| CD REVIEW TSM/SLW Promotions Special : Doris Brendel – Nail – SnakeStorm – Spinning Chain – Starfire - Sunroad – Sweetkiss Momma |
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TSM/SLW Promotions Special : Doris Brendel – Nail – SnakeStorm – Spinning Chain - Starfire– Sunroad – Sweetkiss Momma Darn, I'm afraid I've worked up a little delay in reviewing the TSM/SLW Promotions releases in my possession, and that why this time around you get a 7-band special (that leaves 6 other bands/ albums still to be scrutinized). I hope you'll understand that I've been having a very busy schedule nevertheless, but every once in a while people need to unwind, you know. That's why in the last two year, I've developed a passion for paleontology, and go on "digs" in the Belgian Ardennes quite regularly (it allows me to listen to the music I have to review from a more careful angle, even allows me to take notes again, as I used to, and use those for my reviews – works so much easier n the end). Anyways, as always we've got a very varied bunch of bands for you in this special...for the individual styles/ appraisals, read on...comi g from all over the world: Doris Brendel (London, UK), Nail (Newfoundland, Canada), SnakeStorm (Sweden), Spinning Chain (Texas, USA), Sunroad (Central Brazil), and Sweetkiss Momma (Washington state, USA). -------------------------------------------------- When I went to check upon this London based musician at Wikipedia, the closest I got to someone her name was the world famous classical pianist Alfred Brendel...but that was not whom I was looking for...or so I thought. Because what do I find out when checking (www.) dorisbrendel.com? Well, she's the man's daughter! That aside, Doris was already performing acoustic solo sets prior to 1988, when she first met Marcus Waite...whom invited her to join his band Telefunken U47, an instrumental Progressive band in which she was to play her flageolet flute. They dropped the sax player, changed drummers, and with Doris also singing became The Violet Hour, recorded a total of 5 demos (with music that was essentially Progressive Rock, but also contained elements of Folk, '60s Psychedelia, and the pomposity of the '70s & '80s, the music was nevertheless usually described as ahead of its time, and loosely compared to All About Eve) and signed to Sony sublabel Epic, who would release the band's only Pete Brown produced album The Fire Sermon in 1991 (check review of re-issue on Sky-Rocket, done by colleague Erik Morren, posted 23/11/2009). The extensive touring for the album, including a European trip with Marillion, would prove too much for the band, and Doris struck out on her own again. The changing musical landscape at the beginning of the '90s combined with a recession in the UK, made for both Doris and TVH suddenly loosing their deals. It meant that several recordings (with material which was as hard to describe as TVH's due to using elements from Funk, Rock, Blues, Jazz, and Folk with a large dosis of Progressive Pop) Doris had made of songs she'd partially written while still in TVH, and partially right after, again with Pete Brown at the knobs, were never released [and that in spite of the fact that such luminaries as Sam Brown, Alvin Lee, Joe Brown, Neil Conti of Prefab Sprout, Herbie Flowers, and Incognito trumpetist Kevin Robinson (among many others) had participated to the recordings], until recently the 20-track If surfaced (somewhere last year, and also on Sky-Rocket, by the way). Between 1993 and 1994, Doris went back to her acoustic roots, although not solo as before, as she embarked on a series of concerts with a number of singers (including Sam Brown) with music that ranged from a capella to acoustic guitar accompaniment, and sometimes also using double bass and percussion as well. Recording sessions (again performed by Pete Brown) were eventually issued on CD by Sky-Rocket...somewhere last year, I guess. Somewhere in 1994 Doris got a phone call from Polygram A&R man Russ Conway whom announced he he wanted to get involved in a Rock project including former Hellenbach guitarist Davy Patton and a talented bassist named Paul Kirkham. The call came as somewhat of a surprise since the two's meeting at the very first TVH show had ended in a blazing row. Anyway, with Richard Newman (check Sam Brown, Rory Gallagher, Steve Marriott) on the drum stool, they formed Holy Cow and made a self-titled 7-track album which was financed but not signed by Polygram (go figure out!). Further demo recordings followed, 4 of which eventually ended up on the 2009 re-issue of the album (again...can you guess?...on Sky-Rocket!). In 1996 Doris again got a phone