MR. CURT ENSEMBLE
Low Budget Records
Leaving The Farm
12-song CD
The current recording from the Mr. Curt Ensemble is a treat for the eyes and ears. The cover has me thinking of French surrealist Rene Magritte. The opening is a spoken word piece narrated by Heidi Wolfe. The title is “Isolato (Je Suis Isole)” which means “Isolated (I Am Isolated)” in Italian then French. One is jarred from the pleasant languor of the first track by the relative cacophony of “Chicken Feed” which seems to speak of the recession. Still I can’t hear the word “toddle” without thinking of the Lovin’ Spoonful and their song “Six O’clock.” “Go Away (If She’d Only)” sweeps us away to a soothing microcosm. Here the protagonist is haunted by the spectre of a past love. In “The Key,” the female is more of a welcome presence—a catalyst for positive change or perhaps his muse. The multilayered vocals and Clara Kebabian’s violin lure us into the winter scene of “In The City.” In fact, Kebabian’s violin represents the feel of a shiver convincingly. “Curve of the Earth” asks a question on behalf of those who are both weary and wary of technology run amuck—“are we forlorn for once-upon-a-time?” With the exception of the Stephen Stills-penned Buffalo Springfield protest anthem “For What It’s Worth,” all songs originate from Mr. Curt Ensemble with a few outside collaborators like Ron Marinick, Wayne Humphrey, and James T. Sutherland. “Ululate,” penned by Kebabian, is a euphonious highlight that lingers in my mind. (Nancy Neon)

WILLIE ALEXANDER & THE BOOM BOOM BAND
Captain Trip Records
Loco Live 1976
16-song CD
Those unfamiliar with Willie should know he graced Boston stages playing Boston rock ’n’ roll when even dinosaurs like myself were playing Little League. I mean, this dude was in one of the last lineups for the Velvet Underground! It’s an honor to review a still-playing legend and I’m very glad this didn’t fall into the hands of some fool like Zortar’s hands. This CD was recorded at two Boston clubs—the Rat (there’s even a song called “At the Rat”) and the Club. The sound is great and the selection of songs is pretty representative. Younger folks expecting an early punk sound might be put off by Willie’s sometime falsetto and keyboards, but like most early Boston rock, his style is more garage than punk and he was one of the earliest and best of the time.

Willie Alexander & the Boom Boom Band play sloppy, eccentric, creative, rockin’ Boston music and you can’t go wrong with the lyrics from my favorite “Pup Tune”—“Your dog swallowed another pair of panties, she puked them up in the hall, they’re in a ball now.” (Slimedog)

THE NEW ALIBIS
Teenage Heart Records
Hard Promises
6-song CD
Hard Promises is the second in what is intended to be series of EPs from the New Alibis, and while their first one was very enjoyable, this follow-up shows just how much they have grown in a short period of a time. It’s both more musically diverse and more lyrically personal. While the punkier numbers like “Going Through the Motions” and “Otherside” are hypercatchy adrenaline shots, the disc’s soul can be found in “Against the World” and the title track, songs that are given plenty of room to breathe. The former showcases a perfect Kim Deal-like backing vocal from bassist Julie TwoTimes; the latter, organ-drenched with a Social D-esque mid-tempo groove, features a nuanced lead vocal from Drew Suxx that gives the song a relatable worn-in quality. This is one of the strongest releases of the year and sets the bar really high for the next installment. (Kevin Finn)

