Papa Roach is by no means new to the world of controversy. From their first suicidal single, “Last Resort” to their latest installment of nu-metal, Metamorphosis, Jacoby Shaddix and friends have built quite a repertoire of heavy, riffing guitars and arena-rock vocals. Their uncanny ability to come out of hiding and dominate the charts is no doubt, what has kept them on mainstream radar for the last ten years, however, after the lukewarm reception of their latest release it seems as the though this foursome’s reign is finally coming to an end.

Metamorphosis, released March 24 on DGC Records, is the sixth studio album from Papa Roach. Although the record seems to strive for a more poppy metal sound, the overall affect is less than pleasant. Jacoby’s once-passionate vocal is now stifled by a shockingly 80’s-metal flare that resembles Nickelback’s Chad Kroger, or Buck Cherry’s Josh Todd. Additionally, the pulsating guitars and intense lyrics that propelled Papa Roach to superstardom are once again absent from this recording. As a fan of their old material, Metamorphosis leaves me asking, “Who is this band and what have they done with my Papa Roach?”

While there’s no disputing the production value of this record, the lyrical strength and intensity the band used to rely on is nowhere to be found on Metamorphosis. Several tracks have solid foundations but fail miserably when it comes to the lyrics, which are incredibly clichéd and void of passion. Perhaps the most disturbing example can be found on track two, “Hollywood Whore.” The single is completely predictable and unfortunately, sub-par. SputnikMusic.com commented on the song saying:

“‘Hollywood Whore’ takes aim at the flirtatious females that have invaded tinsel-town of late. There is a half-decent riff courtesy of guitarist Jerry Horton and some melody contained within the cut, but it is all brought down by clichéd lines such as “the talk of the town is that she’s going down,” and… “Don’t let the door hit you where the good lord split you honey.”

In fact, the track ends with Shaddix screaming “Don’t let the door hit you…” channeling the likes of Nikki Six, which he also seems to have done on their recent album artwork.

Not everyone has a dislike for the would-be single “Hollywood Whore,” however. Amazon.com called the song “a ferocious Rock track with a contagious and undeniable chorus.” While all opinions are debatable there’s potential in this song, if only the band had taken the time to realize it.

Four minutes later, the sex-anthem “I Almost Told You That I Loved You” is just as soulless. The sadly superficial track led SputnikMusic to write,

“I Almost Told You That I Loved You’ begins with “You know I love it when you’re down on your knees”, a double-take is in order to ensure…Jacoby Shaddix has not been possessed by either Chad Kroeger (Nickelback) or Austin Winkler (Hinder).”

To ad insult to injury, AbsolutePunk.net wrote, “I Almost Told You That I Loved You” is unmistakably a Buckcherry rip off on all accounts.” Too bad no one was there to give such advice before the record was released. Thankfully, there’s hope about half-way through the album. A little old-school Papa Roach can be found on tracks like “Lifeline” (a convenient first single), and “March Out Of The Darkness,” which Ultimate-Guitar.com said, “mixes guitar crunch with lyrical introspection and impassioned vocals.” Both tracks showcase Shaddix’s vocal without making him sound like a copy-cat and listeners can extract some semblance of passion in the lyric thanks to a signature, “help me, I’m lost” message found on both tracks.

While some may enjoy the detour Papa Roach has taken with their latest LP, the majority speaks loud and clear. The unfortunate downall of Metamorphosis can be linked directly to the band’s lack of direction. RollingStone.com hit the nail on the head saying, “the problem is that Papa Roach don’t rise far enough above the radio-rocking competition—it’s hard to remember the band’s identity at this point.” The constant identity flip-flop could be due to the band’s inability to let go of mainstream, but if these Cali rockers were to give up the ability to top the charts, it’s unpleasant to think how far they could fall.

Six records into their career, Papa Roach has evolved from garage/rap-rock with a punky twist to full-fledged metal band that sounds like a mix of Metallica and Nickelback. The strange combination may very well be the stepping-stone on the road to change, but it is certainly far from a textbook Metamorphosis. As SputnikMusic.com put it,

“The LP is a regression on their previous releases. The band seem to be aiming at as broad an audience as possible here, but the likelihood is that they will reach even less targets since basically every track lacks a certain something to distinguish itself from the large pack of similar artists flooding the market. Chances are that most listeners will find a couple of songs to like, but as a whole, Metamorphosis fails to impress”.