call from an unexpected corner, when producer/ manager John Brand (then managingStereophonics, he'd produced the Cult, Waterboys, Bros, and others) reminded her they'd met years ago at a TVH concert, told her he needed a singer to mimic Janis Joplin for a Dance recording, and that she would be perfect for the job. Released as J.J. Tribute's “Asha” single, the piano based House track became a hit (check it out on YouTube – the resemblance to Joplin is simply amazing), and signing a deal with London Records, Doris toured the UK's clubs to promote the single. This was closely followed by a deal with Virgin for another Dance project named Kyra, which produced the Easy To Love EP (again, check it out on YouTube). But Doris never lent her name to these last two records, as Dance music ain't really her scene. It brought some dough on the table though, and for Doris it was an interesting way to get into another side of the music business! In the following years Doris saw herself so busied (she got plenty of offers for covers bands and session work, and joined quite a few bands – sometimes only temporary, sometimes for longer periods – including Buzz, Planet Funk, Sister Act, Ladykillers and eventually also Bet Lynch Experience AKA Treacle – according to my info they became one of the busiest party bands of the UK for a while there) that she didn't even find time to write new music or record stuff of her own, but in 2003 she did get together with guitarist/ producer Dave Beeson. Sharing the same initials, “DB” became the “band” name behind the collaboration album Driving, which held a mixture of genres. In early 2009 Doris had grown somewhat weary of the many concerts with BLE (over 1200 in 6 years) that she decided to take a break and, checking in with Beeson again. Other participant to the writing sessions was apparently bassist Andre “Huggy” Harewood. Before time came to record at the infamous Abbey Road Studios, they hired drummer Steve Clark (nót the Def Leppard guitarist by the same name, obviously...since he's not around anymore), and keyboardist Mike Wesson (whom Doris probably knows from her Buzz days) for a series of rehearsals, which helped greatly in using different arrangements as the songs were getting shaped. For the backing vocals on the recordings a host of singers was included: besides Doris, Huggy and Dave, you've also got Aitch McRobbie, Julie Harrington, Julie Winchester, Lynne Butler, Jo Maloney, and Mark Dalton. (you'll excuse me if I didn't check for additional info on these people...all I know is that some of them traveled quite some way for the privilege of helping out Doris. Describing the music on the album as belonging to one specific genre, would again be an insurmountable task, although the term “Progressive Rock” suits me quite nicely! After all, isn't that style supposed to include the hybridisation of several genres with “Rock”? Of course, there's differences in intensities and graduations in deviating from the “Traditional Rock” style. Songs like the tongue-in-cheek “I'm Not Old I'm Experienced” and “Get A Life” definitely come closest to the latter (the first also has a touch of Funk, as does “”), where “Latest Fantasy” (with its lavish inclusion of flageolet play) gets you a sample of very nice Ambient Celtic Nu-Rock. You'll find more flageolet (but quite less) on album opener “What Are You Saying” (been compared to the Cranberries)and “Why Are You Still Here” (all-out Progressive),songs which both have a somewhat weird lyrical content (but then there's more lyrics which will will find the more feminist men among us having a smile on their faces). There's more Funk flavourings (through a combination of bass play and keyboard stylings) in “Be My Guitar” & to a lighter degree in (combination guitar stylings and keyboards) “My Town”, and “What Have I Done” sure shows some Cabaret Rock features (although according to the info I've got, the song's already been likened to the Beatles. Confused? Don't be, because the excellent writing combined with the prolific musicianship and Doris' somewhat hoarse but incredibly attractive voice (and the great vocal backings) make for an album which will surely draw in the more demanding music lovers (not to categorise most Progressive Rock/ Metal fans that way) among us! When checking the Internet to find music by this project of Doris, or her previous ventures, I suggest you immediately log onto the “Music & Lyrics” section of Doris' own website dorisbrendel.com...where you'll find samples of all tracks off all albums she's been related to (except for the two Dance projects). Both MySpace pages dedicated to the artist (myspace.com/doz_bee and /dbdriving) don't even have music players (the latter has a link to the aforementioned section, though). Me, I'm already sold! I've been soaking myself with the lady's music over the last couple of days, and I must say I like the feeling more and more with each listening session. One thing's for certain: I'll be checking to find more stuff by this gorgeous (and I'm primarily talking about her voice, not her looks...not that there's anything wrong with that, you know, she looks very nice indeed for a 44 year-old damsel) singer, maybe even try out her acoustic stuff! And another release is catapulted into my year-lists...but with the subtle touch of love and affection it deserves! 