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Seen Your Video: The Blow Monkeys, “Travelin’ Soul”

Why, yes, they are still around…although to be fair, they hadn’t been around for a very long time until recently.

The Blow Monkeys are generally remembered for their 1986 single, “Digging Your Scene,” which was their lone entry into the Billboard Top 100. That it was a one-off was a little surprising, given that it made it into the top 20, but Americans just weren’t buying what the Blow Monkeys were selling. Their ’86 album, Animal Magic, made it into the top 40, but the follow-up, 1987’s She Was Only A Grocer’s Daughter, only made it into the Top 140 (at #134), and by the time Whoops! There Goes The Neighbourhood emerged in 1989, the band no longer had a record deal in the States. After one final release (1990’s Springtime for the World), they gave up the ghost, and the band’s lead singer, Doctor Robert, dived headlong into a very enjoyable – if not necessarily all that commercially successful – solo career. (Seriously, you should check out his stuff. Just start with his debut, Realms of Gold, and if you like that one, you can’t go wrong with any of the subsequent releases.)

In November of 2007, however, it was announced that the band would be getting back together…and, in an interesting move, declared that they would record and release a new album if the fans were willing to purchase copies in advance to pay for the cost; in turn, they would not only get an autographed copy of the album but, indeed, a thank-you in the liner notes. I admit: I signed up immediately, and I reaped the benefits, just as the Blow Monkeys promised. And the album, Devil’s Tavern, finds the band offering up a more mature version of their old sound, with the good Doctor still in fine voice…as you can clearly hear when you watch the video for “Travelin’ Soul,” which is one of the album’s eleven tracks.

Kylie Minogue: Boombox: The Remix Album

It physically pains us that Kylie Minogue isn’t big in America. Heaven knows that we’ve embraced singers with thinner voices and weaker tunes, not to mention there are few pop stars on the planet as awesomely hot as the Divine Miss K. Capitol thought they had lightning in a bottle when “Can’t Get You Out of My Head” exploded, but once “Love at First Sight” scratched and clawed its way to #23, they learned the same lesson that Geffen learned a decade before: in radio terms, Kylie’s not a girlfriend – she’s a one-night stand. With the release of Boombox: The Remix Album, it appears that Capitol (who shuffled the contract off to hipster indie Astralwerks) is fulfilling their obligation to releasing Minogue’s records, and the choice is a curious one. On the one hand, compiling the remixes will rope in her gay club-going fans, but will they be satisfied with edited versions of the mixes? Astralwerks better hope so, because the mixes on Boombox are not going to play to mainstream dance popsters. The mash-up of “Can’t Get You Out of My Head” with New Order’s “Blue Monday” is cute, and the Chemical Brothers add a nice dose of sleaze to “Slow,” but the majority of the mixes are relentless, thumpa-thumpa-thumpa dub-style mixes (“Wow,” in particular, is hacked to bits). If we had our way, Boombox would use single edits, with a bonus disc of full-length remixes. With any luck, a more commercial-friendly version of Boombox is in the works. (Astralwerks)

Kylie Minogue MySpace page

Eric Hutchinson: Sounds Like This

Sometimes a record company, you know, steps in it. Because breaking new artists these days has become practically foreign to major labels, it sometimes takes a stroke of luck, or in the case of pop singer and songwriter Eric Hutchinson, the stroke of a buddy’s computer keyboard. Hutchinson, whose infectious, R&B-laced pop runs in the same musical circles as Gavin DeGraw and Maroon 5, was signed to Maverick Records before parent company Warner Brothers closed Maverick’s doors, leaving this talented dude with a sparkling product and no label to pimp it. But not to worry, he kept touring and then found overnight success when a high school buddy e-mailed a link to Eric’s music to celebrity gossip dude Perez Hilton. Just like that, Hutchinson went from no-name to peaking at #5 on the iTunes album chart, making him the highest charting unsigned act in the digital age. It’s no fluke, either. Sounds Like This, originally released on Hutchinson’s aptly titled Let’s Break Records, is just dripping with hooks, especially on the incredibly upbeat and soulful “You Don’t Have to Believe Me” and on “Rock & Roll,” the kind of track Jason Mraz wishes he could write. But even when Hutchinson brings down the volume, as he does on “Food Chain,” he can’t help but put you in a good mood. (Warner Bros./Let’s Break)

Eric Hutchinson MySpace Page

David Lykins: Blurry White Guy

One listen to the first track on David Lykin’s new disc and you get the dreaded feeling that this dude is going to blast his big message at you for the rest of the time it takes to hear the other tunes. “Houston” is big, with the sort of corny all-American flag waving mentality underneath that you can’t quite shake. And Lykins’ voice is booming, making sure you hear it and the messages it has to deliver. “Greetings from the Riviera” is wordy to the point of being distracting – I get that Lykins is going for the singer-songwriter thing here, but his story on this song just isn’t that compelling. So Lykins has stories to tell in his acoustic/rustic/country sort of way, but unfortunately his tales and tunes all start sounding the same fast. “Good News” could be “I’ve Been in Love Before” and vice-versa. “Here’s Your Love Song” is a pretty good classic country weeper and “Day After Valentine” is classic country corn. Undoubtedly Lykins has a good number of fans already. After all, there’s always an audience for this sort of thing. In that essence, Blurry White Guy should be a rousing success. (self-released)

David Lykin MySpace page

Little Man: Of Mind and Matter

I admit that when I first saw the cover art for this disc I was prepared for some sort of bad hippie holdover bullshit from the past. But upon hearing the music, it’s obvious that Little Man has his head squarely in classic glam, pop, bubblegum, and just plain old great rock and roll. “Tarots and Arrows” sounds like a lost “Nuggets” classic, while “Everyone on the Floor” hits on a super Beatles/Raspberries groove. “Talisman” finds Little Man putting on his best T. Rex hat and is actually better than most of the classic tracks from Electric Warrior. On “Get it to Ground,” we finally have a true successor to early ‘70s Bowie that sounds impeccable – both a tribute, but also its own wonderful entity. “Not Quite So High” is good solid rock an “Together on the Long Way Around” hits upon the greatness of Spacehog. That Little Man can do all of these things while making it sound his own is nothing short of spectacular. This is one of those albums you’ll love upon first listen and keep listening to over and over. Absolutely essential. (self-released)

Little Man MySpace page

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