Demorama Reviews for August 2001

And now, the music.

Acoustic stuff. Not very good. Plodding. Uninteresting. How these guys have earned 1,400 bucks in mp3 earnings exceeds my mental grasp, I guess. I could only think of a few lines from an early Cracker tune: "What the world needs now/Is another folk singer/Like I need a hole in my head." (Mike Mitchelson)

Now on a new project, Billy Johnson's Roadshow, he's teamed up with non-Hillcats to play rootsier, funkier, more made-for-radio music. The production value is significantly higher on this recording; Dave Russ as producer was a good choice. The female backup vocals add a new dimension that I really like, but I'm still happiest listening to Billy and his guitar. The acoustic guitar tone is just fantastic: clear and warm.

Johnson's lyrics provide plenty to chew on,particularly "Pretty" and "SalsaLisa." The recording ranges from a Stevie Wonderish funky bent in "Rocket Ship II" and "President," to a Lyle Lovett country sound in "Barstool Saviour." It's all pretty good, though, and it's much better than anything else he's recorded before. (Melanie)

In retrospect, I wasn't too far off. Pssst...Bernie, this look DIED in the mid-80's for a reason.

Electronica abounds in Bernie's R&B/soul offerings that get your foot tapping right away. Before you know it, you'll be humming his hooks while admiring his looks. (What, ANOTHER groan??) Artistic potential follows this guy around like a lost puppy. Judging from the photo, so would about six million pre-pubescent girls. George Michael, eat your heart out!

Bernie actually lists George as an influence, with which I'd wholeheartedly agree. Add a few more harmonic vocal overdubs and I could add Depeche Mode to that list. "Jump In And Out Of My Love" starts with an urban dance synth/drum combination that reminds me of progressive jazz superstar faves 3rd Force (very William Aura-esque). This same stylistic thread weaves its way through Bernie's music in "Set Me Free" (dedicated to his parents-VERY cool!) and "What Happened (To Our Love)." While the beat is somewhat sterile at times, it's infectious nature more than compensates. Bernie's released a self-titled 8 track CD (no pun intended), more info available at his website. (thesource)

The music is just as tasty. Kurvouria's laid-back lyrical delivery combines jazz, country, folk and rock to create a whole new musical flavor. Kurvouria absolutely CHANNELS former vocal divas Janis Joplin and Grace Slick, while during more quiet moments sounds more like Katharine Whalen (Squirrel Nut Zippers) or Meghan Ivey (guest appearances with Eddie Reed Big Band & The Brian Setzer Orchestra). "At Least You Tried" features a muted trumpet that will raise the hair on the back of your neck. Superb overdubbed harmonies will make "Broken" a favorite track the first time you hear it. This qualifies as Demorama "Kick-ass" material! Very highly recommended. (thesource)

After listening to the first half of the CD, it seemed that there was some progression and variation. I liked how the first 5 tracks all retained a sort of unique sound, and there were some neat elements and instruments blended into the mix, to give it a nice, smooth sound. But after about the fifth song things started to sound a little redundant, and tedious. The progression and variation was deteriorating more and more as each song played on, and thus I was getting extremely bored. The tempo throughout most of the songs pretty much remains constant, which is a bad thing for me, because I have a short attention span.

On a lighter note, I will give them this. Being a bass player, I did enjoy their bass lines, and how they didn't have the guitar and bass tracks follow each other exactly. They mixed it up by playing in different octaves, yet staying in the same key. That was definitely the apex for me. As far as vocals go, that was where everything went downhill. The lyrics, for one thing, were quite inane, and the actual vocals killed it. After the third track, I was so damn annoyed, I wanted to shut it off. But, as a critic I must retain fairness, so the music played on.

One more thing. I must make everyone aware that this band is an all acoustic band. They did use an electric guitar briefly on I believe it was "The Moon's a Balloon." But other than that, I didn't notice any other elements of electric guitar. Maybe on "Blueberry Blue," but I'm still not sure. ON A PERSONAL NOTE: This is something that I think I would get extremely bored listening to, and actually kind of did. It's not something I would go out and buy if were out in stores, however, I might play it a few times (or play a few tracks) on my computer every once in a while. I did like track 1, "Fantastic Day" though.