98/100 -------------------------------------------- Crikey...two projects/ bands with great female singers in the same TSM/SLW special! What are the odds of that?! Well...if you're looking for statistics, of course, one would have to agree that in the world of Rock women are still in a minority compared to men, and having to prove themselves much more than their sexual “counterparts” (of course, in some cases it helps when they're related to someone whom means something in the music business – names sell, sometimes). On the funny side of the medal, that same discrimination increases the percentage of exceptional female singers. So, to come back to my question...chuck it! I don't even care about an answer, as long as female fronted bands keep coming to my “To Do” box at the website! Although the Newfoundland based Canadian Nail, with a birth date of 2007, is only a young band, its members are veterans of the Canadian Hard Rock scene. The couple of Cindy (lead vocals) and Rainer Wiechmann (guitar), as well as drummer/ backing vocalist Dale Penney had some notoriety with the band Koas. Formed in 1986, they became the first Canadian band to tour as extensively as they did (amongst others, they toured in support of Canadian “biggies” Helix, who were then in their hey days) with their indie record Total Kaos. After Kaos, each apparently went his/ her own musical ways, which saw Cindy sharing stages and touring with the likes of Alice Cooper, Motorhead, Dio, Dream Theater, Cheap trick, The Headpins, Sass Jordan, and Chilliwack. From his side Rainer also got into the recording, engineering and producing side of the music business, and he can count albums by the likes of Kittie, Thine Eyes Bleed, Summertime Daisies and Blood Of Crist as part of his curriculum vitae. As a producer, he was nominated for the London Music Award in 2005. As a performing artist, he toured or shared bills with the likes of Sammy Hagar, Black Label Society, Accept, Megadeth, Status Quo, Robin Trower, Motley Crüe and Yngwie Malmsteen, amongst others. The couple joined Helix in 2004 (Cindy as acoustic guitarist/ keyboardist and backing singer, Rainer as guitarist) and recorded the 2004 album Rockin' In My Outer Space with them. They eventually left that band in 2007. Penney, whom knows Rainer from their high school days, haw been playing with the latter for many years now. Other people who've shared the stage with him are kim Mitchell, Jimmy Vaughan, Los Lobos, Pat Travers, Colin James, Downchild Blues Band, and Little Feat (yes, he's also interested in Bluesey music). Although the youngest member in Nail, bassist Darcy Maudsey is not exactly a newcomer in his country's heavy music scene. Hailing from Thamesford, Ontario, he took piano lessons at a very young age, then switched to the bass when he found out it was an easier instrument to take to practice. He is a graduate of several (smaller) local Rock acts, most recently the lead singer of the new defunct Baked Goods. How's that for an introduction-that-can-count, eh? The band's 2007 self-titled debut (no info available whether it was self-released or through any small Indie label) was greeted with many positive reviews, making it into many music journalists' personal year-lists, even on an international level. And with their new album I'm sure the positive reactions are gonna come back to the band sevenfold! As mentioned in the band's bio, the music the Wiechmanns make with their new band is somewhat removed from the '80s Hair Metal of Helix, and with cited influences such as Black Sabbath, Rush, and Tool, that's no surprise at all. In other words, what you get here is a catchy and groove-laden, mostly down-tuned Metal with memorable melodies...in spite of (but in my mind also thanks to) the many built-in Progressive complexities (maybe my mind is simply too warped to enjoy pre-shewed commercial bulls**t?). And on top of the nicely interwoven bass-guitar-drum antics, you get Cindy's incredibly nice voice. Slightly