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Strive: Fire

Listening to Strive’s Fire can be a little disorienting – immersing yourself in the band’s piano-heavy pop creates an effect similar to what it might feel like to hit your head and wake up in 1988, on Johnny Hates Jazz’s tour bus, where the singer from When in Rome is doing the nasty with Elton John. Nothing on the album is as disturbing as that mental image, of course, but the songs strongly evoke memories of the late ‘80s heyday of melodramatic, thickly polished pop – and singer Derrick Thompson really does sound like the singer from When in Rome. This isn’t a bad thing, necessarily, and really, if Fire had been released in ’88, Strive would be selling out arenas with Michael W. Smith and Amy Grant – but in 2009, there isn’t a non-CCM station on the planet that’s going to slip any of these tracks into heavy rotation, particularly when they’re as unintentionally funny as “On Our Way,” which is supposed to be some sort of tribute to the downtrodden people of Africa but ends up just ripping off the melody from Ben Folds’ “Brick.” Fire may trigger a mixture of nostalgia and ironic pleasure in listeners old enough to remember the ‘80s, but music this simplemindedly earnest is liable to be little more than an amusing curiosity for everyone else – and when you’re aiming for sweeping grandiosity with every track, as Strive so clearly is, that’s a pretty big problem. (GoDigital 2008)

Strive MySpace page

Billy Bob Thornton’s uncomfortable interview

…and “uncomfortable” is an understatement.

By now you may have heard about Thornton’s interview (along with his band, The Boxmasters) with a Canada’s QTV where he takes exception to the host mentioning his acting career in the introduction. If you watch Thornton during the intro, you can see him shake his head a couple of times. For the first six or seven minutes of the interview, Thornton acts like a petulant child, giving short, ambiguous answers to direct questions. Then he goes off on a tangent talking about a monster magazine contest that he entered as a kid. Finally, around the seven-minute mark, he tells the host why he’s acting the way he is.

Thornton keeps asking the host, “Would you ask Tom Petty that?” The thing is — Billy Bob Thornton is no Tom Petty. Thornton is best-known as an actor who sees himself as a musician. Tom Petty is in the Rock & Roll Hall of Fame.

I feel for the host — he simply introduced Thornton and the rest of the band, and has to deal with pissy Billy Bob for the rest of the interview. He didn’t ask him any questions about his acting career and it’s completely understandable why he would mention Thornton’s history as an actor in the intro to give the interview context. It would be really odd if he just started the interview without mentioning it at all.

Thornton later says that Canadian audiences are like “mashed potatoes with no gravy” and canceled their two remaining Canadian shows after being booed in Toronto.

Lady Sovereign: Jigsaw

Lady Sovereign, Jigsaw
The recent release of UK rapper Lady Sovereign’s much-anticipated second LP, Jigsaw comes after 2006’s Public Warning, and the 2007 EP Those Were The Days. While her success on U.S Top 40 charts has been minimal, the self-poclaimed, “biggest midget in the game” has pulled out all the stops for Jigsaw and delivered an eleven-song LP that packs a punch, but unfortunately fails to follow through.

The record opens with a repetitive song titled, “Let’s Be Mates,” which Billboard.com, “a rocky start.” Perhaps the overbearing techno beats and lackluster lyrics had something to do with it. The LA Times took a dislike to track one, calling it, “phoned-in Cat Power bedroom pop that squanders her endearing MC skills.”

Jigsaw continues with “So Human,” a track built around The Cure’s “Close To Me,” which DrownedInSound called an improvement on the original. Then comes the money-hungry anthem, “Pennies” and the surprisingly streamlined, “Guitar.”

Unfortunately for the Lady, BBC reviewed Jigsaw saying the final three songs, “delve in to filler territory, with ‘Student Union’, ‘Food Play’ and ‘I Got The Goods’ sounding like unfinished prototypes.” The bulk of the record seems to fall flat among critics, earning this lady less-than-rave reviews. The LA Times wrote, “[this record is] sonically a good fit for her nimble and still undeniable flow, but the wheels come off whenever Sov’s newfound earnestness undermines her insouciant appeal.” The Boston Globe also ripped the tiny rapper, saying, “on her third album…Lady Sovereign sounds like the life of the party who gets lonely when it’s over.” Her efforts seem earnest, but they haven’t exactly paid off magnificently.

All hope is not lost, however. The Austin Chronicle wrote of Jigsaw, with this record, “Lady Sovereign reaffirms that she’s the singular queen bee in the hive of the still-buzzing London grime syndicate.” The bottom line regarding Jigsaw is that there isn’t much substance, but somehow Lady Sovereign manages to maintain her composure and deliver an acceptable album. Critics may not love it, but there’s something to be said for a little controversy.

Check out Jigsaw on iTunes, or at Lady Sovereign’s MySpace here.

Howlies: Trippin’ With Howlies

Howlies’ bio begins with this description of their music: “an unexpected reinterpretation of garage, doo-wop, and 21st century rock ‘n’ roll.” Bios sometimes try too hard to pimp a band or use unnecessary adjectives, but this particular label, or labels, are spot on. Howlies’ debut, Trippin’ With Howlies, is a 43-plus minute romp of fun and throwback pseudo-psychedelic rock that probably sounds way better live than what producer Kim Fowley and the band were able to capture on tape. This is a band that formed in 2007 in Atlanta, after growing up together in the beach party town of Destin, Florida. Not surprisingly, the boundless energy of four guys just having a good time comes through on this debut, with songs that are equal parts raw and pleasantly addictive. It may not be groundbreaking or even the best thing you’ve heard this year, but with tracks like “Sea Level,” “Howlies Sound” or “Whiskey Night,” the flame of a party should burn on through the night when you pop this one in your player. (LABEL: Over Under Records)

Howlies’ MySpace Page

Seen Your Video: Courtenay Green, “Beyond Therapy”

We’ll be honest: we’re not posting the clip for “Beyond Therapy,” the debut single from Los Angeles song bird Courtenay Green, because it’s a knockout song. The song is cute enough – though it doesn’t bear even a passing resemblance to the Hollies or New Pornographers, two bands to whom she’s compared in her press release – and Green is quite the fetching lass. Nope, we’re posting the clip for “Beyond Therapy” because the video is awesome, a throwback of sorts to early ’80s clips.

In fact, it’s rather fitting that she made a throwback clip for the song, because the song itself is a the kind of song that would have stood a much better chance of climbing the charts in 1981 than it will today. Green has good pitch, and she’s not flashy (thank God for that, as we have more than enough of those kinds of singers as it is), but her voice sounds wafer-thin compared to the girls currently dominating the charts. Not her fault, of course, but it’s definitely going to pose problems for her, which is why she was very smart to make a clip that will endear her to Gen X music lovers. We see Green singing the song in one of those karaoke bars where the songs have their own videos – not sure if anyone does these anymore, but they were all the rage in the early ’90s – and the video within this video is dead perfect. Star wipe, diamond wipe, heart wipe…yes.

Props to Green for playing to her strengths. Who knows, maybe we’ll eat the words above about her commercial prospects. Wouldn’t be the first time, and we would have no problem getting this one wrong.

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