In retrospect, this reminds me of a reminiscent sound, a sound that specifically pertains to the Haight-Ashbury beatnik times. Something that I could imagine your average 60's hippie, and/or modern beatnik liking. (Stefdog)

"Drum" kicks off the six-song CD with a Tommy Lee by-way-of Grand Funk beat that domineers the basement mix and drowns out the rest of the band with each LED-peaking cymbal crash. Drummer Don Petrick's four-on-the-floor style often comes across as ham-fisted and unfunky and he would benefit from a lesson in dynamics. His bitchin' hairdo makes up for it though. Singer Patsy Williams gives a vocal recitation from the "-ation" section of the rhyming dictionary in a strangled, nasally whine that emanates from her throat with as much power as a termite fart. She often recalls the irritating trill that Vonda Shepard makes when attempting her upper register. Patsy is at her best when she is not fighting to be heard above the band, such as in the most memorable tune on the disk, "Waking." This is a nice, melodic, introspective ballad that features pleasant lower octave harmonies, sweet space bass, and an interesting male/female call-and-response vocal section.

"What Do You Really Want?" contains a Primus-like vocal narration based on "A Few Of My Favorite Things" delivered in a faux- English accent (did I tell you they were quirky?) by guitarist Kimsky, while Patsy handles the chorus hook. Kimsky's guitar tone has as much balls as a eunuch on most of the disk, but the Hendrix-like opening riff of "Dream Me" boasts tintanical testes. The song contains monstrous bass, kooky cowbells and a loud-quiet-loud dynamics where even Meat-Mitts Petrik brings it down to a whisper. Bassist Andy McClure shows the most command of his instrument with his slippery fretless glissandos and sense of melody. Even when he falls slightly out of the pocket it appears that he's simply trying to follow the rest of the band (picture Les Claypool jamming with Rikki Rockett).

The final two songs are cover tunes that are rewritten with the Snark stamp of silliness. Both are virtually unrecognizable at first and the fact that they are unlisted on the CD jacket adds to the smile-inducing recognition factor when the familiar first verse starts on each. On "People Are Strange" Patsy sounds like a pre-teen Pat Benatar singing svelte Morrison and on "Heartbreak Hotel" Kimsky sounds like a bloated Morrison singing svelte Elvis. On the last line of the latter song Kimsky ad libs the rhyme "We're so lonely baby...Eat baloney baby" which pretty much sums it all up. If you like to eat baloney, then a Snark sandwich may be what your hankerin' for. Dick, however, is a vegetarian. [Dick Sloan]

The disc contains a few instrumentals including the standout "Queen Of The Cosmos" which kicks off our journey and sets the mood with a roving Arabic-flavored groove full of backwards guitar and cymbal swooshes indicating a Zeppelin influence. That influence is also apparent on the most infectious track "Dream Away" which starts huge and segues into a "Whole Lotta Love" type breakdown and back before slowing the tempo for a dreamy "Ahhh-Ahh" fadeout. The title track recalls Matthew Sweet with its big pop hooks and smooth harmonies deftly dancing over the chord changes. "Virtual Sky" channels The Beatles-via-Oasis and boasts a funky bridge containing distorted vocals delivered with a skosh of the old Liam sneer before descending into a squall of white noise static. "Gone" is a moody rocker with a killer wah-guitar lick in which Tom turns up his funk-o-meter on a bass line that hop-scotches over a herky-jerky drum beat. Other than a couple of downtempo ballads, the pacing is good as the songs are strung together with no downtime so as not to give our
ADD-culture a chance to get distracted.

Back when I was a youngster still discovering the joys of music I remember hearing Billy Thorp's "Children Of The Sun" on the radio and it having a profound effect on me. It simply stood out as sounding different and cool and I liked it for that reason. While not quite as innovative by today's standards, much of this disc contains that same mystical allure and is an astral body of work for which our otherworldly auteur deserves to be proud...beam me up, Tommy. [Dick Sloan]

NOTE FROM THE EDITORIX: Hey Dick, about "digging a little deeper prior to forming opinions:" It's a good thing that you're a screaming hot damn-good-eye-candy young rock star, because if you were not a screaming hot damn-good-eye-candy young rock star, I'd fire ya!!