AD FRANK & THE FAST EASY WOMEN
The Archenemy Record Company
Your Secrets Are Mine Now
12-song CD
It’s quintessential Ad Frank, one of the finest lyricists in the business. Ad doesn’t disappoint, spinning his yarns with multi-layered phrases like; “If I were a couple I’d break up” (from “If I were a Band”) and from the album’s opener with deceivingly positive atmosphere “Open up the patio. Pretty girls are back in style.” His rich emotionally scarred insights are slung crisply over a variety of perfectly suited musical genres and rhythms that include some horns and vocal arrangement assistance from the Somerville Gay Men’s Chorus. Longtime stage favorite “The Cuddle” is indicative of just how insightful Frank can be in mining the soul. In it, the destructive tryst climaxes as his pained soul offers: “if we take our lives then we can fuck in hell” which is mellifluously intertwined with FEW keyboardist Sarah Rabdau’s lasciviously sensuous taunting “it’s criminal at worst and at best it’s just mischievous/ Come and let me take you down to where we won’t be forgiven.” Meditate on the entire album and you shan’t come away unchanged as a being. (Rick Dumont)

NEON GOD
Rome
12-song CD
The notes say this was all recorded and mixed in one day, that all tracks but one are first takes, that the only overdubs are one guitar bit per song, and that the whole shebang cost $750 (before packaging). For many (most?) bands, this would spell disaster, but such is not the case here at all. In fact, I think it was the only way to go for this stuff. They’re a trio, one guy singing. Melodic rock, not too heavy, not too light, stripped naked of all frills, flash, and pretense. The playing is exactly as full or as sparse as is needed in a given number. I gotta single out the bass lines for really clinching the deal. Where most bozos would’ve gone shithouse, Joe Diaz’s parts are, in a word, perfect, and jack the whole thing up a just-enough notch. There are no classics among the songs themselves, but it really doesn’t matter. They’re simply and proudly THERE, in refreshingly take-it-or-leave-it non-fashion. Even the occasional screams don’t sound forced. Ya don’t gotta be Lennon & McCartney to make a solidly pleasant listen, but apparently it helps to be these guys. (Joe Coughlin)

JAKE & THE JAKES
Take A Sip Records
Back In Black and White
7-song CD
Greetings, Zortar here, alien record reviewer from another planet (unlike Mrs. Slimedog, illegal alien from across the border), once again inhabiting the corrupt, corroding, calamitous, contagious corpse known as Slimedog round these here parts.

This musical contingent consists of Jake who sings and plays guitar and two other Jakes who play bass and drums. One of the worst parts of my inhabitation is the monthly assault on my auditory sensors, that and the foul smelling festering sores, but gadzooks, this is a CD my cold alien soul can bear! These Jakes play straight-ahead, no frills rock with tastefully understated production. They’re not punk, metal, or garage but take bits of all to make an original whole. They’re like the Bags in this aspect-high praise, indeed. Though my favorites are the fast ones, there’s not a clunker in the batch. It (almost) makes my vile subsistence bearable. (Slimedog)

DOCTOR X
40 song CD
Ambient Hours
Lowbudget Records
Okay folks, this is the entire cabinet of tranquilizers! Over three hours of total bliss. No simple allotted doses amidst a palette of diversity. When Doctor X says ambient HOURS, he means it. Rest and meditation are remedies for a hectic life and this three-CD set is an ample prescription. Another crushing night out in the clubs? Disc one will mellow you out to pile up the zzzzzzz’s. Tortured by bad relationships? Disc two will cool your angst. Had a rough day at work and need to chill? Slap disc three in and float into the ether. Quite amazing! This epic homage to his ambient influences (Bowie-Eno/ Sketch Show/ Biosphere/ Angelo Badalemnti’s “Twin Peaks”) might be considered to be a tad indulgent to some people, but I’m taken in by the audiophile sound quality, the clever instrumentation, and the sheer scope of his ambition. 40 miniature tracks never felt so entertaining and grand. (Harry C. Tuniese)