If you were a fan of old-school Papa Roach, and do not favor recent releases like Getting Away With Murder you may want to steer clear of Metamorphosis. But if you can get over the smothering metal influences go ahead and give it a shot.

Peace

The 23rd annual induction ceremony for the Rock and Roll Hall of Fame is coming up, and with it comes the annual bitchfest by music fans and critics as to which bands deserve to get in and which do not. The general public has no say in the nomination or induction process; instead, an anonymous committee chooses the nominations, which are then voted on by an equally anonymous group of 500 “rock experts.” Bands are eligible for induction 25 years after the release of their first record. Usually there’s little controversy when it comes to the artists chosen for induction, with the real debates circling around those artists who have yet to be recognized by the Hall of Fame.

The Hall has its prejudices when it comes to selecting those worthy enough for induction. Heavy metal, punk and prog rock have a hard time getting in, while anyone with an obvious blues or country influence seems to be a shoe-in. It also helps to be American or British; no artists from mainland Europe, Africa, South America or Asia have been inducted yet.

With that in mind, Bullz-Eye has selected 10 artists, listed in chronological order of their eligibility, that we feel have been given the shaft by the Hall. These are by no means the 10 “best” artists who have failed to be inducted; just 10 “of the best” who have not yet gotten their due.

The Stooges
Eligible since: 1994

The Stooges self-titled debut came out in 1969 and it’s hard to imagine just how abrasive and loud the Stooges must have sounded to audiences at the time. Try putting them in context: the biggest albums of that year were Abbey Road, Blood, Sweat & Tears’ self-titled record that had the hit “Spinning Wheel” and the original cast recording of “Hair.” One of the biggest singles was “Sugar Sugar” by the Archies. Contrast that with “I Wanna Be Your Dog,” and a sense of just how far ahead of the times they were begins to develop.

Rush
Eligible since: 1999

We are loath to use album sales as a measure of a band’s true worth, but it’s worth noting that Rush’s first 16 studio albums, spanning 22 years, have sold a minimum of 500,000 copies each. The only band with a longer gold-or-better sales streak is the Stones. Aerosmith is just behind Rush, with 14 straight gold-or-better albums, and U2 will probably get there if the band doesn’t kill Bono first. Fittingly, Aerosmith, U2 and the Stones are all in the Hall; Rush, however, are not, and their exclusion can be boiled down to three words: critics hate prog.

Motorhead
Eligible since: 2002

They may have paved the way for Anthrax and their thrash metal ilk, but Motorhead’s influence can be heard in punk music of the ’80s and ’90s, alternative rock groups such as Queens of the Stone Age and even in electronic and new wave music (industrial music is basically thrash metal with keyboards). The Hall hates metal, for some reason – it even took them 11 years to get off their asses and induct Black Sabbath. And if Ozzy and company can barely squeak into the Hall of Fame, an underground act like Motorhead doesn’t have a prayer. Pity.

To read the rest of the bands that should be in the Rock ‘n Roll Hall of Fame, click here

Musically speaking, 2008 was all about nostalgia for me. Not only did my all-time favorite album get the reissue treatment, largely-forgotten genres like synth-pop and power-pop crept their way back onto my playlists. So in that spirit, I’ve compiled a year-end list with my top choices in 10 separate categories. Now if 2009 could only bring back hair-metal, I’d be A-okay.

Scar Symmetry: Holographic Universe
As out-of-control great as Scar Symmetry’s songwriting and musicianship proves to be on Holographic Universe, the jewel in their crown is without question vocalist Christian Alvestam. His death-metal vocal attack is an absolute force to be reckoned with. Its deep tonality and razorblade-kissed harshness drives the heavier sections with brute force. But what really makes Alvestam’s appearance a revelation are his cleaner vocals. It’s the kind of powerhouse voice that is usually reserved for AOR bands like Survivor, Toto, and Journey; not in a Swedish death-metal band. It definitely doesn’t sound like a great idea on paper, but when you hear the mixture of his melodic crooning and piercing guitars coming out of your speakers, your doubts swiftly fall by the wayside. Alvestam’s performance on the album is nothing less than a tour-de-force that should get praise from both the heavy metal and more mainstream hard rock/AOR communities.

