the Road Feelin’ Bad” account for her distinguishing Now is the Time as more Americana than her last releases. (219 Records)
www.laolga.com
-Brian Gilton
 Joltwagon — Joltwagon
Recorded by David Bradshaw
Mastered by Greg Sipes
There are rules that all musicians must live by. The main rules for writing a song are make sure that the hook is catchy, keep the song simple and leave the audience wanting more. But on Joltwagon’s self-titled album, some songs are a little long for a country rock record, with nine out of 14 songs running at five minutes or more, which may be a bit overbearing for some listeners.
Now, this isn’t taking anything away from the musicianship between David Bradshaw and gang. But, if they are going to be a country rock jam band, they may want to keep the jamming part to just a live atmosphere because it doesn’t translate as well to disc. Besides that, the CD is solid and the band has the potential to go much further.
On “Just Fine” and “Fly So High,” the guys take all of the elements of writing good jam songs and nail them on the head. The instrumentals on “Klezmer Boogie” are especially phenomenal, chock-full of trumpets, clarinet and banjo, sounding like something that may have come out of one of Gomez’s lost demos.
There is also a softer side to the album, shown on “Kim’s Song,” where you can tell the love is heartfelt. Then, there are songs that begin on the soft side but evolve into a progressive jam like “Visitors,” where Bradshaw exclaims that they are “only here for a little while.” Let’s hope that they are here a little longer than that to see where this potential takes them on later efforts. (Goldang Records)
www.joltwagon.com
-Kenneth Gambill
 Parade — Answer Me
Produced by Parade and Eric Friar
Recorded at DARC in Athens, GA and Earthshaking Music in Atlanta, GA
Engineered by Eric Friar at DARC and Scott Trinh at Earthshaking Music in Atlanta, GA
Mixed by Jason Chamison and Scott Trinh
Mastered by Glenn Schick at Glenn Schick Mastering in Atlanta, GA
Clocking in at just under 20 minutes, Parade’s new five-track EP is short and sweet, to say the least. Despite its brevity, Answer Me arrives as probably the strongest effort to date for the Atlanta pop-rock band, edging Parade ever closer to the seemingly inevitable breakout that will make them regional indie superstars.
Leading the case for Parade’s success is the album’s opening track, “That’s Hott,” a positively addictive pop gem that prominently showcases how far the band has come since forming in Athens only three short years ago. Lead vocalist Carrie Hodge is dark and witty, yet tastefully restrained as she intones over drums by Jason Chamison and Scott Trinh’s punk-laden guitar stylings. But Hodge is able to take things further late in the track, opening up her voice and grabbing the reins for the song’s crescendo as she practically screams “Make a connection!” With a title referencing Paris Hilton and the idiotic catchphrase she has popularized, the sardonic message seems more than obvious.
The remainder of the album runs the gamut of contemporary approaches to indie rock, but the general aesthetic is tight, minimalist, melodic, and at times pleasantly gritty. Even so, this is an unmistakably confident band that developed their craft on stage, and the way they have so easily transitioned their sound to the studio is enough to make other groups burn with jealousy. Not surprisingly, Parade has already announced plans for their next full-length, which is set for an early 2008 release. (ISP)
www.weareparade.com
-Ari Mazer
 Knoxville Jazz Orchestra — Blues Man from Memphis
Produced by Donald Brown and Vance Thompson
Recorded by Mischa Goldman at Weird Monkey Studios
Mixed by Scott Pederson at Hook and Groove Studios in Knoxville, TN
Mastered by Bob Katz at Digital Domain in Altamonte Springs, FL
The fourth album by the Knoxville Jazz Orchestra features the music of composer and producer Donald Brown. Blues Man from Memphis is a vibrant arrangement of songs by trumpeter and conductor Vance Thompson, representing some of the most vital collaborations by some of the most creative musicians in jazz today. The CD also features the talents of world-class jazz artists Greg Tardy (tenor and soprano saxophone), Stefon Harris (vibraphone and marimba) and John Clayton (bass). The Knoxville Jazz Orchestra itself is a 17-piece band composed of five saxophones, four trombones, five trumpets, piano, bass and drums.