hoarse but rock-steady even in some of the (occasionally vibrato-) sustained higher notes, her singing belongs in the Top 10...say even Top 5...of the Most Powerful Female Vocals category! Don't believe me? Check out the video of the band performing an acoustic version of their debut album's track “Right Now” at myspace.com/nailtheband. I mean, that is Power, man! Then when you get through that song (maybe a couple of times), also check the other videos posted, as well as the music player (some songs are doubled in audio and video, but you still get a total of 5 songs off the debut album and 3 off the new one to consume! I love this...wish I could convince my editor-in-chief into letting me keep the digipak copy he lent to me for the review! Because I'm afraid this album may be hard to get in Europe. Hope I'm wrong though, because no matter which way, this is an album I absolutely wanna have in my collection! Year-list material, of course! And to those whom would believe less positive reviews, possibly even in so-called 'reputed' paper magazines (nay, I'll nae mention the rag's name!) who would recommend Nail to lovers of female fronted Power Metal (wwhhhaaàààt?), make up your own mind, check things out for yourself! (sigh)...I hope enough people read this to make a wave...(heavy breathing)...maybe even get a European distribution goin'...(excited anticipation)...let's make it happen, people! (keep on smiling, and the world smiles with you...and that ends our positive message for today) 98/100 --------------------------------------------- Having just dealt with two extra-ordinary female singers in the reviews above, may have made the conversion to this male fronted Swedish act a bit awkward, but then a good music journalist hàs to be able to adapt swiftly enough...and on top what this quartet serves ain't half that bad either! Not suprisingly, because after all we're dealing with seasoned musicians here. Or, at least one, namely guitarist/ backing guitarist Pontus Andersson of FolkRock/ NewWave/ Punk act Dia Psalma (released a total of 3 EPs, a single and a full-length before Pontus joined in 1994, then went on to release another 2 EPs, a single, and a full-length, before throwing in the towel in 1995...only to return with equal vigor in 2007, after which they released an EP and two full-lengths...which have sold over 100,000 units together), whom started the band in early 2009 with bassist J. Heijkenskjöld and drummer H. Borg. He's also the main composer, and even sang on the band's demos before current singer J. Meiton joined. Stylistically, the band claims to have tapped “...from the old well that fed Judas Priest, Accept, and possibly even old Metallica...”, but...to continue using that same metaphor...it's not because you tap into a well that fed certain bands back when, that you're gonna get the same water right now. In the first place, for the bands mentioned the guitar parts were written for two guitarists whom complement each other in rhythmic and leads...and of course in the case of SnakeStorm the music was written for just the one guitarist. Sure, in the recordings there's space for some additional leads, but it's simply not the same as when you've actually got two guitarists (occasionally with diverging styles), now is it? Now while SnakeStorm's music définitely does not hold the melodic dynamics we know from either of the 3 mentioned influences, they're also most definitely loud! Let me rephrase that: they're LOUD! And a lot of that has to do with the fairly high-pitched visceral shouted vocal stylings of the singer! In spite of my earlier negativity about the music, the guitarist brings some slightly...shall I say “Progressive”?...and why not?...progressive tensions in the whole, which make for the more experienced listener wanting to listen underneath the somewhat sturdy and dominating drums. Oh, I almost forgot to tell you, the 9-track, 33 ½ minute album was recorded & produced by Roberto Laghi, not exactly an unknown entity in the world of Scandinavian Heavy Music. When push comes to shove, the listener will have to weigh the band's qualities for him or her self. An aid in this may be a listening session of the 3 songs (and regrettably that does not include the somewhat calmer album closing “Snakestorm”, in my mind the true excelling song on the album) the band posted at myspace.com/snakestorm. Then, it's up to yourselves whether you wanna go check up on more of the album at your local record store. I'm just not sure if the album will be that readily available...in which case the store owner may not be willing to order the album unless you pay for it, you know? 80/100 --------------------------------------------- Not a lot of info on this Austin, Texas based band, so not a lot of intro either. SC was originally formed in 2005 by producer/ songwriters Todd “Taz” Anthony (guitar) and Jimi Scott Mancille (lead vocals). Following a couple of changes, their current line-up is completed by bassist MilitiaMike (recent substitute for Chris Pistorio, whom I believe to have contributed to the recordings now under our attention) and drummer Bobby Sheehan. Having brought intensive and shocking shows on tours throughout the South/ MidWest region of the States (for specific data, check the bio on the band's MySpace page) and gotten their music on several local stations (again, for details...) the guys decided to record 10 tracks in a co-production between Taz and Bryan Scott (formerly of Union Underground, now with Cult To Follow). They then had the recordings professionally mastered by none less than Anthony Focx (producer/ mixer of such music industry luminaries as Buckcherry, Ace Frehley, Foreigner, Metallica, Beautiful Creatures, and Bullet Boys). The end result has already gotten positive response from several people in the music bizz, and has been likened to “...Linkin Park's Hybrid Theory, but more punchy...”, Nickleback, Breaking Benjamin, Seether, Foo Fighters, 3 days Grace...some names the review of which I usually thank for, as they're mostly too commercially geared! But in the case of SC I'm charmed! They bring a nice mixture of melodic restraint and aggression in a mold of Grunge, mainstream modern Rock, and Metal, which is occasionally even reminiscent of Alice In Chains (check “Who I Am” when you get a chance to do so). Still, my personal favourite song is the somewhat diverging (due to a slight Industrial touch) “Get Out” (I know, it's lyrically simple, but I simply lóve those underlaying complexities and wacky twists – try to check out that track too, if occasion arises). To get you acquainted with the “normal” SC, the boys posted 3 full-length songs off the album at myspace.com/spinningchain. For samples of the rest of the album, consult the album's page at CDBaby.com! 89/100 -------------------------------------------- Darn...I guess this is as good a place to confirm the harsh words I uttered in my opening paragraph of the Nail album (see earlier), in reference to the remarks I made about the discriminating differences between man and female singers in the world of “Rock”. Well, they can't all be winners, I guess! But before I elucidate on those negativities of mine, let's first get into the history of this band, shall we? The driving force behind Starfire is lead singer/ lead guitarist/ keyboardist Dairenn Lombard took to music at an early age, helped along by the example of his father and grandfather (whom were both also guitarists), and from a video seen on a TV show special at the age of 5, in which Jake E. Lee brought a splattering solo in one of Ozzy Osbourne's songs. He has been playing since 1986, been writing his own material from 1995, and recording since 1997 (there's apparently 5 albums out there with material of his, all of which he recorded, engineered, mixed & mastered himself). The other members of Starfire are rhythm guitarist Greg Pajer (graduated from Hollywood's Musicians Institute, he's been playing professionally...performing, recording, music directing, and touring with several bands, singers and songwriters for over 20 years now), bassist Andrew James (who's been playing professionally for over 10 years in several bands, doin the occasional recording session, recording also a couple of albums, and traveled through several States), and drummer Blake Paulsen (holds a BA in Professional Music from Boston's Berklee College Of Music from which he got a Professional Music Achievement Award, worked with artists from most major labels and Indie artists whom don't feel like signing to record labels, artists whom sold from 100 to 1,000,000 albums, and performed small venues that will only allow acoustic sets as well as jam packed arenas). I'm not sure when exactly Starfire came into being, or even whether all current members were already part of the equation at the time, but the earliest entry on the band's own website (http://) starfiremusic.com goes back to late November 2005. Apparently Lombard is the headstrong type of musician, of the kind to defy the ruling mainstream, and with a mind to leave a mark much like other coloured musicians such as Jimi Hendrix, Prince, Vernon Reid, and Lenny Kravitz left in the past. Pity he takes such a weird path to try and make his point! Oh wait, I definitely should elucidate here! You see, the 3-track promo that was sent us