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Cosmic American Derelicts: Songs from the Homestead

This electric/acoustic bluegrass boogie band does an amicable job of throwing up some dust on their new nine-track release. “Sleepwalking Killer” gets things off to a good start with lickety-split rhythms, plenty of twanging guitars and a banjo thrown in for good measure. “Same Old” follows almost the same exact formula, except the acoustic guitars take front and center, and the drum sticks are given away for brushes, but the vibe is completely the same. “Barbed Wire Bed” finally steeps itself into rustic bluegrass Americana and ditches the electric guitars altogether, showing off the pure, raw talents of this group. Other tracks that try for the more pop country format, like “Dollar Bill Blues” don’t suit the band as well. Ditto that for the corny clichéd lyrical pursuits of “Drink You off My Mind.” And, well, the closing “Rocktopus” really doesn’t fit at all with the rest of the album. Too bad, because the first half of this disc really is good. When these guys stray from the bluegrass trappings, though, they lose it all over the place.(self-released)

Cosmic American Derelicts MySpace page

Great Big Sea: Fortune’s Favour

Newfoundland’s finest return for their 10th album, this time with producer Hawksley Workman in tow, and though nothing on Fortune’s Favour is unexpected – the band long ago got its act down to a science, if not an art – none of it disappoints, either. Since making its American “breakthrough” in the mid-to-late ‘90s, Great Big Sea has occasionally seemed unsure of which direction to follow – some sets found them tilting a little too heavily toward the pop end of the spectrum at the expense of the trad-folk elements of their sound that make them so unique – but as their U.S. sales have dwindled over the last five or six years, their focus has improved, and this album is as sure-footed as anything they’ve released since Turn. It does present a somewhat mellower picture of the band than some longtime fans may be comfortable with, but that’s appropriate; Great Big Sea’s music has always played on the tension between love of home and love of the road, and if their songs get sweeter and softer with age, it’s probably only par for the course. The album is bookended with a pair of killer cuts (“Love Me Tonight,” “Straight to Hell”), and manages to get through 14 tracks without ever really sagging in between. A no-frills DVD of studio footage is thrown in as a value-added bonus, but unless your idea of fun is watching the band fart around between takes, there’s no reason to buy this other than the music – and thankfully, it’s more than strong enough to stand on its own. (Great Big Sea 2008)

Great Big Sea MySpace page

Leo: Leo

This export from Sweden may have a hard time finding wide acceptance over here in the States. There’s something about the three songs on this debut EP that just doesn’t seem to translate well over the speakers. Leo Nielsen’s voice is fine and strong enough, but he seems to be squandering his talents on overdone performances. The first track here, “Let Go (John’s Song)” is a dramatically sappy piece of pop vocalizing, and by the time it’s all over, Leo’s pleading may have you ripping your hair out. “Don’t Ask” really pushes the meters into the red, while Nielsen’s voice misses many notes consistently, while his own layered backing vocals continue to bring down the song. If ever you wanted to hear a guy really try way too hard, then this is your chance. On the other hand, “Fade” is syrupy enough that it seems like it would strike the right chord in the heart of a gal in her late teens. That’s not saying much, considering we already have enough of that kind of stuff (and far better, for that matter) already clogging the charts. (self-released)

Leo MySpace page

Popdose’s Top 100 songs of the past 50 years: less vomit-inducing than Billboard’s list

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.

Switchfoot: The Best Yet

Switchfoot has been described as evolving from a Christian rock band to an alternative band with provocative, Christian-themed lyrics without the “peachiness” that the former genre often contains. The band isn’t so convinced that they weren’t the latter all the time, but labels are made for those who don’t want to do the homework and understand the entire body of work. The Best Yet is a satisfying 18-song set of the band’s output from 1997’s The Legend of Chin through the release of 2006’s Oh! Gravity. 2003’s breakout record, The Beautiful Letdown represents 33% of this hits package by supplying six songs, including the chart smashes “Meant to Live” and “Dare You to Move.” Clearly the U2 and Foo Fighter influences are present in the music, but there are certainly elements of bands like Tonic (particularly in “Meant to Live”) represented here. The occasional heaviness of the guitar playing is a fascinating contrast to the crystal-clear vocals of Jonathon Forman. “Stars” almost feels like two different songs between the time the crunchy guitar blasts in and Forman delivers his sincere and pristine vocals. Their sound alternates between the catchy and crunchy numbers that flirt with the grunge loud-soft-loud formula and songs which fall closer to the ballad end of the spectrum. They are effective at both creating a very good 76+ minute experience for the uninitiated or those who might have only grabbed Letdown. (Columbia/Legacy)

Switchfoot MySpace page

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