MIKE MOUNTAIN
75 or Less Records
Mike Mountain
6-song CD
This CD contains the greatest opening line ever. I present, for your approval “I rode a goat to Plymouth, freshly shaved on the road to meet Kim Deal.” Another line may sneer that “the critic’s a cynic,” but this is an amazing work of art. Mike Mountain swaggers and staggers his way through a maze of songs that recall Mars, DNA, Landed, Faust, and the Fall. He responds with tortured howls and primal screams like Pil, Captain Beefheart, and the Jesus Lizard. How can such an out-there project have such big hooks and rock out without shedding the scenester cred? Attention all musical anthropoligist of the early 21st century schizoid men; buy or steal this album and study it for the rest of your lives. An instant classic, three thumbs up and 50 million stars. (Eric Baylies)

THE PART-TIME LOVERS
LSK Records
Raw Transmission
9-song CD
A native of Braintree, drummer Brian Kelley is not only of blues tribute the Part-Time Lovers, but also of Social Lubrication, the Brian Kelley Organ Trio, and the Brian Kelley Trio. He has, according to his website biography, “worked as a sideman gigging/recording in virtually every style of music.” With sparse Internet presence, and lack of a one-sheet, the Part-Time Lovers are a curious mystery. I was however, able to dig up something: Stephen Matthews, Brian Kelley, Cole Grinnell, Ken Cook, Bob West, Herman Johnson and Barry Fleischer delight fans all over the United States. They frequent B.B. King’s and the New Daisy Theatre in Memphis, Tennessee, as well as Foxwoods and Mohegan Sun. In 2000, they were winners of Boston’s Best Blues Band and were among the Top 10 Finalists of 2001’s International Blues Festival. Metronome magazine has stated, “The Part-Time Lovers make everything they touch their own” and after listening to such a collection, I wholeheartedly agree with this sentiment. Favorites include the opener, “Sweet Home Chicago,” and “Got My Mojo Working.” To put it simply: wow! (Julia R. DeStefano)

JOSH LEDERMAN & THE CAMBRIDGE SOMERVILLE ALL-STARS
Nine Mile Records
Seven Years A-Roaming
12-song CD
Josh Lederman’s music makes me think of those bands that play live in Irish bars. You know, the ones that always sound great when you’re drinking with friends, but the next day you don’t remember what they were called or any of the songs they played. That said, I really like “Chere Bassette”—the violin accompaniment is plaintive in a hopeful kind of way. I like “Julie” too—the female vocals make the song. “I Can’t Talk to You,” which features what I believe is a mandolin, is another standout for, well, the fact that it has a mandolin. You know, after listening through this whole album a few times, I realize that Josh Lederman’s music is deeper than it seems. You have to pay attention to notice it, but the complexity caused by the dozen or so different instruments involved, the bittersweetly insightful lyrics, and the infectious choruses make this a lot more than just a live bar band. (Emsterly)

ERIC BETTENCOURT
Shadow Shine Records
Two Wine Glasses/The Fear
5-song CD
This single gives an offering of what’s to come from Eric Bettencourt’s upcoming release, The Giraffe Attack Collection with a couple of bonus tracks that didn’t make the cut. The “single” tracks are poppy with little flashes of southern rock and blues. Bettencourt sounds a lot like Shannon Hoon, giving his band’s sound an obvious Blind Melon tinge, but the music is more intricate, sophisticated, and fun. If the rest of this album is as good as these two songs, then we are in for a treat. The “bonus” tracks are the real prize in this Cracker Jack box, and this is what they left off the album! “Lighthouse” is a trippy epic that could have been on McCartney’s Ram, if Shannon Hoon were old enough—and alive enough—to have sung on it. (Joel Simches)

GREG ALEXANDER
Sky It Shall Be
11-song CD
Greg Alexander sings and strums straight folk music with few of the extravagant look-at-me frills so beloved of tyros and showboaters. His songs are deepened in their texture by a significant bluesy underpinning. But he’s from a more modern wave of the folk/blues tradition; think less of Bukka White and more of the ’70s-era singer-songwriters like James Taylor, with a slightly melancholic but uplifting emotional component. Perhaps the most memorable song on this collection is the delightfully up-tempo “I’m Still Writing This,” which reminds me a great deal of British folk of the Fairport Convention school. However, many of the songs are performed at mid-tempo, but with nuanced and brightly colored instrumentals, heard to best effect on “I’ll Rock the Boat” and the soulful and appropriately titled “Lullaby.” A name to watch. (Francis DiMenno)