only has these 3 songs, one of which a nice classic keyboard-drenched '80s Rock song, the other two songs with barely any guitar on it, and focused towards some early '80s New Wave Pop sound. Now in the “heavier” song (titled “No One But You”), the “harshness” of the track and the quaintness of his vocal signature (which has a semi-high nasality) go together fairly well, but the calmer songs (straight-out ballad “Thinking About You” and the more energetic “Genie”) regrettably bring out Lombard's deficiencies as a singer. His voice is simply not steady enough, and occasionally he reaches for bends in his voice he simply should not take. In essence, if this promo was how the man was gonna seek representation of his new project, I felt he'd chosen the wrong tracks to do so, but... As I'm never one to judge anyone at face value (in this case those 3 songs), I decided to find out whether there was more material by the band available at their MySpace page (myspace.com/startfireband) and indeed: there were 3 more songs available. Two of which (my personal favourite “Open”, and the sharp guitar driven “Who's Gonna Rock”) were in the keyboard driven '80s Rock style (and quite delectable), the third (“In The End (I Miss You)”) again a keyboard track bringing out Lombard's slight ineptitude to sing in that style. A pity, because the songs themselves are quite alright, both composition-wize and in execution! But where many a lady of the audience might swoon when you're singing to her/ them directly during performances, when you don't cut it in recorded situations you're only making somewhat of a fool of yourself, aren't you? My personal advice to Lombard, is to concentrate on the “heavier” songs, and perhaps even deviate from his now somewhat conceptual lyrical content (all songs are about the positive and negative tribulations of love). Perhaps (and of course that's gonna cost some money) he should even consider taking on an outsider producer next time? I mean, it's hard to criticize one's own defaults, isn't it? 70/100 ------------------------------------------- Another singer not getting high ratings in my book is former Forth Dimension vocalist Jordan “Tell” Faria (whom joined this Brazilian band from Goiania in the Goias province in the middle of the country, in 2006). Before I explain why, let's get into the history of this band, which dates back to 1996 when cousins Danilo Vee (guitar & backing vocals) and Fred Mika (drums, backing vocals) founded the band as a 4-piece. Over the years the band saw frequent changes in its line-up. In the second year of their existence the band added second guitarist Erick Bandeira, and a year later both guitarists were exchanged for Alberto Conde. He was in term supplanted by Rafael Milhonem, and eventually that one was replaced in 2008 for the current duo of Thiago Tsuruda and Anderson Lemmy. In 2001 Akasio Angels replaced Halley Douglas on the keyboards, but when the band was forced to look for a new bassist that is the position he took in the band (who also lost the keyboard additions in the process). As suggested, the band also went through a slight change of musical directions, making their debut with the self-released 9-track Heat From the Road album in 1999. Their label debut (on the Golden Music Records imprint) came in 2001 with the 4-track EP Light Up The Skies. The guys then tried their hand to enter the national and international music business, but initially made little impact. They then sign to Avantage Records, which had a more international distribution, and release their Arena Of The Aliens album in 2003 to positive reviews and reception in Japan, the US, and Europe (even reaching chart positions in several countries), in spite of some critics finding a disturbing reminiscence to Scorpions. With the new singer in place, 2006's Flyin' N' Floating left all Scorpions comparisons behind. By now, Sunroad was regarded as one of the more important Brazilian bands in their genre, even getting to Top 5 positions on many a USA college radio. Interesting gig opportunities came a-knocking, including a South-American tour organized by the Delzotano management from Peru. The band then also stuck a deal with the Strike Management (whose founder Eduardo Bonadio was a co-founder and ex-editor of South-America's biggest Rock magazine Rock Brigade). In December 2008 the band saw the release (through the Allegro Discos label) of the 15-track compilation album 1996-2006 Ten Years Treating Deafness, a celebration of the band's 10-year existence with songs from that period. In early 2009 the band is invited to support Garry King (session drummer for the likes of Paul McCratney, Alice