Kneejerk: Santana - Bryan Adams

Welcome to the latest edition of KNEEJERK, where we preview some new major label releases and give our short, "kneejerk" reaction...


Santana – “Guitar Heaven: The Greatest Guitar Classics Of All Time”

I guess when creativity dries up one can always cover the songs of other artists and hope your name is sufficient to sell the result. Rod Stewart has been inexplicably successful with this strategy, and now the legendary Santana is taking a stab at it. Santana’s new record, however, tries to entertain us with his renditions of “guitar classics”, sung by a host of diverse artists from Joe Cocker to Nas. While no one will dispute Santana’s talents on the axe, there is plenty to dispute about the song choices. “Under The Bridge” (Red Hot Chili Peppers), “Riders On The Storm” (The Doors), and “Bang A Gong” (T. Rex) are not what come to mind when I think of GUITAR classics. I will admit there was an inkling of curiosity to hear Pat Monahan (Train) sing “Dance The Night Away” or Daughtry take on Def Leppard’s “Photograph”, but there is no reason to listen to these novelties more than once. And then to hear Nas rap AC/DC’s “Back In Black”, Scott Stapp (Creed) karaoke CCR’s “Fortunate Son”, and Rob Thomas slither to Cream’s “Sunshine of Your Love” – these are just stomach turning. Joe Cocker’s singing of “Little Wing” (Jimi Hendrix) is pretty decent and the cover of “While My Guitar Gently Weeps” by India.Arie and Yo-Yo Ma is quite beautiful, but other than that I’d steer clear of this one.


Bryan Adams - “Bare Bones”

Just before the world started to ignore 80s hit maker Bryan Adams, he released a well received “unplugged” album (1997). Now over a decade later, he has released another record in this format. As the title suggests, these performances are stripped down to voice, guitar, and/or piano. The tunes were performed live, so an easy record for Adams to throw together. Adams manages to fit 20 tracks on here, mostly because he abbreviates some of the tunes. He leaves off some solid hits, but that is OK because it leaves room for some lesser known numbers that sound great naked like “Cloud Number Nine”, “Walk On By”, and “You’ve Been A Friend To Me”. Adams still sounds terrific after all these years and I enjoyed listening to the stripped down versions of “Cuts Like A Knife”, “Summer of ‘69”, and “Heaven” on acoustic guitar. Many of the ballads, which are sparse anyway, are just too similar to the superior original. I wouldn’t recommend this release for a casual fan, but if you love Bryan Adams, this one is worthy of your collection.

Kneejerk: My Chemical Romance – Kid Rock

Welcome to the latest edition of KNEEJERK, where we preview some new major label releases and give our short, "kneejerk" reaction...


My Chemical Romance - “Danger Days: The True Lives of the Fabulous Killjoys”

The music world has patiently waited four long years for the follow up to My Chemical Romance’s crossover smash, “The Black Parade”. Like Green Day, this band’s punk roots have grown into a tree with many branches. Incorporating punk, modern rock, pop, metal, and even dance rock, into innovative concept albums, My Chemical Romance is one of the most creative bands on the scene today. Best of all, nearly every song they write is imbued with a strong sense of melody that makes them hard to forget. “Danger Days” is nothing short of brilliant and in my opinion even surpasses “The Black Parade”, which I thought would be impossible to achieve. There are a few weak tracks near the end of this 60 min opus, but you won’t find a more consistently awesome modern rock record this year. Most of you have heard the single, “Na Na Na” already, which is good, but there is even better material waiting for you on the record. Second single “Sing” is great, but don’t miss “Bulletproof Heart”, “The Only Hope For Me Is You”, “Save Yourself, I’ll Hold Them Back”, and the beautiful 80s-flavored “Summertime”. With “Danger Days”, My Chemical Romance proves they deserve to wear the crown as kings of modern rock.


