Recording features the band formed by Don Bolles (Germs/Vox Pop) and John E. Precious (Feederz/Killer Pussy).

http://derrickbostrom.com/bostrom/2010/08/27/phoenix-punk-rock-days-john-e-precious-the-liars/

Well, sort of. It's darn close I tell you. Local taste testers were impressed.

Over a rocks glass filled with ice pour 1/2 shot each of Pinnacle Whipped Cream flavored vodka and Pinnacle Cherry flavored vodka. Top off with cola (I suggest a plain tasting cola as something like the Coca-Cola brand may deviate the taste).

Now you tell me, does that taste like Dr. Pepper or what?

Also, I came up with a type of boilermaker called "The 130". 1 shot of Forty Creek Canadian Whiskey with a pint of 90 Shilling. I haven't actually tried it yet, but mathematically it sounds about right.

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This may be a silly idea that may never takeoff. But I don't care. I will follow Michael Robertson through his goodideas and bad. I mean, the dude founded mp3.com and laid the groundworkfor hundreds of other mp3 based websites, including Myspace. I willatleast check this out and try it for a few days. If you alreadyhave a mp3 locker account on mp3tunes.com, then you already have a log-in tothis. Click the BYO.FM logo below to get started.

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Here is why I hate "modern rock" or "alternative" radio. We have now completed the 12th week of 2010. Out of the top ten Alternative songs on Billboard (mainly based on radio spins), NONE had debuted on the chart in 2010. Think about that! Not only were each of these ten songs released in 2009, but each started hitting regular rotation on radio stations nation wide somewhere between June and December of last year. The #4 song, "Savior" by Rise Against, debuted on this chart 40 weeks ago. That is just silly. Why doesn't commercial Alternative stations on FM mix in a new song every now and then?

Although I am glad to see "Gold Gun Girls" at #17, I am sure I bought that Metric album about a year ago.

The new album from Spoon, Transference, was the number one selling Alternative album earlier this year and radio still haven't picked up on a single to play.

Here 's the link to Billboard Alternative Rock Singles Chart.

To serve as a snapshot, here is the top ten from the week of April 3, 2010

1. Muse "Resistance" (14 weeks)
2. Crash Kings "Mountain Man" (19 Weeks)
3. Flyleaf "Again" (30 Weeks)
4. Rise Against "Savior" (40 Weeks)
5. Phoenix "1901" (37 Weeks)
6. Muse "Uprising" (33 Weeks)
7. Alice In Chains "Your Decision" (16 Weeks)
8. Chevelle "Letter From A Thief" (17 Weeks)
9. Paramore "Brick By Boring Brick" (17 Weeks)
10. Weezer "(If You're Wondering...)" (31 Weeks)

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TED LEO AND THE PHARMACISTS - THE BRUTALIST BRICKS (Matador Records)

An album from a D.C.-based political punk band with strong pop sensibilities and classic rock tendencies may sound like an anomaly. But that's exactly what makes The Brutalist Bricks a more truer testament of Ted Leo's enigmatic voice that speaks from the lean fences which protect the college rock community  from the nihilistic punk militia . What makes these thirteen songs more curiously attractive than Living With The Living is less trips to the same musical wells visited by bands like Fugazi, Social Distortion, The Clash and any other band claiming a punk/slash description and more journey into back to basics street rock that makes a better backdrop for folk-y yet melodic storytelling. It's a method that has made artists like Paul Westerberg a critically acclaimed songwriter and could do the same for Mr. Leo

Even with these methods, Ted Leo and the Pharmacists have no problem keeping things un-boring and staying an appealing choice to the typical street punk. Both "Even Heroes Have To Die" and "Bottled in the Cork" have enough Strummer-ism to stimulate hunger for those Clash and Mescaleros albums you stashed away and haven't played since 2002. "Gimme The Wire" will give retired pop-punkers from the mid-90s scene something to get both excited and confused about. "One Polaroid A Day" may be a pogo-killer that doesn't have enough 70s-soft rock influence to get the shtick label, but it is possibly the best song on this album. With politically aware lyrics that are more tangible and less cryptic than your standard Manic Street Preachers offering, Ted Leo may grow into one of the most important songwriters of this particular American generation.