Blues Man from Memphis is not your typical jazz album; the big band approach to jazz music tends to be highly arranged and more upbeat than in your traditional or smooth jazz outfits. The big band method also allows the music to mingle with some of the less standardized forms of jazz, like jazz-fusion, swing and chamber. The first song, “Nancy and the Children’s Playground,” recalls a kind of orchestral neoclassicism and follows it up with a bit of Latin-inspired jazz, and the result is strangely compelling.
The song “The Scenic Route to Donny’s Heart” is a free-flowing amalgam of honey-dipped vocals, ample marimba, minimal piano and dynamic flutes that evoke a serene sense of seaside living. “Blues for Brother Jerome” is a mid-tempo, swing-styled hard bop piece of work that could liven up any after-hours nightclub. The styles of the Knoxville Jazz Orchestra may vary widely, but the album succeeds in uniting all things wonderful about the genre of jazz. (Blue Canoe Records)
www.knoxjazz.org
-Charley Lee
 The Righteous Bastards — The Ultimate Righteous Bastards Overdrive
Produced by John McElroy
Engineered by John McElroy and Danny Everett
Recorded at Southside Sound, Birmingham, AL
Mixed and mastered by Kevin McKendree and John McElroy at The Rock House in Nashville, TN
With its eclectic mix of sounds and its blend of early Rolling Stones, The Ramones and Southern boogie, The Ultimate Righteous Bastards Overdrive from The Righteous Bastards is a fun CD to listen to. The influences, from drunken bar brawls to stadium rock to punk pubbing, that this Birmingham, AL band draw from manifest themselves on every track. Jason Reid (vocals, guitar), Steve Rockett (drums, vocals), Marcus Lee (bass, vocals) and Joseph Dorough (guitars) kick out the jams, strut their stuff and burst some ear drums in every note along the way, leaving you shaking and begging for more.
In the songs, “Knock Your Teeth Out,” “32 Beers,” and “Gas Station Bananas,” you can definitely hear a heavy Ramones influence, albeit with a shot of Southern-brewed whiskey breath. In “Motor Violator,” “Sweet Romance,” and “Time,” you can almost picture Mick Jagger singing the lyrics.
At the other end of the spectrum, “Me And My 45” and “My Heart’s In Texas” have a distinct Southern country twang that makes them truly stand out from the rest of the album, taking the boys back to their roots.
The band’s guitar-heavy, raw rock ‘n’ roll sound is distinctive yet familiar and should help them draw a large fan base from the thousands who are looking for replacement rockers to fill their bars. (Self-released)
www.myspace.com/therighteousbastards
-Kat Coffin
 Birds of Avalon — Bazaar Bazaar
Produced by Mitch Easter, Greg Elkins, Brian Quast, and Birds of Avalon
Recorded by Mitch Easter, Greg Elkins, and Brian Quast at SuperQuanic Studios, Desolation Row and Fidelitorium Studios in Raleigh, NC
Mastered at Kitchen Mastering by Brent Lambert in Carrboro, NC
Raleigh, NC’s Birds of Avalon wear their influences squarely on the sleeves of their tie-dyed t-shirts. The 11 tracks on Bazaar Bazaar contain just about every facet of 1970s psychedelic/progressive/jam band/Middle Eastern-tinged rock ‘n’ roll in the book, so much so that it is initially difficult for the listener to gauge the seriousness of the band.
Birds of Avalon’s sound is built around the combination of accomplished guitar duo Cheetie Kumar and Paul Siler in support of Craig Tilley’s excellent vocal range. The more focused rock tracks, including “Bicentennial Baby” and “Horse Called Dust,” work well by combining arena-proven guitar riffs with passionate choruses that sound like they are straight out of Led Zeppelin’s back catalog.