Kid Rock – “Born Free”

The new one by the big mouthed, undershirt wearing Detroit rocker takes a sharp turn into more accessible territory – as he sings on “Slow My Roll”, he “turns around and settles down”. In doing so, he risks alienating fans expecting more of his rap metal rock hybrids. Will a new fan base flock to replace them? My bets are on “no”. Kid Rock has considerably mellowed out on “Born Free”, producing generic country-flavored rock songs. The approach could have worked if only the songs were interesting and if Kid Rock was a better singer. Perhaps trying to capitalize on their previous success with “Picture”, he teams up again with Sheryl Crow on the sleepy “Collide” (which also features on Bob Seger…on piano). Country rock fans without high expectations are likely to enjoy this left turn, but most listeners are going to be as bored as Kid Rock appears on the cover. If you are curious, I’d direct your attention to the title track, “Care”, and “When It Rains”. And for a good chuckle, check out “For The First Time (In A Long Time)”, where Kid Rock attempts to sing in falsetto.

Kneejerk: Bruce Springsteen – Lee DeWyze

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Bruce Springsteen “The Promise”

“The Promise” is a time capsule – a massive collection of recordings from The Boss from the “Darkness On The Edge Of Town” recording sessions. Two discs hold 21 previously unreleased songs from the creative peak of a living legend – what more could Springsteen fans want? To be prolific is one thing, but to write so many songs that are this good truly speaks to the magnitude of this man’s talent. “The Promise” could have been one of the greatest rock albums of the late 70s. We finally get to hear Springsteen perform familiar hits like "Because the Night" and "Fire", songs he gave to Patti Smith and the Pointer Sisters, respectively. It is difficult to identify highlights from so many wonderful songs, but suffice it to say that you’ll find some of the jubilant Springsteen and the E Street Band on numbers like “Gotta Get That Feeling” and “Ain't Good Enough For You”, and the more contemplative balladeer on “Someday (We’ll Be Together)” and “The Brokenhearted”. I also really liked “Wrong Side Of The Street”, “One Way Street”, and “The Little Things (My Baby Does)”.


Lee DeWyze “Live It Up”

The winner of last season’s American Idol (season 9), and the last to make it through the Simon Cowell filter, Lee DeWyze offers “Live It Up” as his major label debut. Quite the departure from his pre-Idol singer/songwriter releases, “Live It Up” is predictably slick and hip, with DeWyze tweaked to sound like Jason Mraz. Recalling some of his standout performances on Idol, this is not quite the sound I was expecting from the raspy rocker with the humble guy next door attitude. The charm of his voice, even that rock-ready tone, seems to be vacant from this record. I am left wondering what happened, but it is obvious he’s been through the Idol processing machine. It is a shame…his vocals could have made a great modern rock record, but this pop rock fluff that tries too hard to sound like other artists besides himself is extremely disappointing. “Live It Up” will bore you to death.

Kneejerk: Alter Bridge - Bon Jovi

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Alter Bridge “AB III”

I haven’t really gotten into Alter Bridge all that much, despite my admiration for Myles Kennedy, the lead vocalist with one of the best voices in rock today. The band always seemed to be a bit restrained, still tethered to Creed and uncertain where their niche was in the musical climate of the day. If anything can be said about “AB III” is that the band sounds a lot more confident of its footing. “Slip To The Void” is a seductive way to kick off the record, luring you in with a slow pace that you know is going to explode at any moment. “Isolation” is pure shredding rock, what you would expect from a band that recently moved to the Roadrunner music label. But for me, the band is at its best on more melodic tracks like “Ghost Of Days Gone By” and “All Hope Is Gone”. Other standouts include “I Know It Hurts”, “Breathe Again”, and the remarkable ballad “Wonderful Life”. An ambitious 16 song opus, “AB III” should satisfy its fan base, and with their inclusion of more accessible radio-ready tunes this time out, may even expand that base.


