RIYL: Pink, Alison Iraheta, Paramore

Rock band Automatic Loveletter is a bit of an anomaly. On the one hand, this sounds like one of those Warped Tour, Fuse-era bands that winds up on those tween TV shows. But on the other, this female-fronted outfit is just a damn good rock band with a singer that is clearly gifted. That singer is Juliet Simms, who has one of those voices you just can’t peg – it’s equal parts Janis Joplin and a female Butch Walker. Sound interesting? It is. But it’s more, because this young band has some killer songs on Truth or Dare, their debut album on Sony’s SIN (Sony Independent Network). That said, Simms’ voice can be shouty and one-dimensional at times, and that can distract a bit. But for the most part, this one is worth checking out. Among a solid set of 12 tracks, the best of the bunch are the opening anthem “Heart Song,” which is like one of those Pink/Butch Walker hybrids; “Fade Away,” which sounds like one of those teen summer romance songs; and “Day They Saved Us,” which is a combo power ballad/balls-out rocker. Yes, at times Automatic Loveletter defies description – you just have to hear it for yourself. But it’s all good. (Sony Independent Network 2010)

Automatic Loveletter MySpace Page

RIYL: The Jam, The Clash, The Stranglers

For most Americans, there are two main points of entry for the oft-overlooked Irish punk pop band the Undertones. The true punkers found the band through “Teenage Kicks,” the band’s debut single and one of the most heralded punk songs of all time. Those who were weaned on early MTV, however, know a competely different version of the Undertones, which played the bouncy, horn-drenched “It’s Going to Happen!” When we caught word that the band’s first four albums would be digitally reissued along with a new singles compilation, Bullz-Eye’s music editor (he was one of the early MTV watchers, for those keeping score at home) was eager to find out what he had been missing. Did anyone on the staff want to join him on this mission? Yes, they did.

The Undertones

The Undertones’ debut album is one of the finest collisions of power-pop and new wave that the world has ever seen. It nearly out-Buzzcocks’ the Buzzcocks in terms of intelligent songwriting, infectious riffs and powerful melodies. A must-own for pretty much everyone…but which version is a must-own? This most current re-issue is an exact reproduction of the first edition of the album. And we’re all for historical accuracy, but the last re-issue of the album that came out in the UK had 23 tracks and a music video. This has a paltry 14. And it doesn’t even have “Teenage Kicks,” which was added to the album just months after its original release. This new edition may be the only one in the American iTunes store, but you can pick up the expanded import for less than 15 bucks at some sites. Choose wisely. -James Eldred

Hypnotised

The band reappeared in 1980 with Hypnotised, sounding even sharper as a unit, with lead singer Feargal Sharkey’s warble even more pronounced. It’s an album full of great songs that balances expected edginess with distinctive nods toward classic pop. The title track is a cracking example of the former, with its knifing guitars and breathless pace. In the same fashion, “Boys Will Be Boys” blasts through in 90 seconds, and “My Perfect Cousin” (a UK hit) adds some healthy sneer to its story. Conversely, the gorgeous “Wednesday Week,” “See That Girl,” and a cover of “Under the Boardwalk” show off the band’s romantic streak. Really, though, Hypnotised is all about girls, the kind that contribute to sleepless nights and drive boys to rock and roll bands as a means of expression. Gawd blessum. -Rob Smith

Positive Touch

They were only two years removed from their debut, but the shift in the musical climate between 1979 and 1981 is one of the biggest sea changes the music industry has ever seen. Combine that with the band’s desire to expand their sound – plus some dissatisfaction with how their label was promoting them outside of the UK – and it’s no surprise that Positive Touch bears little resemblance to the band’s racous debut or its follow-up. The band still employs a minimalist approach to the songwriting, but the arrangements are much grander, featuring horns (“It’s Going to Happen!”), barroom piano (“Sigh and Explode”), and shimmering jangle-pop guitar (“Julie Ocean,” which would be fleshed out from its 107-second run time here for the single). Sharkey’s vocals are considerably stronger this time around, and the band seems both comfortable and happy with the change in direction. Pity it wouldn’t last. -David Medsker

The Sin of Pride

The Sin of Pride is to the Undertones what Heart is to Heart: it’s the same band, but it’s not the same band. Had it been made by anyone else, perhaps it would have been better received – and to its credit, it beats that whole Blow Monkeys/Simply Red blue-eyed UK soul movement by a good three years – but it’s not someone else’s album; it’s an Undertones album, and as such it stands as the weakest of the band’s efforts by far. The marginalization of guitarist John O’Neill’s songwriting contributions no doubt played a role, but the production, handled by the normally reliable Mike Hedges, is also a touch too slick. “Chain of Love,” for one, is a dead ringer for “Karma Chameleon,” which is the last thing anyone ever wanted or expected from the Undertones. If there is a positive takeaway from The Sin of Pride, it’s that it serves as a rather fitting stepping stone to Sharkey’s eventual solo career. “Got to Have You Back” and “You Little Thief” would make a nifty mash-up in the right hands. -David Medsker

