Man, do we love this series. Eagle gets away from their classic rock leanings and brings in four of the Fab Five – Andy Taylor, having left the band once again, does not participate – to dissect Duran Duran’s 1982 worldwide breakthrough album Rio, and while it doesn’t contain any of the bizarro production stories that were revealed in the episode dedicated to Def Leppard’s Hysteria, it is still a very entertaining and informative analysis of one of the biggest albums of the ‘80s. Nick Rhodes describes the origins of the opening sound on the album’s title track, and talks about how he remodeled “The Chauffeur” into an electronic track from its origins as an acoustic number. They even recruited David Kershenbaum to talk about remixing several Rio tracks to make them more “American” (smart move, that). John Taylor pulls out his bass and plays a few riffs, and reveals that he had to switch from his fingers to a pick and back on “Hold Back the Rain.” Russell Mulcahy is on hand to talk about the videos he shot in Sri Lanka (three videos in three days, yikes), and Bob Geldof is on hand to rave about the record, too. It’s a fine addition to an excellent series. May we suggest ABC’s The Lexicon of Love as a future candidate? (Eagle Vision)

Click to buy Classic Albums: Duran Duran, Rio

His sales have never quite caught up with the critical accolades his albums have piled up over the last decade, but for lovers of gently introspective singer/songwriter folk-pop, Josh Rouse has been one of the last decade’s most trustworthy artists. He’s been one of the most prolific, too, racking up an impressive eight “official” releases over the last 10 years, plus an array of EPs, digital collections, and other assorted goodies – which is why, even though you may have never heard of Rouse, this two-CD best-of both fills a need and serves a purpose. The first disc collects 18 tracks from Rouse’s five Ryko full-lengths and adds a song from his collaboration with Lambchop’s Kurt Wagner for good measure. The track listing leans slightly heavier on Rouse’s more recent stuff, which is a good thing, as it means more room is devoted to the sunny 1972 and stellar Nashville; meanwhile, on the second disc, fans are treated to the entirety of 2001’s rarities compilation, Bedroom Classics, Vol. 1, as well as a smattering of demos and outtakes. There probably isn’t much here that Rouse fanatics haven’t already found one way or another, but it’s still nice to get it all in one place – and as a primer for one of the most sweetly melodic artists of the genre, it’s just about flawless. (Rykodisc 2008)

Josh Rouse MySpace page

What’s worse than bad Christmas music? How about bad Christmas music as played by people pretending to be dead rock stars? Awesome! Just in time for the Christmas shopping holidays that begin immediately sometime right before or after Halloween, it’s Winter Dance Party, comprised of Buddy Holly, Richie Valens, and Big Bopper impersonators. If you’re guessing that somewhere in this disc you’ll hear Christmas chestnuts played in the style of “Peggy Sue,” “La Bamba,” and ahhh…..hmm…whatever else it was Big Bopper did that wasn’t “Chantilly Lace,” then you’ll be absolutely wowed by this collection. So yeah, it’s another quick Christmas cash-in with the likes of “Let It Snow,” “Feliz Navidad,” “We Three Kings,” “Silent Night,” and the rest done up dead guy-style. But hey, at least you know these impersonators are the only group officially sanctioned by the surviving families of the deceased to rock such a crazy thing. Completely unnecessary in every way imaginable. (Day Old Records)

Winter Dance Party official site

In celebration of the new look for Eat Sleep Drink Music - otherwise known as ESDMusic, of course - let’s roll out a new column, shall we? As you can see, it’s called “Random Acts of Listening,” and the idea is to hit “shuffle” on one’s iPod, listen to the first song that turns up, and write about it. The resulting piece might be personal, critical, or just straight up informational, but the ultimate goal is that it prove interesting, and I’d like to think that anyone who writes for the site can manage to pull off such a task.

First up: “Sara,” by The Lotus Eaters, from their 2001 album, silentspace.

Read the rest of this entry »

I’m going to be honest, and the publicist will hate me for this, but I have to do it: “Perfect Day,” the debut singer by UK pop/R&B starlet Natalia, does nothing for me. It’s a nice sentiment, but a bit moon-eyed in its optimism for my tastes (which of course makes it ideal for its intended teen audience, but that’s another discussion). The video is even sillier. Having said that, and at the risk of being labeled the perviest perv in all of Pervville, look at her. She’s flat-out gorgeous, and rocks that mock turtleneck like no other. Most of today’s popsters come with the powerful voice and the over-produced music, but are completely lacking a unique look or personality. Natalia may not have the tunes yet - one of the songs on her MySpace page uses a huge chunk of Adam and the Ants’ “Prince Charming,” which sounds cooler on paper than in execution - but hot damn, does she have the voice, and she’s got the look. What in the world can make a brown-eyed girl turn blue, etc.

Natalia was gracious enough to shoot a personalized intro for Bullz-Eye’s readers, and lets rip with a little singing to show that she’s not some auto-tune charity case. Good news indeed, but we’re curious to see what she would do if she had Mark Ronson in her corner. Just a thought when it comes time to make album number two, my dear.