Bon Jovi “Greatest Hits/Ultimate Collection”

Considering the number of 80s hard rock bands that have gone down in flames never to be heard from again, it is quite the miracle that Bon Jovi not only escaped unscathed, but emerged to rack up a whole new consortium of younger fans. By softening their sound and going for the commercial jugular, the band deserves a lot of credit for successfully navigating the choppy and uncertain waters of the present musical tide. The band has been around for over 25 years cranking out hit album after hit album, so one disc really isn’t enough to fit all of their hits. And in recent times, the criteria for what makes a “hit” are less clear. Either way, I’d recommend you go for the 2 CD collection rather than the single disc – more of the hits, plus four new songs (whereas the single disc only gives you 2 of the new songs). Even with the two CD set, there are some unfortunate omissions. There are no songs from the albums “7800º Fahrenheit” or “Bounce”, and the songs “Never Say Goodbye”, “Misunderstood”, and “Living In Sin” should be here rather than “When We Were Beautiful”, “Someday I’ll Be Saturday Night”, or “Blood on Blood”. Even Jon Bon Jovi’s solo tune “Miracle” was technically a bigger hit than these (and yes, they do include his monster solo smash “Blaze Of Glory” from the same soundtrack). But beauty is in the ear of the beholder, and it is easy enough these days to make your own Bon Jovi playlist – in that context, I’m not sure why bands even bother with these compilations anymore. In terms of new songs, “What Do You Got” is a sluggish but melodic tune and “The More Things Change” would have fit nicely on “Lost Highway”. I liked the arena-ready “This Is Love This Is Life” better.

Kneejerk: Saw 3D Soundtrack – Good Charlotte

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Various artists “Saw 3D Soundtrack”

What type of music comes to mind when you watch the wildly popular slasher flick, “Saw”? We don’t have the eerie orchestral stabs of Psycho, or the chirp chirp –pa pa pa sound of Friday the 13th, or the frantic and haunting piano of Halloween...we have blistering hard rock. Whatever you think of this tired movie series, “Saw 3D Soundtrack” may as well be a “Now: That’s What I Call Hard Rock” CD. The “Saw 3D Soundtrack” is packed with great artists, some of whom we have previously reviewed on BMF like Krokus and Kopek (why Kopek is not huge by now I have no idea). Others on this record even better known to modern rock fans include Saliva, Hinder, and Saving Abel. There is even a smattering of progressive bands like Karnivool and techno-rock bands like Nitzer Ebb. The key question – are these tracks just sloppy seconds by these artists or do they synergize and make for a good soundtrack from start to finish? I’d have to argue for the latter – this powerhouse of a soundtrack is more consistent than most, with the worst “songs” (virtually just abrasive noise) tacked onto the end as almost an afterthought. Best tracks are Hinder’s “Waking Up The Devil”, My Darkest Day’s “The World Belongs To Me”, Default’s “Turn It On”, Adelita’s Way’s “Scream”, and of course Kopek’s “Love Is Dead”. Tracks by Saliva and Boom Boom Satellites were disappointing.


Good Charlotte "Cardiology"

I’ve always enjoyed this Maryland band, ever since their breakthrough hit “Lifestyles of the Rich and Famous” from 2002’s “The Young and the Hopeless” tore up the charts. Good Charlotte is classified by some as emo, pop punk, or what have you…but it is safe to say they specialize in radio-friendly pop rock with an edge. “Cardiology” is the band’s fifth effort and is supposed to sound like Blink-182. Well, why not just sound like Good Charlotte? The record gets off to a reasonable, albeit predictable, start with staples like “Let The Music Play” and “Counting The Days”. The middle of the record is quite lame with cliché by-the-book tunes like “Sex On The Radio” and “Last Night”, and an occasion misstep into dance rock territory with head scratching songs like “Like It’s Her Birthday”. Saving the record somewhat is the inspirational power ballad “Standing Ovation”, the jovial acoustic strumming in “1979”, and pop rocker “There She Goes”. Lyrically, the album is surprisingly empty and dull. “Cardiology” is good – but not heart stopping good. For a band that is heading into their second decade, a little more growth than this is expected.