PLAINS
Plains
9-song CD
Recorded live on-air at WMBR in December of last year, this is a pretty, sparse collection of folk rock that, for the most part, has enough tension, darkness, and variety to keep it from going down too easily. For a live recording, this album has an especially clean sound. The harmonies, a nice variety of female-female and female-male, are spot-on throughout, and the backing vocals and the varying instruments (guitars, cello, banjo, minimal percussion) smartly introduce themselves at just the right time and then fade into the background before wearing out their welcome. Listening all the way through can be a bit of a challenge; with the exception of “Pilot,” these songs don’t have a lot of pep, which can cause the listener to drift off at times especially if he or she doesn’t have the world’s greatest attention span. For those willing to make a commitment, though, the rewards are definitely there. (Kevin Finn)

THIS BLUE HEAVEN
Quicksandglass
12-song CD
Bubbly, entertaining and, as stated in their one-sheet: “…melodic yet cerebral, catchy but never canned, This Blue Heaven has exorcised the pose from pop, ascending to an awesome afterlife somewhere between introspection and celebration…” The album, an invitation into the passionate and only occasionally solemn world of the quintet (lead vocalist MacKenzie Outlund, guitarist Stu Dietz, keyboardist Aaron Rosenthal, bassist Mark Desrosiers, and drummer Brandon Erdos) is melodic and therefore, highly enjoyable in every sense of the word. The theme is time—the past, the present, the future, and our ongoing attempt to make peace with it all. With influences ranging from Tori Amos and 10,000 Maniacs to Aimee Mann, Elvis Costello and the Police, the result is quite impressive. The album’s opener, “Bliss,” in which Outlund sings, “It don’t get much better than this, I’m telling you now, so you, you’d better enjoy it, you’d better enjoy every moment of bliss” is especially welcoming and pleasantly carefree. One thing is clear, with such a relatable, radio-friendly, crowd-pleasing effort, This Blue Heaven could very well be the next big thing. (Julia R. DeStefano)

THE DAILY PRAVDA
Burning Bible Diamonds
10-song CD
There is a great deal of craft, and craftiness, in the instrumental textures and song structures on display here. Proud, self-styled acolytes who craft personalized versions of past rock landmarks seem all too au courant, and the ensuing ongoing zombification of rock has, perhaps, become an unavoidable market imperative. But...way too many of these songs come off as precious, almost ludicrous knock-off pseud, rotely derivative of glam, the Cars, and the Pixies. And to what good end? “Dead House” has a certain balladic retro charm, and “The Stiffs” is almost-but-not-quite magisterial, but, um, quo vadis? Like, whither goest thou, America, in thy shiny car in the night? (Francis DiMenno)

SADBASTARDGOESPOP
Weasel Shifter Records
Sadbastardgoespop
10-song CD
Labeled on the bio/press page as modern rock for the discerning listener, I was skeptical. I threw the disc in as I merged onto Route 3 south, accelerating very quickly across three lanes to the fast lane. I didn’t cut anyone off, but I’m sure those back on the highway saw my cross-cut lane antics and thought, what an asshole. That’s why things suck. It’s all the fault of shitheads who drive like that. I was undeterred from these self-hating paranoid defeatist thoughts. This music stayed right with me and validated every moment. I liked that. I like the layout of the songs on this disc and I like the fact that the guys in the band say that one of their many strengths is that they all like each other. Isn’t that likable? I think we need to like more things in the world, even if there are assholes that drive across three lanes of a highway to get to where they’re going. (Mike Loce)