Cooper, Ian Gillan and Jeff Beck) and Andy Robbins (ex-Holy Soldier) and in July they are the main support for Joe Lynn Turner's South-American tour. Not long after (March 2010) they get an invite to open a show for Doogie White (formerly of Yngwie Malmsteen and Rainbow), and in May of last they also supported L.A. Guns. As you might've guessed by now, Sunroad plays a melodic Hard Rock, and cited influences on their MySpace include Whitesnake, Triumph, Deep Purple, Eloy, Yes, MSG, and UFO. Sounds good when you read it, and sounds good when you hear it too, although the band admits to having given the album a more Hard Rock sound as compared to their previous albums. In fact, what with the lady motorcyclist on the cover, I couldn't help comparing this to other bands whom would do good at Biker conventions. And, when you'll listen to the several songs posted at myspace.com/sunroadgroup, you'll have to agree that the band's previous albums were more into a Classic Rock vein, with songs that needed a keyboard to be complete. My beef with the band's lead singer is that his voice is a bit heady, and while it may have worked well on the band's Classic Rock stylings of old, he starts getting on my nerves once I'm through half of the new, more straight-forward Hard Rock album (the pace of which is apparently also a bit more up-tempo overall). Well, you know where to check out the band's music, and I'm always one to let people make up their own minds. After all, away from considerations such as good songwriting and possible prolific execution, music appreciation is always a very personal thing. Maybe you're actually into singers with such a voice as this guy? Find out, by all means! 82/100 ----------------------------------------------- If you're into Southern Rock, you're gonna love what this Payallup (a rural town not even 50 kms South of Seattle), Washington based band does! A bold statement, because their music encompasses a lot more...but first some history lessons! Lead singer Jeff Hamel (also occasionally handles a third guitar or a mouth harmonica), guitarists Waid Hoyt (also does backing vocals and the occasional trumpet) and Aaron Arnold (lead player), and drummer Tyson Lyckert started playing together in the early 2000's at their local church, and bassist Randy Jackson, a childhood friend of the others, completed the line-up in the Fall of 2009. Still with another bass player, the band performed for the first time in Spring 2008 and in August of the same year released a 3-track, self-titled EP. The 12-song album we have at hand now, was recorded using analog equipment only, and was engineered/ produced by one Joe Reineke (whom also plays additional guitar on a coupe of tracks). More additional guest performers on the album include Mark Fredson (playing piano, organ, or clavinet on 7 of the album's songs), and sax player Paul Fessenden and trumpetist David George handle the “horn section” during the track “Slow Fade” (which, when I first heard it, I took to be a cover, so uncannily alike a '60s song as it was...but then I found out it was a Hamel original...as are all other songs). The album certainly did not get its title out of thin air, for although SKM has been fittingly described as Roots Rock or Southern Rock, the knowing listener will recognize moments where the late '60s “British Invasion”, the '70s era “Jam” band, or even early '80s Metal are found fleeting into the music. And these guys make it all sound good! But with a singer who's got a little whine in his slightly nasal voice, the overall Southern Rock is certainly justified. Bands with similar sounds (so stated at the band's MySpace page...and I agree completely with the comparisons) are Black Crowes, Lynyrd Skynyrd (most definitely), James Gang, Steve Miller Band, Kings Of Leon, and the Allman Brothers, to name but a few. On that same page (myspace.com/sweetkissmomma), you'll only find one song posted, so in order to sample not only a few songs more...but the complete album...log onto (www.) skmband.com. Check it out, and you'll understand why this band has been getting nothing else but positive reactions to their debut album! 90/100 ------------------------------------------------------------------------ That's it for this time around. I promise I'll try like hell to get the rest of the TSM/SLW Promotion albums reviewed before the end of the month, but please understand I might not make it? I'm writing this at 03:00 on the 21nd of September, and barring the possibility that my editor-in-chief will push even more albums in need for review before the end of the month, there's still 14 other records awaiting that same treatment. Tony. |