Kneejerk: Fran Healy – Elton John and Leon Russell

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Fran Healy “WRECKORDER”

“WRECKORDER” is the solo debut from Fran Healy, the lead singer and songwriter of the Scottish rock band Travis. Travis made quite the splash in the late 90s and early 2000s with their breakthrough CD, “The Man Who” and equally excellent follow-up, “The Invisible Band”. Little did we know how prescient that title was, as Travis quickly fell off the radar. The good news is that Healy’s first solo outing is more or less a return to what made Travis successful back in the day. While not a perfect record, it feels more like the legitimate successor to “The Invisible Band” than the gloomy “12 Memories”. Healy’s vulnerable voice charms on melodious tracks like “In the Morning” and “Holiday”. “Sing Me To Sleep”, a duet with Neko Case, is another atmospheric gem. “Anything” is my favorite track in this 10 song collection, a sweeping piece beautifully sung and well orchestrated. The first single, “Buttercups” is a close second, featuring crisp acoustic guitar that pairs perfectly with Healy’s vocals. Not all of “WRECKORDER” is light and easy on the ears - tunes like “Fly in the Ointment” and “Shadow Boxing” are distinctly darker in tone. Ironically, they are less interesting and forgettable. Healy begins a tour with Brandon Flowers of The Killers on November 10.


Elton John and Leon Russell “The Union”

Everyone knows Elton John, but I doubt half the number know of Leon Russell. Russell has played for just about everyone in the music business across multiple genres and had a string of modest chart successes in the 70s. Although he’s been more behind the scenes than Elton John, Russell has earned an esteemed reputation as a session player and songwriter. These two icons, both having their heyday in the 70s, have teamed up to create this record with T Bone Burnett producing and a boatload of guest talent including Neil Young, Brian Wilson, and Don Was. “The Union” generally captures many elements from 70s piano rock, and continues along the path that Elton committed himself to with the outstanding back-to-basics ethics of “Songs From The West Coast”. The two seem to play off one another, rejuvenating their vigor in the performances, which can best be felt on Elton’s enthusiastic singing of “Hey Ahab”, Russell’s sly delivery of “If It Wasn’t For Bad”. With a couple country-flavored tunes (“Jimmie Rodgers' Dream”), honky tonk (“Monkey Suit”), and the typical Elton John balladry (“Never Too Old (To Hold Somebody)”), there’s a little something for everyone here. The fun these two had in making “The Union” is contagious, providing the listener with a thrilling experience, especially those fans of 70s era rock.

Kneejerk: Guster - Finger Eleven

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Guster “Easy Wonderful”

We haven’t heard from alt rockers Guster since their 2006 release, “Ganging Up on the Sun”, a somewhat uneven follow up to what many refer to as their masterpiece, “Keep It Together”. After a four year break, one would hope that the new full-length studio release would be stellar – four years is plenty time to gather an abundant crop of songs and sort the wheat from the chaff. My kneejerk reaction is that Guster still needs to work at this…yes, there are some crafty harmonies and clever instrumentation, but all of this means nothing if the song is not set on a solid foundation. Too many overt religious references also make the record uncomfortable for me to hear. “Easy Wonderful” is going to please their devoted indie pop fans and people who like hearing Jesus in the lyrics, but I do not anticipate that Guster will draw in too many new recruits with this one. The key tracks that work best include “Do You Love Me”, “This Could All Be Yours”, “Bad Bad World”, and “This Is How It Feels To Have A Broken Heart”. If Guster can play on these strengths more consistently, they might produce another cross-over hit to rival “Keep It Together”.