MATT SHWACHMAN
Uncharted Territory
12-song CD
We are indeed all searching for something and according to his one-sheet, Matt Shwachman is seeking “melody, motion, and fulfillment of the mind.” His contemplative, soulful lyrics are alive with philosophical themes, yet maintain a straightforward approach. In this way, audiences of any generation can easily relate: there is no guesswork. Irony and metaphors are simply not present here. Instead, listeners are greeted with simple, inspirational messages of hope. Gentle, melodic grooves are reminiscent of John Mayer’s debut album, Room for Squares, as well as the Dave Matthews Band. With tunes such as these, it’s no wonder Shwachman has been featured in a variety of places—on over 150 college radio stations, as well as the television series, One Tree Hill. Here’s to many more! Uncharted Territory is a solid, likeable effort—ear pleasing with a coffee-shop ambiance. (Julia R. DeStefano)

LOS WUNDER TWINS DEL RAP
Los Wunder Twins Del Record Label
Activate
13-song CD
Upon listening to the first track, I was dreading writing this review. It sounded exactly like the Beastie Boys, who I simply cannot stand. But then a few tracks later, we have “Practice,” which is a good track with a sick beat and rhymes. Likewise with “Puttin on the Crew,” a rehash of “Puttin on the Ritz.” These guys embrace the whimsical with their beats, ala Jedi Mind Tracks. But then in track 4, “Drink Beer and Get Laid,” we’re back to the Beastie Boys thing. Then comes “Janie Jones,” which features Lenny Lashley of Darkbuster. This is a badass punk song and I’m really digging it. But I’m so confused! I really like some of these songs, and strongly dislike others. Each song sounds completely different from the last; I think there are like 10 different genres on this one CD. The good part about this is no matter what kind of music you prefer, there’s bound to be at least one song on this album you’ll like! (Emsterly)

IRON OAK
Iron Oak
7-song CD
Stop here if you don’t like metal up your ass, as they used to say back in the day of denim and leather. The song “Spin Madly” echoes “Metal Gods” by Judas Priest via Danzig vocals. What’s that you say? Metal is for morons? How many thrash bands at the Palladium will include lyrics like “On days when elderly men shuffle home with their loose leaf for letters they won’t live to write, the devil is real in shoelaces coming untied, or ice melting in streams, the arrival of spring, the slow respiration of tides.” There are plenty of dirgy Trouble or Candlemass parts, mixed with the expected Helloween Walls Of Jericho era speed. “Black Sara” may remind you of Children of the Grave, but not enough to sue. Take that phone out of your trembling hands, Ozzy! Iron Oak might be metal thrashing mad, but producer Ron Poitras works his alchemy well here. They are not reinventing the wheel but are driving it straight on the highway to hell. This is the Boston metal band for the next decade or my name’s not T Max. (Hey, wait a minute...) (Eric Baylies)

THE NUBBISH
Bridgewater Triangle Records
Blumpkins by the Bagful
11-song CD
Their website touts “...gravelly baritone barking out dissertations on such topics as charlatanry, harlotry, ethno-centrics, drunkards, perverts, and the whole gamut of questionable human behavior on top of a grinding rock tracks [sic] that draws comparison to Alice in Chains, Deep Purple, ZZ Top, and Soundgarden.” Huh? Too bad they forgot to mention the sub-junior high mentality. Really, guys, WHY? There’s considerable talent afoot here (namely the lead guitar), and apparently a shitload of cash behind it (judging by the 12-page color insert), so WHY squander it all on songs about getting kicked in the nuts, taking a dump, and rape jokes? Not only ain’t it funny, it wouldn’t work if they were serious. Sadder still, they look to be about my age (old), for Chrissake. Okay, there is one funny thing, the ironic disclaimer: “This disc is guaranteed to be free from defects or it will be replaced,” noting that the song “Butt-Cheese (On the Bus)” contains intentional skipping that’s “intended as artistic effect.” The record plays just fine. It’s the notion that any of this is artistic that’s defective. Can I still replace it? With something else entirely? It doesn’t specify. I refuse to quote any lyrics on principle (something I usually enjoy when they’re awful), but I’ll concede that one does sum it up nicely: “It’s all there to keep the cattle confused.” (Joe Coughlin)