I am going to say something Army Navy will love, followed by something that will make them want to kill me. Army Navy’s self-titled album is a dandy collection of jangly pop rock that will have fans of Robyn Hitchcock and Teenage Fanclub jumping for joy. Singer Justin Kennedy has a delicate but steady voice, and his melodies are instantly hummable. Now for the part that will make their blood boil: they’re a power pop band, which is usually the kiss of death for a band’s commercial prospects. Still, who knows: Jack’s Mannequin’s first album was a power pop record, and they’re doing just fine, thank you. That said, Jack’s Mannequin never wrote anything as dreamy and harmony-laden as “Dark as Days” or “Slight of Hand,” the latter of which just scored a spot on the soundtrack for “Nick & Norah’s Infinite Playlist.” Will Kennedy’s connection to Ben Gibbard (they were both in the band Pinwheel) carry Army Navy over the power pop barrier? God, we hope so. We understand the bias against power pop – most of the bands that play it admittedly suck – but Army Navy deserves better than that. Here’s hoping they get it. (The Fever Zone 2008)

Army Navy MySpace page

The Little Ones are one of those indie pop bands that are able to create music that transcends the makeup of each member. And even then, that describes so many bands that you have to be very special to stand out. Well, what the Little Ones do on their debut, Morning Tide (on Alexandra Patsavas’ Chop Shop label), is create catchy, witty and well-arranged music that is equal parts modern cool (think the Shins) and retro bounce (think a more guitar-driven Erasure). It’s the kind of album that sticks in your head and makes you pay attention without even realizing you’re paying attention, deeming the Little Ones the kind of act that should have staying power in a messed up music industry. But that’s not to say Morning Tide is anything more than very good. Let’s face it, the high tenor, almost-falsetto vocal thing of Ed Reyes and others is getting old (the Shins’ James Mercer and Radiohead’s Thom Yorke receive a pass here). That, and some of these tracks are riveting (the title track, “Rise and Shine” or “Like a Spoke on a Wheel”) while others are just bland and derivative (“All Your Modern Boxes” or “Gregory’s Chant”). See what the fuss is about, and temper your expectations just a bit. But the Little Ones will likely be around for a while. (Chop Shop)

The Little Ones MySpace Page

Another singles compilation from a band that has already assembled 18 such collections? Yes, and here’s why: singer Ali Campbell, after 30 years with the band, has left the group (his brother Duncan is replacing him), so if you’ve just gotta have that comprehensive – if not exactly definitive – Ali Campbell-led UB40 compilation, this is it. The most shocking thing is how tolerable some of those questionable covers feel today; indeed, the version of Al Green’s “Here I Am (Come and Take Me)” sounds pretty damn good here, though perhaps that’s because it comes after their (ahem, million-selling) cover of “(I Can’t Help) Falling in Love with You” and before they suck the soul out of “The Way You Do the Things You Do.” The originals obviously are the prize moments here, and the band’s best singles are all present (“If It Happens Again,” “Don’t Break My Heart”). UB40’s music didn’t change the world, but they did make it a happier, more peaceful place. Buy this and Labour of Love (the first album, not the second or third), and your collection is complete. (Virgin 2008)

UB40 MySpace page

Culver City, California’s Alex Kimmell is a one-man band, and his band is called Two Dog Garage. So as not to confuse matters, let’s call the project TDG, and let’s call TDG’s debut, Pinboy, a rousing success. There are so many flavors of music at work here, as TDG uses paints from the palettes of classic rock, modern rock, and just about everything in between. And he does it with what seems like relative ease. The songs are not just catchy and well recorded; they have the potential to stand up to just about any commercial recording. TDG is unsigned, but that just means you may have to look in the nooks and crannies of the online music world, but you won’t regret anything once you get there. The title track might evoke thoughts of Toad the Wet Sprocket, and “You’ll Go Blind” may remind one of ‘80’s MTV icons the Buggles (yes, the music is that varied). And then there is the utter beauty of “Everything Happens to Me” and “This Beautiful Life.” Oh, and the instrumental “Anesthesia” sounds like what is probably what your body hears when it’s under, well, you know. So go find Mr. Kimmell, errrr, TDG. Tell him I sent you. (self-released)

Two Dog Garage MySpace Page

The conversation usually starts late at night, you and your new college friends in someone’s dorm room with a 12-pack, dishing about the lives you lived before they knew you. An old song comes on, and someone says, “This was the first rock concert I ever saw.” This claim is usually met with a “They suck!,” followed by a “Hey, I was 12, I didn’t know any better!” From there, the conversation turns into a can-you-top-this game of who saw the most “embarrassing” band as their first concert. Twenty years later, of course, the shame turns back into pride, as you realize the band was better than you once gave them credit for, but you wouldn’t have convinced the 18-year-old version of yourself of that at the time. Being cool is hard, you know.

And so, over the course of nearly a hundred emails, the Bullz-Eye staff racked their booze-addled brains to recall the first time they heard the roar of the crowd as the lights went down, and the magic that followed. This is our chronological history of the staff’s first shows. Not surprisingly, most of us were baptized by arena rock fire, but as it turned out, one of us was fortunate enough to see the birth of one of the greatest bands of all time.

