Rollo Time and River Rouge

Rollo Time “Victims of The Crown”
When we hear the opening chords of “You Can Talk.” it’s clear that Rollo Time has changed from its debut. It’s a good single, with the right amount of rock bluster in the chorus. But there is less stylistic experimenting and more of a commercial rock sound here. The exception is “Eyman Prison,” a delightful standout with a 10cc like lyrical quality.

The hard guitar riffs make the pop compositions stand out in some cases, like in “Where Is Mine” with its odd backing sound effects. Another gem is the hook laden riffs and harmonies on “I Can’t Believe This Day.” Like a mix of Joey Sykes and Marillion with its shambling rock melodies, the eccentricities of the songs will keep you paying attention, but it loses steam by the albums end. However there is enough good music to make it worth repeat listens, so give it a try.

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River Rouge “Not All There Anymore”
River Rouge, Michigan is a downriver heavily industrialized suburb of Detroit. The band River Rouge is Detroit-born Andre Comeau (lyrics, vocal, guitar), Randy Morris (bass) along with a solid group of backing musicians. The opening number “Black Licorice” is an electric rock single that impresses with Comeau’s gin soaked growl.

The band doesn’t reach that apex again, but the quick folk rock melodies of  “Usurper Hero” and countrified “Arc Welded Love” are both decent songs. “Good at Goodbye” is a straight ahead rocker, and other than the booze soaked “No Good For Nothing” the remaining tracks aren’t that compelling, but the last track titled simply, “Yes” is a wonderful tune along the lines of Steve Winwood’s Traffic.  The two “bookended” tracks are really impressive and hopefully the next album will build on this potential.

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Amy Winehouse death reveals a shocking truth.

So even though we have no official cause of death for Amy Winehouse, people are mostly unfazed by it as she was a train wreck from the minute “Back To Black” climbed the charts. The rock landscape is littered with self-destructive artists (Jim Morrison, Jimi Hendrix, Janis Joplin, etc.) but usually we got plenty of creative output from them before they’d passed on (Curt Cobain being a more recent entry).

Amy Winehouse was a talented singer, no doubt about it — but with only 2 albums to her credit, she falls into the same category as Richie Valens, who had 3 albums before he was gone.  The biggest reveal here is that her albums are selling much better now that she’s dead. Also I’m sure a large pile of unreleased material is now just waiting to be released, and like Hendrix will provide her estate with plenty of moolah.

The Krayolas "Tipsy Topsy Turvy"

The  Krayolas Mexican Merseybeat continue to impress with Tipsy Topsy Turvy. Hector Saldana turns up the dial to “11” with the Dylanesque “Genuine” letting us know he bleeds San Antonio sangre. The familiar jangle on “Gonna Walk Down” is more what we expect from the band with great buzzing guitar breaks along its rolling rhythm. But this album has noticeably less light pop and more serious western blues influences than past works.

The blue collar do-wop on “Smile Away” is much like McCartney’s back-to-basics approach and a great homage to my one of my favorite Canadian pop stars, “Gordon Lightfoot” where we learn that “they don’t make ’em like that anymore.” Gordon’s influence continues on the gentle ballad “Does She Know.” A series of good mid-tempo songs are sprinkled in the albums second half that deal with immigration and economic issues, “Front Page News,” “The Working People” and “1070 (I’m Your Dirty Mexican).” Another gem is the bouncy “Twenty Miles,” with its gentle organ melody and steady bass line. The slow horns on “Love Is Gonna Getcha” is Saldana’s attempt at Marvin Gaye and a few nice diversions toward the albums end (“Louie’s Song”) make this a colorful addition to your Krayolas box.

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The Zombies "Breathe Out, Breathe In"

The Zombies last reunion was to celebrate the 40 year anniversary of the great 1968 album Odessey and Oracle. But now we get all new material from the reunited Colin Blunstone and Rod Argent for Breathe Out, Breathe In. So if you expect the band to just pick up where it left off unscathed by time you’re in for disappointment. However, by todays standards of shuffling oldies acts on tour you’ll be fairly impressed by this batch of material and the undiminished skills of both Blunstone and Argent. Read the full review of The Zombies – Breathe Out, Breathe In on Blogcritics.

The Webstirs and Sheri Miller

The Webstirs “The Webstirs Re-Present Smirk”
After 15 years Chicago’s Webstirs have re-booted and remastered their debut album, with its cover spoof of Brian Wilson’s SMiLE, it comes closer to the DIY efforts of The Breetles. “You Can Hang Around” is great showcase for the band’s’s energetic pop style with its combo of fast riffs and harmonies. “Old Enough” and “I Turn Away” have melodic buzzing choruses and lyrical self determination that fans of Adam Marsland will appreciate.

Most of the tracks are great, even when a song seems mundane, like “Stone On The Ground” the hook filled chorus comes in to make it special. Lots of highlights here, the bouncy “It’s Over Now” and “Rent” are excellent examples. No filler here so if you’re looking for excellent power pop goodness, you can’t go wrong.

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Sheri Miller “Winning Hand” EP
Acoustic musician and New Yorker Sheri Miller began her career co-writing with icons J.D. Souther (The Eagles), Jill Sobule and Shawn Mullins. Sheri’s highly melodic casual style serves her well on the catchy “Spoons.” Next, “Winning Hand” is a seductive mid-tempo love song that made me a fan right away with her twisting key shifts. “Satellite” is another gem with a Sheryl Crow vibe and beautiful multi-tracked chorus. The songwriting is also excellent and I hope a full length album is just around the corner. Highly recommended for sure.

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