The Foxglove Hunt: Stop Heartbeat
If you’re as devout a synth-pop fan as I am, you’ll know about the lack of quality groups releasing records these days. Throughout the late 1980s, it seemed like every major and indie label had at least two or three synth-pop acts on their rosters. Outside of die-hards like Depeche Mode and a handful of other groups (on the A Different Drum label), the genre has been relatively quiet. The Foxglove Hunt is comprised of Ronnie Martin (Joy Electric, The Brothers Martin) and Rob Withem (ex-Fine China) and the duo’s list of influences reads like a KROQ playlist from 1987. The dramatic Giorgio Moroder-styled keyboard melodies and Neil Tennant-worthy vocal performances make Stop Heartbeat feel like it comes from an entirely different era. “The Life Highrise” could have been on Dare while the fluid bass lines on “That’s Getting Personal” have Peter Hook written all over them. From start to finish Martin and Withem get it right. Even when they take on the Psychedelic Furs’ haunting “Love My Way,” the duo hits the mark.

Mudcrutch: Mudcrutch
After releasing an unsuccessful single in the mid-’70s, Florida jangle-rockers Mudcrutch went their separate ways. This, of course, wouldn’t be more than a mere footnote in the annals of rock-n-roll if the band’s singer/bassist wasn’t none other than a young Tom Petty. Now we all know how things turned out for Petty and his fellow Mudcrutch guitarist Mike Campbell, but most of us had only read about their former band’s work through the years. When it was announced that the Gainesville, FL rockers were reuniting for an album and tour, record geeks waited with bated breath. Mudcrutch didn’t disappoint. Reflecting the band’s love of southern and country-rock, the record is filled with ample amounts of lush vocal harmonies and twangy guitars. If the band would have released “Scare Easy” back when they were originally together, there might have never been the Heartbreakers.

Elbow: The Seldom Seen Kid
Elbow’s first three albums were all top 10 list contenders in the years they were released. But The Seldom Seen Kid is “album of the year” material from top to bottom. For one second just picture Peter Gabriel fronting Radiohead and you’ll have a good idea of what this British quintet is going for. Like the Gabrial in his Genesis days, vocalist Guy Garvey’s lyrical muse is suburban England. The songwriter shines a light on the every day tedium of life in the burbs on songs like “The Loneliness of a Tower Crane Driver” and “Grounds for Divorce” proving his work here is worthy to all the hype it’s been showered with lately. In “One Day Like This,” Garvey and Elbow have the song that Chris Martin wishes he wrote for Viva La Vida.

Gentleman Jesse & His Men: Gentleman Jesse & His Men
There’s something magical about the sound of a Rickenbacker busting out an open A chord. This 12-track collection of energetic power-pop is bursting with bubblegum sweet vocal hooks and the kind of guitars Chris Stamey and Tommy Keene championed back in their heydays. GJ & HM have every power-pop trick mastered, but everything is funneled through with garage-rock charm. Unlike the Raspberries, who had the majestic flair of Eric Carmen, the Georgia band’s rough and tumble performances instantly makes them attainable to the lo-fi and punk crowds. This stuff is strictly for fans of the Replacements, Big Star, and the Exploding Hearts.

The Mary Onettes: The Mary Onettes
From the look of my list this year, it seems like everything that was old is new again. Maybe it’s because I’m in my mid-30’s now or perhaps it’s a genuine disconnect with the palette a lot of newer bands are working off of, 2008 had me falling for the albums that looked backwards in terms of musical style. Sweden’s Mary Onettes must feel the same way I do lately. The glistening guitars, ringing bass runs, and melancholic choruses wouldn’t have sounded out of place on the soundtrack to a John Hughes film. Philip Ekstrom’s vocals quake and quiver on earwigs like “Pleasure Songs” and the completely addicting “Lost” making him a frontman to keep an eye on. Hopefully the band can find a label with a stronger presence in the States because I have a feeling these lads would be huge if more people had a chance to hear their hooky guitar-pop, they’d be huge.

Dillinger Four: Civil War
Dillinger Four are one of the few bands that most punk fans can agree on. The more fickle traditionalists go absolutely gaga for the Minnesota act’s streamlined and high-energy approach. But even listeners who take their punk with two helpings of melody in it adore D4’s hooky choruses. The road that led to the release of Civil War was a bumpy one. The album was mired by studio delays, day-job hassles, and even an internet leak. But boy, was it worth the wait. The filthy power-chords that kick off opening track “A Jingle for the Product” gets your blood boiling and it’s all butt-kicking from there on. Erik Funk’s vocals never sounded as snotty. His singing style embodies the same rebel spirit that made punk icons like Howard Devoto (Buzzcocks) and Milo Aukerman (Descendents) so irresistible to listen to so many years back. In Lane Pederson the combo have one of the more exciting, tough-as-nails drummers going today. His relentless attack anchors fast-movers like “Like Eye Contact In An Elevator” perfectly while he holds back just enough on “Fruity Pebbles” to give the song enough breathing room for Funk’s melodies to creep in.