FREQUENCY 7
Frequency 7
4-song CD
This EP is a tight blend of funk, hip hop, indie rock and old school R&B. The rap and vocals sound like a wedding band version of Red Hot Chili Peppers with a melodic saxophone. That’s no insult. How many rock/rap/funk songs have acoustic guitar, harmonies and saxophone? Despite the sterile “studioized” sound, the music is tight and energetic. I wish the album credits were a little less vague. The drummer listed apparently did not play on the record, but there is no credit for who actually played. Pity, because the drumming is pretty good. In a city where this style of music gets little attention and is frequently underwhelming, I am sure with a new band name, these guys won’t stay local for long. (Joel Simches)

FLY UPRIGHT KITE
Weightless
6-song CD
This is obviously a band that cares not only about making good music, but making music good. The songs on this album are lush, soaring, and anthemic, with layers of guitars, vocals, and ambience. While at times, this could sound like Sigur Ros and Coldplay had a bastard Autotune child, each song is memorable and powerful. The violin plays a major role in this band, equal to the guitar in mix, in a scene where such a thing would be relegated to “special guest” status merely window dressing. To me, this is what a perfect album sounds like. Eargasms like this are rare and elusive. Please make more music soon! (Joel Simches)

THE HIGH SEAS Kicking In Records
Threads
5-song CD
The High Seas conjures the arty, proto-emo sounds of bands like Television, Polvo, Fugazi, and Firehose. There are lots of angst, tempo changes, and interesting grooves. This first “official” release on their own label has an energy on display that is urgent and immediate. Their angular, off-kilter approach to songwriting is something that will hopefully set themselves apart from similarly influenced bands and is a welcome change from a genre of self important, entitled complacency. It is clear that this band wants to set themselves apart from that stylistic sensibility. Very awesome stuff! (Joel Simches)

THE FRANKLIN KITE
Science Time Records
Explosions & Batteries
6-song CD
Electronic indie pop never sounded as inviting as it does on this disc. The Franklin Kite’s latest boasts the use of a device called Drumchuck, a midi drum controller made for Wii remotes. Yes, air drumming is now a technical reality! The songs are fresh and mature, with plenty of irony. Some of their excursions into singer songwriter territory are somewhat reminiscent of some of REM’s low-key moments, with flashes of Bruce Hornsby and Jack Johnson. While I wish this EP had more of the clever electronica of the first two songs, the middle of the road songs at least had more musical heft and arrangement than the usual songwriter pablum. (Joel Simches)

VARIOUS ARTISTS
Brown Bag Propaganda
Radio Riot! Volume One: Independent Music for the Masses
26-song CD
From the bowels of Saint Louis, Brown Bag Propaganda has brought together 26 punk bands from around and just outside country and put them in a (yep, you guessed it) brown paper bag. New England is well represented by Tony Jones & the Cretin 3 and their anthemic “Cindy Was a Terrorist.” Their high energy ditty fits well with the Ramones/Pistols/Oi!-inflected punk rock on display. If you buy this just for Tony Jones & the Cretin 3, you won’t find the rest of this disappointing in the least. This is a rock solid compilation, worthy of a plain brown paper bag. (Joel Simches)

RADIO CONTROL
Breaker, Breaker, 1!2!3!4!
6-song CD
After what appears to be a fairly intense mock police radio introduction, I was expecting something a little more aggro, a little more rocking. Instead we have some cute and clever punk/pop songs with a Monkees Lunchbox/Hello Kitty Sneakers attitude. From the instrumentation, the band could easily elicit comparisons to the White Stripes because they are a boy/girl guitar/drums lineup, but with songs like “Pretty, Pretty Kitty,” and “Riding Bikes” the comparison is merely superficial. This band is obviously green and still finding its way, singing songs about mayors and riding bikes in Boston, but their sound is too gimmicky to take their social commentary seriously. (Joel Simches)