Curious which one it was…? Just click the graphic below…and when you’re finished with the piece, don’t be afraid to pop back ’round and let us know about your first time!

Dubbed as the “crown prince of contemporary romantic music,” it would seem Swedish import Anders Holst’s publicist and label are reaching a bit. Reading about him and listening to Holst’s debut album, Romantika, you get the feeling that this is a guy who has always had aspirations to have his music played on light rock stations. And in that lies a problem – the fact that most light rock artists didn’t get there by wanting to get there. They arrived there because they were aging rockers who mellowed over time like wine or cheese, and because their fans mellowed in parallel fashion (think Eric Clapton or the Eagles). Others, like Daniel Powter, wound up on light rock stations by default. But Anders Holst is being marketed that way, and while his songs aren’t bad and are arranged and produced like a cross between light rock and smooth jazz fare, there is something here that sounds forced. Adding a bit of insult is the fact that Holst, while being touted as a songwriter, leads off the record with Billy Joel’s “All About Soul,” proof that even his label doesn’t have enough confidence in Holst’s songwriting. Again, Holst could do much worse than this, and he’s going to find an audience with his nice brand of light romantic pop. But as a whole, this batch of songs will help listeners relax—relax to the point of putting them to sleep. (LABEL: Unheard of Music)

Anders Holst MySpace Page

“Canteloupe,” from New Jersey quartet Carlon’s debut album Johari Window, is one of those lightning-in-a-bottle moments, a slice of Hollies-style genius that seems to stop time. Indeed, singers Michael McWilliams and Ryan McGlynn do such an uncanny impression of Hollies singer Allan Clarke that they should be forced to take a blood test. “Rosie” does not fall far behind with its delightful climbing falsetto vocal. When the band tries to rock out, the results are fine, but do not measure up to the album’s quieter moments. “Have a Window” falls somewhere in between, with the somber verse and fuzzed-out chorus. All young bands naturally want to rock, but Carlon’s talents clearly lie in the hushed moments. Either way, it will be very interesting to see what they do next. (Ropeadope Records 2008)

Download Carlon’s “Canteloupe” here

Carlon MySpace page

Sometimes an artist delivers music that is just comfortable – and by comfortable, think Middle America along the lines of Mellencamp, Springsteen, and Petty. Jody Raffoul is one of those artists (but shhhh! He’s Canadian), though he has managed to stay under everyone’s radar. This, despite the fact that if he came around 20 or 30 years ago, we might be mentioning him in the same breath as those other guys. The latest evidence is Big Sky, another album from Mr. Raffoul with anthems, big hooks, signature rock vocal, and soaring guitars. Right from the start, “Chasing Paper” is like an AC/DC song with vocals an octave lower, and “Stay” as well as “It’s Grand” also have some really nice guitar work and sugary melodies. Raffoul also does nice work when he turns the volume down, as he does on “Little Black Car” and, to a lesser extent, “My My,” which features lush, Beatle-esque harmonies in the chorus. There are a few disappointments, such as “Home,” which is heartfelt but a bit bland. But as a whole, Raffoul the Canadian delivers another sweet slice of American pie on this effort. (Fontana 2008)

Jody Raffoul MySpace Page

On Written in Flesh Wunderbugg has created an electronic mix of impressive proportions. A little electroclash here, a smidgen of ambient there, some dance and house beats sprinkled throughout. “3 Molecules Away” opens the album on a fuzzy, jagged note where the sublime mixes with the crunch of synths whirring away. “Infected with Hope” sounds like its title might suggest; an ethereal space-age sort of breezy groove with a bit of a dark undertone running down the middle. “Heartworm” approaches the New Age side of the yard, and “Overdose No. 5” features raging beats that would please any of those 140-BPM-and-higher fans. Like many electronic-based groups, Wunderbugg’s repertoire doesn’t come off entirely clean over the course of this album, but what’s good here is very solid, indeed. It just seems a little faceless at times. (Self-released)

Wunderbugg MySpace page

If one thing’s for sure, the production of this four-song EP by Knugu is damned impressive. Not one note or beat is out of place, and the vocals are well balanced with the instrumentation. However, if feels like there’s something missing here. The opening song “Getting Over You” has a nice melody and memorable chorus, but it seems to end far too soon. “Dark Angels” is delicate and crystalline in its guitar work, but lyrically it feels as if it’s running in place (beautiful background vocals, though). The vocals by Knugu on “Ad in Personals” sound a little too dramatic at times, and when he twists some of the notes at the ends of the words at times, it’s a little cringe-inducing. And “Running Back to You” sounds like a nice little flashback to the mid-‘80s. It’s pleasant enough, and the whole thing is supposed to depict “the life of a young American couple in the first decade of the 21st century,” but overall there’s not a lot to hang your hat on here. Perhaps a full-length release could fix this problem next time around. (Self-released)

Knugu MySpace page