Crystal Castles: Crystal Castles
On Crystal Castles’ debut full-length, old Atari sound effects pierce through the mix, synthesizers are abused, and frontwoman Alice Glass shrieks over the top of everything with menacing punk-rock attitude yet they’ve somehow constructed the dance album of the year. The tracks comfortably jump from techno to house to synth-pop sometimes even doing it within the span of one song. Ethan Kath is the master audio manipulator here dismantling Glass’ vocals, bending and tweaking them so much that they almost become unrecognizable in moments. But the soundscapes are king here. The keyboard melodies on “Crimewave” and “Vanished” are instantly memorable, almost haunting at times. There’s a timeless quality to everything here. For once, the hipsters were right.

“Black and Gold,” Sam Sparro
It sounds like a long-lost Gamble & Huff gem produced by Prince and then remixed by Afrika Bambaataa circa 1982, yet “Black and Gold” feels more vital than 98% of the singles released in 2008. Written and sung by Australian newcomer Sam Sparro, “Black and Gold” was a smash throughout Europe but it barely made a dent here in the U.S. when it was released during the spring. A bank of frothy keyboards pad the track but it’s the pulsating bass and percussion that drive the song. Sparro obviously studied the great American soul singers of the ’70s because every line is pushed through with a brilliant balance of sensuality and macho bravado. I guarantee if Justin Timberlake would have released this track it would have been a Number One single.

Billy Joel: The Stranger 30th Anniversary Edition
The original 1977 version of The Stranger is probably my favorite album of all time. That said, I wasn’t expecting more than a remastering job and new liner notes when Legacy Recordings announced that they would be releasing a 30-year anniversary edition of the classic recording. So you could imagine my surprise when news leaked that a live 1977 concert from Carnegie Hall would also be included as a second disc PLUS a DVD of promo videos, an appearance on the “Old Grey Whistle Test” and a 30-minute documentary about the making of the record would also be included! This is the kind of treatment an album this important deserves. The Carnegie Hall performance had mythical status on the Billy Joel fan boards for years, and rightfully so. It’s the kind of career-making show that most fans only dream about attending, so having it here is really a treat. The documentary is ripe with all kinds of behind-the-scenes information and compelling interviews with Joel and producer Phil Ramone so even the most devout fans have something to salivate over. Hopefully Legacy does the same thing for the rest of his late 70’s work.

This year has seen some extraordinary new music come our way. I’ve heard the opposite opinion from elsewhere, but for me, being on the West Coast has a lot to do with my enthusiasm. In fact, seven of the albums in my top ten are by West Coast artists, some more well-known than others. Not only that, three of the albums in my top ten aren’t albums at all. The “EP” is an anachronistic term that originally referred to a 7” vinyl record with more music crammed on each side (usually at the expense of volume and general sound quality) than what a normal single would hold. It’s an abbreviation for “Extended Play.” And yet, today’s EP is really just a half-length CD. They tend to be overlooked, either because they’re too short to warrant much attention or they contain songs not deemed strong enough for a full album, or both. But, like Bob Dylan said, “things have changed.” Our lives are busier, our attention spans are shorter, and our disposable income is shrinking by the hour. What better time for the EP to make a mini-resurgence than now?

1. The Parson Red Heads: Owl & Timber (EP)
There’s a timelessness to the sound and the vibe of the Parson Red Heads that’s beyond explanation. You can single out the familial harmonies, the guitar interplay that recalls the Byrds and the Dead, the irresistibly solid pop songs, or their flowery evocation of a bygone era. But when it comes down to it, this band’s music simply feels good. No other band has released music this irresistible and uplifting in years, and only a select lucky few up and down the West Coast have had the luxury of being able to see and hear them live. With a little luck, this may change, and we’ll be able to look back at Owl & Timber as one of the elements that made it happen.

2. Brian Wilson: That Lucky Old Sun
Following up the 37-years-late Smile with another similarly built song cycle seemed like little more than a fantasy in 2004. But here we are in 2008, and Brian Wilson pulled it off. Mike Love would be proud to hear that there’s only one “downer” on the album (the beautiful, Pet Sounds-worthy “Midnight’s Another Day”), while all the rest are upbeat, aural murals depicting the sunny side of Southern California. It’s Brian doing what he does best, and outside of Smile, it’s easily his best, most enjoyable solo work.