Click the above album image to buy the CD from Amazon.



Clicking >>HERE<< will give you a pop-up player where you can hear samples from The Brutalist Bricks

SHOUT OUT LOUDS - WORK (Merge Records)

BLACK REBEL MOTORCYCLE CLUB - Beat The Devil's Tattoo (Vagrant Records)

Vagrant - where all my favorite major label bands go after getting drop only to become less relevant. Not too sure about the opening title track, although many may feel that it's the only song on here breaking new ground. I can almost imagine hearing the exotic and tribal anthem during the first episode of the 3rd season of Sons of Anarchy. "Conscience Killer" follows and the effort screams like the band is desperately trying to give it's fans the next "What Ever Happened to My Rock'n'Roll". "Evol" will help re-attract any retired citations that B.R.M.C. were borrowing too much from Jesus and Mary Chain when recording their debut album back in 2000. In fact, "Evol" is probably the most obvious J&MC tribute that Black Rebel Motorcycle Club have ever done.

"Mama Taught Me Better" is my personal favorite and the one I feel should be the album's next single. I tend the favor songs that feature both the vocal talents of Peter Hayes and Robert Been, and "Mama..." satisfies when I hear Been's snotty slightly baritone snarl hit the chorus. The rest of the album is a treat if you liked some of the filler from Baby 81 or the darker political songs from Take Them On, On Your Own.

I am not going to lie. I've listened to this album non-stop since receiving an advanced copy a few days ago. It should be noted that I am a huge B.R.M.C. fan. However, I am beginning to realize that records like this are for fans only. Ten years after their debut, B.R.M.C. have long driven past any opportunity to reach the level of stardom as former tour mates Kings of Leon. The trio is left at the mercy of hundreds of music bloggers who, like myself, may cease to not be so harsh with their critical reviews. I always felt that most of the indie elite hated B.R.M.C. and not just for their recording deals with Virgin and RCA. It could possibly be because they have always been too loud and not lo-fi enough for a typical shoegazing garage-rock threesome. Power trios with "walls-of-sound" productions are usually deemed more of the progressive type (Rush, Triumph). Although they have walked the line of neo-psychedelic modern rock, B.R.M.C.'s music has tended to be too grey for such a sub-genre that many feel should be complimented with all the colors of a rainbow. There is also an element of maturity in B.R.M.C. that is not found in many indie bands whose faces look they are only a year removed from a picture from their senior high school year book. I am not saying the B.R.M.C. is old, I'm just saying that any comparisons of their music to Jesus & Mary Chain or Love & Rockets is not purely coincidental. These 80s bands were direct influences, not spontaneous finds. It's not the type of maturity that gets a band sentenced to the state of irrelevancy or it's albums to the bargain bin. Rather it’s the type of maturity that gets your music assigned to a Coors Light commercial by your publisher (or, in actuality, a Ketel One advert).

 With a few soundtrack appearances under their belt (including last year's New Moon from the Twilight saga), B.R.M.C.'s only logical agenda now is to make quality music consistently to satisfy the indie die-hards and secure their expected 500-1000 in each American city while comfortably touring once every 2-3 years. Most of their accolades will still come from overseas without barely any effort as Europe will always eat bands like B.R.M.C. up. If that is what is to become, Beat The Devil's Tattoo is an acceptable and promising initial step for the latter phase of B.R.M.C.'s journey.  

Click the above album image to buy the album from AMAZON

Clicking >>HERE<< will give you a pop-up player where you can hear samples from Beat The Devil's Tattoo

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2010 is here...or has been for over 2 months. If you were born in 1980, you will be turning "30" sometime this year, if not already. It's scary to think that the "80s" started thirty years ago. Also, it's amazing when you realize that the "Reagan" era started nearly thirty years ago as well.