Finger Eleven “Life Turns Electric”

I’ve often wondered what it feels like for a band that has a breakthrough single that is nothing like most of what they write and perform. Canadian hard rockers Finger Eleven had a huge single in the sparse acoustic track “One Thing” a few years back, but this song is far from representative of what they normally sound like. Finger Eleven rock, and have been doing so in an increasingly melodic manner since “One Thing” hit it big. Three years since their last offering, “Life Turns Electric” continues along this trajectory, bursting with hard riffing verses and king size choruses. This time out the songs are short and to the point – mostly upbeat or mid-tempo numbers. The first single is “Living In A Dream”, which is a heavy funk rocker, but it is not as good as some of the other tracks. More radio-friendly cuts include the excellent “Whatever Doesn’t Kill Me”, the groovy acoustic rocker “Stone Soul”, and pop rocker “Ordinary Life”. There is a lone ballad at the end, “Love's What You Left Me With”, but like the other final few tracks it fails to thrill. There are only ten tracks, six worthy of repeat listens, so not a perfect album by any means, but a solid attempt.

Kneejerk: Posies – Jimmy Eat World

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


The Posies “Blood/Candy”

There’s something magical about those harmonies of Jon Auer and Ken Stringfellow, which bolster the clever pop of the Posies. Their long-awaited new release, “Blood/Candy” is true to its name in that it contains a mix of the sugary sweet melodies we’d expect from their early days and the darker, less melodious elements from more recent releases. The record, especially the first two thirds, is generally upbeat and wonderfully catchy – it will finally satisfy fans who have been longing for a return to their 90s output. This time around, the harmonies are plentiful and well placed, illuminating the intriguing song structures to result in tunes that are instantly likeable. With that classic mix of acoustic and electric guitars, “Blood/Candy” serves up its juiciest morsels right at the get-go with soon to be classics like “Plastic Paperbacks”, “The Glitter Prize”, and “Licenses To Hide”. The strummed goodness of the acoustic yet upbeat “So Caroline” is another welcome treat, followed by another standout entitled, “Take Care of Yourself”. The most brilliant example of the vocal synergy between the Posies can be heard in “Accidental Architecture”. With exception of “She's Coming Down Again!”, the tail end of the record is a little lukewarm, but overall you really have to struggle to find something you won’t like on this record.


Jimmy Eat World “Invented”

The sixth full-length album from emo-turned-pop rockers Jimmy Eat World tries to recapture the brush with success they had with their breakthrough, 2001’s “Bleed American” (also known as a self-titled release for those of you who purchased it after 9/11). Even “Bleed American” producer Mark Trombino is back at the helm, balancing the band’s 80s-inspired guitar tones with modernized distortion. But sadly what seems to be missing here are the contagious melodies. The songs on “Invented” are not bad, but they don’t hold a candle to the earlier hits, or even a lot of the tracks on the excellent “Chase This Light” from 2007. Shame. Strangely, the strongest cuts include the less energetic tracks “Evidence”, “Movielike”, and “Littlething”.

Kneejerk: The Gracious Few – Gin Blossoms

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


The Gracious Few “The Gracious Few”

Mix three parts Live (bassist, drummer, guitarist) and two parts Candlebox (vocals and guitarist) and you get The Gracious Few. The sound is pretty much what you would expect, but thanks in no small part to vocalist Kevin Martin, The Gracious Few sound pretty much like Candlebox. One is tempted to retort that The Gracious Few sound like Live without vocalist Ed Kowalczyk (his solo effort is reviewed here by the way), but that is inaccurate because Live could write good songs that generally did not bore you to tears. I was really looking forward to this collaboration, but there is little here to fuel any fire. The guys are trying to modernize the sounds of their 70s rock heroes but the results are anything but gracious, with wasted riffs and vocal talent rarely congregating around an engaging hook. The exceptions to this tragedy include “Sing” and “The Rest Of You”.