Best of the Undertones

Best of the Undertones is a perfect place to begin if you’re unfamiliar with the original incarnation Irish punk band. The 11 songs on this spirited compilation capture all of the band’s charting singles between 1978 and 1982. The raw energy of “Teenage Kicks” and “Get Over You,” which punch you in the face as the first two songs, quickly give way to the more pop oriented side of the band. Once “Jimmy, Jimmy” begins, you can hear the Undertones’ sound starting to get a little more polished. However, the band’s punk pop sound remains intact throughout out most of these singles. It’s not until the final three tracks, “Julie Ocean,” “Beautiful Friend,” which are moodier, more atmospheric, and the soul-influenced “The Love Parade,” that you hear how the band starting to explore new directions in their songwriting. Unfortunately, they broke up in 1983 and the love parade came to a crashing halt. -Scott Malchus

RIYL: Mötley Crüe, Buckcherry, Steel Panther

Vince Neil has always been one of those frontmen that makes up for his lack of traditional singing talent with tons of style and swagger. Throughout the peak years of Mötley Crüe’s commercial success, his high-pitched vocal style served the band’s glammed-up take on hard rock well. Though the group still packs arenas, it’s obvious that all of the years of out-of-range screaming and squealing have taken its toll on Neil’s vocals. He was never the strongest live performer, but these days, listening to Vince live is like hearing a cat being tortured.

It’s no surprise that anticipation for a Vince Neil solo record isn’t all that high. But here we are – 15 years since his last full length record, 1995’s Carved in Stone – and the bleached blonde singer is back with Tattoos & Tequila, his third studio album. With that much of a gap between albums, you would expect the guy to come to the table with a lot of new material, but Tattoos & Tequila features nine covers and only two original songs. Things start off shaky with the title track, which is a weak attempt by Neil to attract Active Rock radio program directors. Written and produced by the usually reliable Marti Frederiksen, the track’s overly processed drum sound and stock stop-and-go riffs sound like something Hinder or Buckcherry would have relegated to B-side status. Luckily, things turn around on the next cut, a faithful version of Cheap Trick’s power pop standard “He’s a Whore.” Jeff Blando’s crunchy guitar tone is the perfect bed for the song’s sweetened melody lines and earworm of a chorus.

All of the cover songs were produced by Neil and Jack Blades (Night Ranger, Damn Yankees), and they do a stellar job of giving the vocals a pop sheen that recalls Mötley Crüe’s Elektra Records years. Anyone remotely familiar with Vince’s early influences won’t be shocked to see some of the artists he chose to cover here. The Sweet, Sex Pistols, and Scorpions are all represented on Tattoos & Tequila, and while nothing particularly new is done with them, they still make for a fun listening experience. The most shocking part is the strength of the less conventional hard rock material. Perhaps it was his co-producer’s experience from working on the wonderful covers album Influence from Shaw Blades — Jack Blades’ project with Styx guitarist-vocalist Tommy Shaw. Even when Vince takes on Elvis Presley’s “Viva Las Vegas,” the meat and potatoes arrangement and revved-up rhythm during the signature chorus, reinvents the song into a Sunset Strip-styled rocker.

Covers of Elton John’s “The Bitch Is Back” and Creedence Clearwater Revival’s “Who’ll Stop the Rain” keep close to their original ‘70s incarnations, but there’s something intriguing about listening to Neil’s snotty vocal delivery driving them. The other original song, also produced by Marti Fredericksen, was penned by Mötley’s bassist Nikki Sixx and is called “Another Bad Day.” It’s the kind of mid-tempo ballad that would have been massive on Dial MTV circa 1988. It’s also easily better than anything Neil or Sixx have put on an album in years.

So much for expectations. Who would have thought that a Vince Neil covers album would be this enjoyable? Even one out of the two original tracks is a keeper – and we all know how bad the songs they usually throw on these collections are. Now, we’re not saying that you should go out and catch a Vince solo show anytime soon – but if you dig old Crüe and the golden era of Aqua Net rock, Tattoos & Tequila would be a worthy addition to your CD collection. (ElevenSeven Music 2010)

Vince Neil MySpace page

RIYL: Fugazi, The Weakerthans, Anti-Flag, Needless Exclamation Points!