However, I do not have any interest to write about politics because 1980 was also an incredible year for music. Often looked upon as the year that we lost one of the greatest drummers of all time and one of the most beloved singer/songwriters (John Bonham and John Lennon), as well as the poster boys for American punk (Darby Crash) and English post-punk (Ian Curtis), 1980 had much to offer for young lovers of new music. In fact, it may be my personal favorite year for modern rock. A few of my all time favorite bands released their debut album in 1980; Psychedelic Furs (self titled), Echo & The Bunnymen (Crocodiles), and Bauhaus (In The Flat Field).

1980 was probably the most productive year for The Clash. While their double LP London Calling (released in December 1979) kept The Clash in the forefront of the modern rock world, Joe Strummer and company spent half the year recording the triple-album Sandinista (which saw a December 1980 release date). If the Clash had their way, they would had released stand alone (non-album) singles every month in 1980. They did, however, break out with one -  "Bankrobber" - before CBS Records halted the idea.

While 1980 may have been the highlight year for the post-punk movement as it helped establish "new wave music" as a viable commercial format, many punk rock songs were able to break the airwaves as well. "Los Angeles" by X, "People Who Died" by Jim Carroll, and various songs from The Ramones come to mind. Joan Jett released her debut album in 1980 before recruiting members of Rik L. Rik and The Avengers to form the Blackhearts (the album would later be released to greater ears in 1981). 1980 was a great year for AOR as well when you consider breakout records by Tom Petty & The Heartbreakers, Pat Benatar, and The J. Geils Band.

This is not the first time i have been fixated about the year 1980 and the soundtrack of those 12 months. Whenever my curiosity gets the best of me and I find myself skimming through the playlists/charts of modern rock radio stations today, I often fantasize how these playlists would look had the stations, now controlled by their mega-media conglomerates, operated in 1980. Outside of college stations, there was not much in the way of commercial alternative radio in 1980. If a new wave record with hit potential had enough of a guitar driven sound (think The Cars) it would probably had made it's way to AOR radio. If a song had more of a dance beat to it, it may had found it's way directly on top 40 radio.  Then again, I often question if there was a major new wave radio station in every major media market, how much of their format would be AOR crossover - much like how so much of modern rock radio can be heard on the active rock station a few turns of the dial away.

So here I present my official 1980 playlist...as sort of a what a modern rock station heavy rotation list would look like 30 years ago. 30 songs from 30 artists. Just for fun and to celebrate my favorite year in music.

 

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THE SOFT PACK - The Soft Pack (Kemado Records)

Another example on how good garage rock, when well produced, can be accepted by the American music press when referred to as simply "indie rock". Formally named The Muslims, The Soft Pack are a San Diego quartet that combine elements from various divisions of celebrated retroactive rock'n'roll (garage, surf, punk, power pop). The basic feel of their debut album is very non-lo-fi and features an overall quality that is as crisp as the ocean air that these men have been inhaling for most of their lives.

Almost every track on this record is driven by surf-y guitar riffs that exhibit a capability of actually keeping each song sounding fresh. Songs like "Flammable" and "Move Along" feature a terrific early 80s SoCal hardcore tempo while keeping the sound under-driven. My personal favorite is the tiki-ballad "Mexico" which could easily compliment any midnight beach BBQ. Another winner is "Pull Out" which, along with "Parasites", could fool anyone into believing Greg Sage is doing guest guitar work as both songs mimic the legend's technique from his Youth of America/Over The Edge era recordings with The Wipers.

If you have ended up becoming bored from lo-fi and emotionless garage rock over the last 10 or 15 years, The Soft Pack may be your last great white hope.

Click the above album image to buy the album from AMAZON



Clicking >>HERE<< will give you a pop-up player where you can hear samples from The Soft Pack

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