FRANCESCA REGGIO & BLUE SHIFT
Bluekay Music
Static of Motion
6-song CD
Francesca Reggio and her band, Blue Shift, claim that their music is “bringing it back to the days of the accessible, self-deprecating live show.” In the process they’re also bringing back the days where female fronted singer songwriter music sounded trite, predictable, and virtually indistinguishable from every other songwriter to ever attend the Berklee College of Music. Reggio has a bright and pretty voice, but clearly got good grades alongside the likes of Paula Cole in “Woah-oh-o-Woah 101” class. There is absolutely nothing here that hasn’t been done better by nearly everyone else in the genre, fifteen or so years ago. (Joel Simches)

AUDITORY IMPLANT
Spice Rack Records
This Time
10-song CD
Listening to the first song, I’m pleasantly reminded of the old times, great songwriting, skilled musicianship and heavy riffery of the shining metal trio King’s X. For those who aren’t in the know regarding that Texas band, look them up. The next tune starts with a solid rip-off of a Primus riff, followed by a Metallica-esque double bass drum and guitar riff. This combined formula is pushed a bit thin on the third tune. Fourth tune, they’re in the formula with some jazzy vocal interludes. The rest of the songs can be left to your imagination. I’d like to give credit where credit is due, because these guys have an incredibly tight, polished sound. My issue is just that they seem to be hitting the bottom of the chili pot in regard to the “originality” of the songs from piece to piece. I would have digested an EP easier, that’s all I’m saying. (Mike Loce)

RADIO TAXI
100 Years
10-song CD
Radio Taxi arose from the ashes of Lusting Kay, but it should have stayed buried. This is a collection of pop songs without any memorable hooks, and the production is among the worst I’ve encountered. To be fair, the musicianship of John and Keith Menard is decent throughout, but it’s nearly impossible to get past the shortcomings of the vocals. Jessica Kern’s singing is consistently lethargic, colorless and, with the exception of one number in which her thin voice is layered on top of itself, often buried into the mix. It doesn’t take long for this to become actively distracting. The fact that several of the songs just seem to sputter to an end is also a point of annoyance. The alternapop feel of the Menard brothers’ instrumentation makes me wonder if their previous band name was meant to pay homage to Kay Hanley. Now there’s someone who could have breathed some life into this record. (Kevin Finn)

THE GENTLEMEN’S BET
From a Great Height
10-song CD
Ah, yes, Mrs. Slimedog here, top reviewer of the Noise and soon to be Rolling Stone reviewer, the magazine devoted to the Rolling Stones. I would like to take this moment and announce my new magazine, Beatle, that will not deal with their old catalog but exclusively with any current recorded Beatles material. It should be a smash! Well, let’s get the show on the street.

These gentlemen describe their music as “the Rolling Stones took acid and jammed with the Zombies and the Memphis Horns.” Gee, even Slimedog knows that when the Stones took acid to create something they ended up with “Satanic Mammary Recess” (um, not their best). Nice arrangements and nice horn parts here do not make up for the boring songs and bland vocals. I do like the ending of the first and sixth song though, very much. Next time I would suggest imagining the Rolling Stones on heroin as it seems that’s when they were at their best. Tah, tah, I’m off to do my hair. (Mrs. Slimedog)

If you’re sending a CD in to the Noise make sure to use our new address.
And everyone else should update our contact info too. Thanks.
T Max/ the Noise
24 Beverly Drive
Georgetown, MA 01833
978-352-8656
This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

• Comment on any CD Review in Reader's Respo™
  Make sure you title your comment so we know which review you're talking about.
  You can also discuss local music 24/7 at The Noise Board