3. Bob Dylan: Tell Tale Signs: The Bootleg Series Vol. 8
Technically, Tell Tale Signs is an archival release, but the recent vintage of the material (1989 through 2006), the abundance of never-before-heard songs, and the fact that most of it was recorded during the same period in which Guns n’ Roses’ 14-years-late Chinese Democracy gestated, qualifies it as new. And even if it didn’t qualify, it would still be listed here, since it does as good a job (if not better) as any of his last three records of proving that, even in his old age, Dylan has lost none of his power to inspire, confound, delight and move his audience.

4. The Gutter Twins: Saturnalia
Mark Lanegan and Greg Dulli have collaborated in the past on a few tracks from Greg’s Twilight Singers albums, and while those duets were pretty good, they were never major stand-outs. Not until the two covered Massive Attack’s “Live with Me” on last year’s A Stitch in Time EP, anyway. As good as that cover was, this full album of originals by Greg and Mark is even better. Dulli stretches himself here, eschewing his usual rockin’ R&B swagger and falling under Lanegan’s dark, spiritual influence.

5. Chris Robley & The Fear of Heights: Movie Theatre Haiku
That straight-laced dude from Portland with the Harry Nilsson fixation strikes again, this time crediting his road band and turning in an even more confident record than last year’s The Drunken Dance of Modern Man in Love. If the 1966 Beatles were a young band today, they’d likely be playing songs like Robley’s “User-Friendly Guide to Change.”

6. Joseph Arthur: Vagabond Skies (EP)
Of the four EPs and full-length album Joseph Arthur released this year, Vagabond Skies rises to the top not only for bearing some of his most captivating and ethereal songs, but also for containing the year’s most memorable guitar solo, in the EP’s centerpiece “She Paints Me Gold.” Plus, the cover art is damn cool.

7. The Happy Hollows: Imaginary (EP)
They’re funny, they’re smart, they’re tight as a conservative’s behind, and they’re the most exciting live indie rock band in L.A. right now. Imaginary is just a short burst of five songs, but what a burst it is – from the simple exclamatory chant of “Colors” to the almost prog-like tour-de-force of “Lieutenant” with singer/guitarist Sarah Negahdari’s Eddie Van Halen-esque guitar tapping, Imaginary tantalizes and teases, just like you want it to.

8. Guns n’ Roses: Chinese Democracy
Yes, it’s bloated and overproduced. No, it’s not the old, sleazy Guns n’ Roses of the late ‘80s. Yes, it should have been out ten years ago, and would have sounded even more contemporary in 1998 than in 2008. But Axl Rose is still the king of tortured, overwrought power ballads and menacing rock n’ roll screams, and on these counts, Chinese Democracy more than delivers – it beats you over the head with its twisted logic.

9. Metallica: Death Magnetic
Metallica sounds like Metallica again! It may be clichéd to say this is their best album since …And Justice for All, but it’s true, and it bears repeating: Death Magnetic is Metallica’s best album since Justice.

10. My Morning Jacket: Evil Urges
Evil Urges goes to great lengths to prove that My Morning Jacket is no typical southern jam band. Not that they ever needed to go so far as to throw some Prince-like falsetto singing and funky R&B into the mix, but as it turns out, it sounds pretty cool.

The Fireman: Electric Arguments
Rachel Taylor Brown: Half Hours with the Lower Creatures
Vampire Weekend: Vampire Weekend
Portishead: Third
Neil Diamond: Home Before Dark
Juliana Hatfield: How to Walk Away
Randy Newman: Harps and Angels
Deerhoof: Offend Maggie
Isobel Campbell & Mark Lanegan: Sunday at Devil Dirt

It started as a simple “can you believe this?” post and soon morphed into a battle cry. Billboard announced their all-time songs of the Billboard era, and Chubby Checker’s “The Twist” topped the list (the song actually topped Billboard’s singles chart twice), followed by such timeless classics as “Smooth,” “How Do I Live,” “Macarena,” “We Belong Together” and “Un-Break My Heart.”

The Popdose staff, needless to say, was not amused.