“Set You Free” is another standout track on the album, and although it takes a while to build up, it pays off big time with its lyrics of personal sacrifice and an instantly catchy, soaring guitar/chorus combination. Birds of Avalon even throw in a little Allman Brothers-style jamming near the end of the track to mix things up a bit.
Monster guitars and huge, high octave vocals carry “Superpower,” the strongest track on the album, revealing the true potential of Birds of Avalon. Some of the songs, such as “Instant Coma” and “Where’s My Jetpack?” drown in a sea of psychedelia, lacking the punch and imagination displayed in the stronger tracks on Bazaar Bazaar. But on the whole, Birds of Avalon have offered up a high-quality album full of updated rock ‘n’ roll standards. (Volcom Entertainment)
www.birdsofavalon.com
-Micah J McLain
 Misfortune500 — Before This Winter Ends
Produced by Asa Leffer and Misfortune500
Engineered by Asa Leffer and Eric Friar
Recorded at Downtown Athens Recording Company in Athens, GA
Mastered by Jeff Capurso at Chase Park Transduction Studio B in Athens, GA
One of the most important things a band can do when recording an album is produce something that is memorable and will immediately grab attention. On Misfortune500’s latest, Before This Winter Ends, they do all of this and more.
Having only been together for a little over two years, Misfortune500 are already on point with the state of rock music today. This Athens quartet takes on an interesting perspective when creating its unique blend of angry, late-’90s alternative and current dance-rock.
On the opener, “Panther Panther,” the guys and gal build up the instrumentals before they head into the vocals. But when Chisolm Thompson’s pipes come in, there’s a relief that his voice can carry and match the music they are creating.
There are moments that can make you anxious, such as “Of a Map,” where Thompson and company deliver a powerful anthem. Then, on “VaudeVillain,” the angrier side of Misfortune500 surfaces. While it is more aggressive, it serves its purpose.
Taking little bits from the playbooks of The Pixies, U2 and Toadies, there are songs that push the listener away and songs that evoke emotion. They even include a clever cover of The Chameleon’s “Don’t Fall,” which does not disappoint.
With a social conscious and songs based on political activism, some numbers can throw listeners for a loop as to what they are singing along with. But, after becoming aware of the fact, it’s understandable why Misfortune500 preaches what they do. (Self-released)
www.misfortune500.com
-Kenneth Gambill
 RisingSons — Day Ta Day
Produced by Kobayashi, Thicker than Water, Sparkplug in Atlanta, GA
Northern lyricism and Southern groove, laced over big beats and complex melodies, combine on RisingSons’ debut CD, Day Ta Day.
The hip-hop trio of Trip, Classic and Kobayashi delivers a flawless fusion of styles from the Big Apple and the Dirty South. Day Ta Day‘s most audible characteristic is the creative amalgamation of regional subgenres within hip-hop. Quite noticeably, smooth R&B melodies glide over West Coast G-funk beats; yet on the same CD, gangsta rap lyrics mix with the minimalistic beats and drums of East Coast hardcore. Synthesizers, 808s, pianos, horns and guitars are all fairly represented as well.
The slick production might have something to do with the helping hand of Donny Mathis, who has also received production credit on the albums of OutKast, Goodie Mobb, Eightball & MJG and Field Mobb. The lyrics traverse a number of subjects, ranging from the politically tinged and socially conscious song “Avenues,” to the party-popping track “Go Left.”
RisingSons spit out verses about girls, fake thugs and old school music so fluidly that it’s hard to believe this is their first full-length release. Easily the hottest tracks on the CD are ”Phone Is Ringing,” “Run Up” and “Go Left.” With all the influences and styles that comprise the group, RisingSons show us not only where hip-hop has been, but also where it’s going. (Traffic Distribution/Fuckyawl Records)
www.myspace.com/risingsonsmusic
-Charley Lee
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