Gin Blossoms “No Chocolate Cake”

Everyone’s favorite pop rock band from the 90s returns once again with “No Chocolate Cake” – the follow up to the acclaimed comeback record “Major Lodge Victory” from 2006. The title “No Chocolate Cake” might seem to suggest this record is not a decent dessert to follow "Major Lodge Victory" – but this band can have its cake and eat it too. Their latest contains 11 more high-calorie tunes packing plenty of sugary melodies and sweet sentiments. There’s no new territory explored here, save the horn-laden “Dead Or Alive On the 405”, but to venture into new ground for a band like this would be a slap in the face to their fanbase. So the Gin Blossoms deliver what they do best. Standouts include driving rockers like “Don't Change For Me”, the built-for-radio single, “Miss Disarray”, and the acoustic-driven “Wave Bye Bye”. But don’t underestimate the pull of their mellow side, especially the breezy “I Don't Want To Lose You Now”, “Something Real”, and their best ballad in a long time, “If You'll Be Mine”. With a sagging middle bringing the record down a bit, I’m not sure it will be the first Gin Blossoms record I reach for when the mood strikes…but it is a worthy addition to their catalogue.

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Kneejerk: Weezer - Anberlin

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...



Weezer “Hurley”

Weezer is back with “Hurley”, which finds the prolific band revisiting the classic hooks of their more successful records. Fuzzy and crunchy guitars intermix around the band’s characteristic pop rock sound, making most of “Hurley” a worthy addition to the Weezer discography. Wonderfully upbeat and catchy tracks like “Memories”, “Ruling Me”, and “Trainwrecks” perk you up right away. Famed songwriter Desmond Child contributes to “Trainwrecks”, elevating this track to being one of the most commercial sounding on the record. The band lay their limitations bare on sparse acoustic tracks like “Unspoken”, but quickly cover them up with heavy riffs and sugary choruses like those on “Where’s My Sex?”. “Smart Girls” is a crazy dance-inspired track that provides a generous dose of the quirky lyrics and indie rock that we’ve come to expect. “Hang On” and “Brave New World” are also welcome invites to this high energy 30 minute party hosted by Weezer. As you can see, I found a lot of redeeming qualities about “Hurley”, and it is one of their most consistently fun releases in years.



Anberlin “Dark Is The Way, Light Is A Place”

Anberlin seems to be getting better and better with each release, realizing that in order to put a sustained mark on the musical landscape that you need more than heavy riffage and powerhouse vocals. Anberlin is poised for a major breakthrough with their latest record, which puts their talent to good use by writing memorable melodies and harmonies. The records rushes out of the gate with indisputable winners like the radio-friendly lead single “Impossible”, energetic cuts like “We Owe This To Ourselves”, “Closer”, and “To The Wolves”, and a crowd pleasing midtempo ballad, “Take Me (As You Found Me)”. What darkens my cheer about this record is the abundance of slower, less compelling tracks in the middle and at the very end. But, there are more winners than losers on this one, and the winners are truly some of the band’s best to date.

Kneejerk: Sara Bareilles - Crowded House

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Sara Bareilles “Kaleidoscope Heart”

Sara Bareilles is responsible for one of the most recognized piano pop tunes of the last decade, but without any memorable tunes after “Love Song”, most people have probably written her off as a one-hit wonder (read our review of her last record, “Little Voice” here). But I wouldn’t be so fast. While I don’t hear anything grabbing my ears as immediately as “Love Song” did, “Kaleidoscope Heart” has its dazzling moments. There is plenty of bouncy piano pop that fans have grown to love, with “Uncharted” and “King of Anything” leading the pack, and a couple of unexpected pleasures like the acoustic ballad “Basket Case” (yeah, I was hoping for a Green Day cover too, but it’s not!). “Hold My Heart” and “Breathe Again” are two more sweeping ballads that are very well done. I think Bareilles has delivered a follow up that is even better than “Little Voice” and in a just world she’ll avoid the one-hit wonder label.