Against Me! was accused of selling out by many of their “fans” when word came out that they were leaving indie label Fat Wreck Chords for major label Sire. It was a stupid claim (more on that later), one that was deflated even more by the fact that New Wave, the band’s major label debut, was by far their best release to date. It was a blistering burst of band’s trademark semi-acoustic punk rock that some even claimed would be “The Next Big Thing.” And while that never came to pass, it was a damned good record that sold pretty well, which is probably the most a rock band can hope for nowadays.

Now there’s White Crosses. Old-school fans hoping for a return of the raw, acoustic punk of the band’s early work are going to be bummed. Newer fans hoping for another pack of well-written, tightly produced pop-friendly (but not pop-punk) rock songs to accompany the band’s 2007 masterpiece will be even more disappointed. White Crosses takes everything that was great about New Wave and pushes it too far. Against Me! really does sound too polished and too “mainstream” this time around. Any edge they had left on New Wave is way past long gone now. That in itself isn’t horrible, but even if these songs were stripped down to singer/guitarist Tom Gabel and an acoustic guitar, they still wouldn’t be very good. No hooks, no catchy melodies, and with rare exception there aren’t even any lyrics, always the band’s strong point, that stick around in your head moments after the first listen. What makes the band’s sudden descent into mediocrity even more frustrating is that the album starts out great. First with the killer title track and then with “I Was a Teenage Anarchist,” a perfect dis track against those who accused them of selling out in the past. Sadly, with White Crosses, those same fans don’t need to accuse Against Me! of selling out anymore, they can just (accurately) accuse them of being boring. And that’s even worse.

A quick afterward on what selling out actually is: Crafting a polished and tightly produced record isn’t selling out. Many times what people consider to be “raw” is really just bad production and amateur recording equipment; contrary to popular belief, most artists don’t want their albums to sound like shit. Signing to a major label isn’t selling out, either. The only difference between Sire Records and Fat Wreck Chords is that Sire is better at what they do. Given the chance, Fat Wreck would love to be rolling in dough just as much as the big guys. So what is selling out? How about releasing two versions of your album, a standard edition with a scant 10 tracks, and a “limited” edition that costs a few bucks more with four additional tracks. And then making that version a “deluxe” edition on iTunes by adding in an acoustic version of one of the tracks that’s “exclusive” (but not really, it’s on the single) to iTunes. There’s nothing that says Against Me! has to be against making money, but considering they’re built on a foundation of left-wing, anti-capitalist viewpoints, they should really know better than to pull crass crap like that. Next thing you know they’ll be doing horrible reunion concerts at corporate festivals, pretending like they still hate that machine they’re raging against. (Sire 2010)

Against Me! MySpace Page

RIYL: The Raconteurs, The Kills, Queens of the Stone Age

The Dead Weather’s second album picks up where 2009’s debut left off and keeps going, which means another tasty platter of dirty, hard-hitting grungy blues rock. You can’t really call it low-fi, because it sounds too good to be low-fi. Drummer/guitarist/producer Jack White does this better than anyone, taking that sludgy blues sound and tweaking everything just right to make it sound vibrant. The man is a true master in this regard. The sound is somewhat similar to his work with the Raconteurs, but not quite as melodic and hooky. But there are some monster grooves here and vocalist Alison Mosshart is akin to a dark angel, laying down a vengeful wrath from seemingly beyond.

“Hustle and Cuss” features Mosshart in prime form. Like most of the album, her vocals almost sound like they were recorded in the bottom of a well, but it lends an otherworldly vibe. White rides the cymbal and there’s great sonic spacing here, which makes every note hit deep. “The Difference Between Us” is another winner, with Mosshart dazzling over the dark and foreboding groove. The blend of psychedelic organ and trippy guitar effects throughout the album is truly unique, with White as a mad scientist of the blues.

“I’m Mad” starts off kind of static, but explodes midway through with some fat riffage and great vocal accents from Mosshart. Lead single “Die by the Drop” mines a similar formula but features a duet between Mosshart and White. It’s probably not going to be a hit, but it’s got a compellingly heavy sound. This kind of sonic mayhem continues throughout the album, to the point that it’s sometimes hard to tell where one song stops and another begins. In this sense, the songwriting could be a little sharper. But that dark, grungy blues sound is so tantalizing.

“I Can Hear You” slows things down a little, with Mosshart as a bluesy mistress intent on collecting the object of her desire. She captivates on “Gasoline,” which features a wicked guitar solo, some huge synth work and cool drum rolls. “No Horse” is more of the dirgy blues, but with White riding the cymbal for a great beat over another fat groove and more dynamic vocals from Mosshart. “Looking at the Invisible Man” is another highlight, with a huge groove, dynamic riffs and another duet between White and Mosshart.

The overall rating on the songs might be only worth three stars, but the album has five-star sound and energy, so that’s four stars overall. (Third Man Records/Warner Brothers2010)

The Dead Weather MySpace page