And so, we (ESD writers David Medsker, Will Harris, Jeff Giles, Michael Fortes and Mojo Flucke, PhD are all Popdose contributors) set off to create our own list, one that would surely be just as flawed as Billboard’s list – women and non-whites are woefully underrepresented – but would have infinitely better taste. In the end, I think our list is a grand example of our extreme whiteness, but also a damned fine list. I’m still pissed that “The Air That I Breathe” didn’t make the cut, though.

To view Popdose’s Top 100 songs of the past 50 years, click here.

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!

It’s been 17 years since White Lion’s last record, Mane Attraction. With only original vocalist Mike Tramp left in the fold, the Lion is back with a nice chunk of progressive anthem rock called Return of the Pride. Playing the part of original shredder extraordinaire Vito Bratta is the very capable Jamie Law, who shows a few chops of his own on this surprisingly good record. Tramp’s lyrics are heady as he questions religion on “Sangre De Cristo” and examines Custer’s last stand on “Battle of Little Big Horn.” “Dream” is a big-ass song with swagger and licks to spare. Tramp’s raspy vocals sound spot-on as you can feel the arena…well, maybe the small club rocking, but they’re still big in Belgium. (Or is that Citizen Dick from “Singles”?) Get your lighters ready for the balladry of “Never Let You Go” and the first minute of “Set Me Free” before it settles into a big rock groove.

There is nothing incredibly innovative about the album; it’s just well executed, thoughtful, and extremely well played big rock. Keyboards and acoustic guitars fill the spaces between guitar virtuosity and layered backing vocals as Tramp and co-producer and bassist Claus Langeskov know how to get the most out of their sound. It sounds like an ’80s record, but in a good way. There is enough space to hear the instruments, as opposed to just a deafening set of the higher end with no bass or drums. It is crowded inside the White Lion sound, but clear. Listen to the snarling bass line in “Battle of Little Big Horn” and try to keep your toe from tapping and your head from banging. Return is a welcome and pleasant surprise. The inclusion of live versions of their two biggest songs, “Wait” and “When the Children Cry,” are unnecessary. It should be okay for a band to evolve and move forward even if celebrating their past in the spirit of their sound, especially with a record as strong as this one. It’s okay to move forward, boys. Really. (Airline)

White Lion My Space page

Going by their H.R. Giger-lite cover art and the vaguely-threatening title Cold Blooded Demon, it’s obvious that Revmatic want to be taken seriously as a “real” metal band. And while the group does manage to keep things at a constant fast and loud pace on their third album, they forgot to make it good. Hyper-fast guitars chug non-stop on Cold Blooded Demon, speeding their way through at near-Motorhead intensity on the opening “Head My Way” and rarely slowing down until the slightly more subdued closing number “So Far Away.” And while the crunching riffs start out great, they quickly get old as Revmatic reveals itself to be a one-trick pony, with their one trick being slightly heavier than usual, Top 40-friendly post-grunge bullshit. They may know how to plug an amp in and crank it to 11, but they sure as hell can’t do anything past that. The recurring theme of Cold Blooded Demon is “I hate that bitch because I love her so much” with titles like “She’s a Drug,” “Lie to Love” and “Such a Disease” singing the praise of dysfunctional relationships. Even if you somehow still like crap like this, you can do better. Doesn’t Puddle Of Mudd have a new CD out? (Self-released)

Revmatic Myspace Page

Stepping into the gaping void left when Vixen, Lita Ford, and Pat Benatar stopped releasing new music, Los Angeles’ own Cockpit (heh, heh, heh) brings amped-up all-female rock back to whoever’s still asking for it in 2008. The size of that audience – at least outside Oklahoma, where Cockpit (snigger) performed to festival crowds last month at the second annual Rocklahoma gathering – may not be what it was 20 years ago, but the band doesn’t seem to mind; Mission to Rock is every bit as old school as its title, featuring five songs about, well, rocking. The band may use less makeup than Poison, but it’s taken all the important cues from the hair-metal warriors of yore, right down to the dumb stage names (Terrii Kiing and Alicia Blü, come on down!), and the songs on this EP provide all the loud, riff-heavy entertainment any fan of the genre could ask for. The advance promo doesn’t list any production credits, but whoever was behind the boards for Mission to Rock deserves credit for presenting the band in the most flattering light possible – the drums are dry and punchy, the vocals are high in the mix, and, most importantly, the guitars are bright and wiry. It’s easy to point and laugh at music this deliberately anachronistic, but Cockpit (they said “cock”) is a lot more fun than most other new rock bands. Best of luck, ladies. (Pedal to the Metal 2008)

Cockpit MySpace page