Crowded House “Intriguer”

I’m always routing for Crowded House. A fan since their huge debut in 1986, I have long been enchanted by the subtle melodies crafted by Neil Finn (and his brother Tim). But to be honest, I got limited enjoyment out of the 2007 reunion album “Time On Earth” and I am even less thrilled with “Intriguer”. With the disclaimer that I usually don’t appreciate the songwriting genius of Neil Finn until a few spins later, I have to say this one is a real snoozer. “Saturday Sun” and “Inside Out” are about as peppy as they get this time around, and unfortunately the many ballads here are not as engaging as I had hoped. While some will argue this one is perfect for a rainy day, I’d much rather replay my Finn Brothers record from 2005, “Everyone Is Here”, instead.

Kneejerk: Heart - Goo Goo Dolls

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Heart “Red Velvet Car”

Ann and Nancy Wilson, the real muscle behind Heart, have captivated audiences for decades but haven’t been able to rebound after grunge stomped their brand of high gloss pop rock into the dust. “Red Velvet Car” is not a release that is likely to restore these sisters to the top of the charts, but it doesn’t feel as if they care – sounds like they are just doing what they love. The songs found on this release are more aligned with their less melodious 70s output than the pop perfection that gave their career a second wind in the 80s. Some of the tunes like “There You Go” and “WTF” have a welcoming bluesy guitar sound that revs up your heart, but the record soon flatlines into one disappointing track after another of aimless wandering. Vocally, Ann and Nancy sound terrific, but with no memorable hooks or exciting direction, this is a car best kept in the garage.


Goo Goo Dolls “Something For The Rest Of Us”

I fell in love with the Goo Goo Dolls with the release of 1993’s “Superstar Car Wash” – to this day, it remains my favorite of theirs, and one of my all-time favorite records. But ever since the commercial breakthrough of “Name”, and “Iris” shortly thereafter, this band has never been the same. Instead of trying to be The Replacements, the Goo Goo Dolls now seem content to be a Bon Jovi. Honestly, I’m OK with that - their modern output is more predictable and less energetic, but I have to admit that generally I still like it. What I’m not OK with, however, is the mediocrity that abounds on “Something For The Rest Of Us”. It continues along their recent trajectory, but this time I feel like we’re being served lukewarm leftovers from “Let Love In”, which was pretty tepid to begin with. There are a few sweet morsels, like “Sweetest Lie”, “Nothing Is Real”, and “Still Your Song”, but generally these songs feel uninspired with a lot of style and little substance. Put it this way – most of the songs are as exciting as the cover art.

Kneejerk: Ed Kowalczyk - Alex Band - Bret Michaels

Kneejerk is a new feature here on BMF - we preview some new releases and give our short, "kneejerk" reaction...this edition features three guys who decided to fly solo…


Ed Kowalczyk “Alive”

Ed Kowalczyk, best known as the man who made a hit song using the word “placenta” in his lyrics, has given birth to another recording in the form of a solo album called “Alive”. His Pennsylvania-based band, Live, was huge in the 90s thanks to a strong debut followed by their blockbuster “Throwing Copper” record. But after the uneven “Secret Samadhi” the band lost traction and alienated fans as they catered to trends. Failing to draw back the music buying public, I can’t blame Kowalczyk for trying a solo effort. Kowalczyk was a driving force behind the songs and sounds of Live, so it comes as no surprise that “Alive” sounds so much like, uh, “Live”. While most fans will welcome his characteristic vocals, the fact that he’s done little here to distance himself from Live is disappointing and just sounds tiresome. And his lyrics are overly saturated with spiritual references – even more than usual – he comes across like the Deepak Chopra of the musical world. So for me, I’m afraid “Alive” is D.O.A. Let’s hope his other bandmates, some of whom went on to form The Gracious Few with Kevin Martin of Candlebox, can produce something with more life.


