Sebastian Dior’s attempt at innovative/experimental pop R&B falls a bit short on God Complex. When not slightly dull or clichéd on such tracks as “Things Can Change” and “Fallen Nature,” he slightly irritates on cuts like “Questions” and “The Martyr.” While he definitely should be commended for wanting to try something fresh and new, Dior’s execution can use a bit of sharpening. (www.sebastianworld.net)
– Dean Ramos
Thaddeus Rex may not be a household name, but he recruits Chicago legends Koko Taylor and Pinetop Perkins as well as Alan Gershwin to bolster his playful and quirky pop style and inspirational message to kids. There’s a satisfying, punchy crispness to “Daddy Lived Inside A Boxcar” and an admirable update of the Violent Femmes on “Running In The Sun Again.” The title track is a true standout with Perkin’s jumbled piano zipping through the swampy blues. (www.thaddeusrex.com)
– Patrick Conlan
The Goodyear Pimps deliver a unique hard rock sound on their latest, Quickly Now Gentlemen, With A Lively Step. They are mostly rock with just enough punk to keep it raw, but what makes them stand out are the lyrics, (stream-of-consciousness and literate in a hard-edged way) and the vocal delivery. Unfortunately, there are no individual credits on the CD (or Web site). Their singer must remain nameless but he is gruff, attention-getting, and listenable, whoever he is. Something says this stuff is great live. (www.thepimps.org)
– Mike O’Cull
The debut album from Paper Arrows, Look Alive, swoops in and hits the pause button on racing pulses. The trio crafts somber melodies that would make Adam Duritz proud. Joe Goodkin’s vocals even slightly resemble the Counting Crows frontman. While Duritz sings about Maria in every song, the gal Goodkin pines for in these 10 tracks is up for grabs. Along with bassist Jay Marino and drummer Darren Garvey, Goodkin is a formidable bundle of angst. “Why I Had To Fall” pays homage to The Rolling Stones’ “Wild Horses” while “When You Left” owes a debt, strangely enough, to Vince Guaraldi’s “Christmas Time Is Here.” (www.paperarrows.com)
– Janine Schaults
Singer/multi-instrumentalist Dominic Harris sounds like he’s aiming for a streetwise Lou Reed on his new CD, Ride, but it often sounds forced. A more natural delivery and sharper lyrics would have made the full-length disc more accessible. There are good things going on here, like the soulful, catchy strings Harris arranged for the pretty love song “Rhyme,” as well as the good-time guitars, piano, and drums jamming on the humorous “I Don’t Know, I Don’t Care.” (www.dominicharrismusic.com)
– Terrence Flamm
With his How It Be mixtape, Broadview’s Quesne (pronounced Cain) drops hip-hop inspired by both the crunk of Atlanta and the chopped-and-screwed styling of Houston. Because he mostly borrows beats (from Mike Jones, Ludacris, etc.) and emulates the vibe of those tracks, it’s tough to tell what this west suburban rhymer represents. Although sonically, he seems to often favor the club banger as heard on the catchy anthem “The Song That Never Ends.” (www.myspace.com/ quesne)
– Max Herman
Sue Fink is a singer-songwriter with a quirky take on folk’s storytelling tradition. At times she sounds as if she is writing children’s music with her sing-songy melodies and PG subject matter about dogs, fish, and cell phones. Musically, her second album, Damsel In Distress, never charts new territory, but lyrically, she’s quite creative. (www.suefink.com)
– Joseph Simek
Ten years of combining polka with rock ‘n’ roll (and lots of beer) deserves a celebration. To mark their decade anniversary, The Polkaholics released 10 Years To The Floor, a live album that shows off this band’s dedication to all things polka. Even with so-so production, this album captures this Chicago trio’s live energy. Still, it’s hard to imagine anyone choosing the disc over the real thing. (www.thepolkaholics.com)
– Joseph Simek
Click here to return to page 1.
As a musical contributor to WGN Radio’s “Steve And Johnnie Show,” you won’t always hear the full effects of Jeff Frankel’s musical abilities over AM radio, but his reissued Sometime In The A.M. captures a guitarist whose abilities are so impressive and effortless, it’s a wonder to those who appreciate the instrument. With a style that falls somewhere between Dire Straits and Dick Dale, Frankel masterfully handles his guitar on the instrumental “Twang Time” and the rollicking “Trying To Steal My Spirit.” His vocal abilities don’t always match his fretboard capabilities, but his Robbie Robertson-style vocal on “I’m Coming Home” shows he knows how to make it work. (www.jefffrankel.com)
– David Gedge
Forty Piece Choir’s swan-song, The Profound Nature Of Life, offers little insight into the veteran Americana act’s recent breakup. Instead of a funeral march (or wispy, introspective folk), their fourth full-length is a celebration of boogie-woogie horns, jubilant electric piano, and an almost Born To Run level of uplifting vocal urgency. FPC have hit their rock ‘n’ roll stride while walking out the door. The less folksy the future for the ex-members, the better. (www.fortypiecechoir.com)
– Mike Meyer
In a world of cutthroat musicians with six-page press kits, Mitch And The Polecats are refreshingly modest. “I hope U enjoy it,” writes harmonicist/vocalist Mitch Mathena on his band’s perfectly shabby one-sheet. Get Naked is so casual it negates the need for introduction, focusing instead on immediate, easygoing love songs (well, lust songs) and smooth, harmonious blues jams. On the unpretentious title track, MATPC acknowledge their “part-time” band status. If they were full-time, they probably wouldn’t sing about it. (www.myspace.com/matpcmusic)
– Mike Meyer
Illinois Humanities Council’s ambitious two-CD Folksongs Of Illinois blends vintage recordings and modern interpretations of local Americana music. The set’s historical value is enhanced by extensive liner notes and rare photos, but the real draw is the music. Carl Sandburg sings and plays guitar on a 1950 recording of “Jay Gould’s Daughter,” and Henry Spaulding’s 1929 rendition of “Cairo Blues” shows the blues in its earliest stages. Several tracks reflect the steady flow of immigrants to the area, drawing on Mexican and European traditions. Heartfelt recordings by current folk enthusiasts like Bucky Halker, Alison Krauss, Janet Bean, Jon Langford, and Kelly Hogan ensure this native music will continue to thrive. (www.prairie.org)
– Terrence Flamm
The Orange Peel Sessions is a clever play on the venerable series of live recordings with the late John Peel. Here, Naked And Shameless tear through an acoustic set of hilarious covers (”Nice Legs (Shame About The Face),” “Pumpin’ 4 The Man”) and suitably comedic honky-tonk originals (”Blood Elegy (The Pain Of Love),” “Bill Monroe (Country Legend)”). With unbelievable wit and melodic faithfulness, NAS even turn the Misfits’ “Where Eagles Dare” into a jaunty, country-tinged number. (www.nakedandshameless.com)
– Patrick Conlan
Tempering their jittery new wave urgings with a solid pop sensibility tweaked by an ever-so-slight emo turn gives July Fourth’s five-song Curtain Of Stars a richness that belies the band’s power trio line-up. Solid drumming keeps these guys’ faces from falling into their shoes or getting too sloggy-proggy for their own good, such that the second and third cuts score convincingly, and the final track solidly hooks the listener for good. (www.fourthofjulymusic.net)
– David C. Eldredge