Alex Band “We've All Been There”

Alex Band is the baritone voice from The Calling, best known for their 2001 smash "Wherever You Will Go" off the “Camino Palmero” record. Like we’ve seen with Kowalczyk, it is very hard for such a recognizable voice to distance itself from the shadows of its past projects. So again, vocally and even musically, “We’ve All Been There” could easily be mistaken for the third record from The Calling. That aside, “We've All Been There” is filled with decent modern AOR – catchy songs with big choruses and simplistic lyrics. “Tonight” and “What Is Love” have radio-friendly written all over them. The major problem is that by halfway through you realize why he called the record ““We've All Been There” - everything is sounding the same! Worse, the repetitive sappiness of his lyrics gets old fast. But if you are looking for a record stuffed with songs of love and inspiration that are belted out by an excellent vocalist, you’ve found your Band.


Bret Michaels “Custom Built”

Bret Michaels has seen an unexpected resurgence in his popularity these days, unfortunately due to appearances on reality TV and extensive coverage of his health problems. This has climaxed in a surprise appearance on the American Idol finale, which gave him the opportunity to remind America that he still does music. But his timely new CD is a tragedy in that it is such a wasted opportunity. People were interested in Michaels once again, but this CD is just a cash cow rushed together in a transparent attempt to capitalize on his newfound popularity. In fact, there are only four new songs – the rest are remixes, demos, a cover (Sublime’s “What I Got”), or tracks found on previous releases. Granted, not many people have heard those previous releases, but the reality is that those songs are not very good. As for the new songs, we have 2 nondescript rockers (“Riding Against The Wind” and “Lie To Me”) and 2 decent ballads. Ballads have always been a specialty for Michaels, and “Nothing To Lose” (with Miley Cyrus) and “Wasted Time” find him in fine form. “Custom Built” is stitched together like a sloppy patchwork quilt – some rock here, bit of glam, lot of country, and some other fabric salvaged from a previous worn out blanket.

Kneejerk: John Mellencamp - Sheryl Crow - Black Crowes

Kneejerk is a new feature here on BMF - we preview some new releases and give our short, "kneejerk" reaction...



John Mellencamp "No Better Than This"

"No Better Than This" marks John Mellencamp's debut record for Rounder. These thirteen new tracks, produced by the acclaimed T. Bone Burnett were recorded live using a half-century year-old Ampex tape recorder and vintage microphone. Mellencamp says of the album, "It was absolutely the most fun I've ever had making a record in my life. It was about making music - organic music made by real musicians - that's heartfelt and written from the best place it can come from". When I see the name T. Bone Burnett these days, I think boring and slow, and this new one from the great John Mellencamp is no exception. Continuing along the lines of his last 2 releases, this CD is also full of intimate roots rock that sounds very old-fashioned - nothing wrong with that as long as the songs are interesting. Unfortunately, there isn't much on this record that makes me want to come back for a second listen anytime soon. However, the record makes for interesting background music for a Sunday morning. The graceful and modestly melodic "Save Some Time To Dream" was the highlight for me. Dylan fans might appreciate the folksy feel of "Thinking About You" and "Clumsy Ol' World". Here's hoping for a return to the classic Mellencamp sound next time around...


Sheryl Crow "100 Miles From Memphis"

Another huge disappointment from Crow, even moreso than her last record, "Detours" (review here). This record, her seventh, was supposed to capture the soul and passion of music, best exemplified on the opening track "Our Love Is Fading". But all of the horns and blue-eyed soul in the remaining tracks amounts to window dressing on a condemned house because the songs lack any interesting hook as a foundation. A couple of senseless covers also bring down the record - she does a sleepy, lifeless version of Terence Trent D'Arby's "Sign Your Name" and a note by note reiteration of "I Want You Back" as a tribute to the late Michael Jackson, who gave her a start as a backup singer. Keith Richards can't even save the reggae-influenced "Eye To Eye", which goes in one ear and out the other, lacking any ability to get trapped in your mind. Let's hope for next time Crow takes her own advice as she sings on "Peaceful Feeling": "When you fly off in the wrong direction, turn it around, see your own reflection".


Black Crowes "Croweology"

The latest from Black Crowes is not a new studio effort, but rather a collection of greatest hits and deep tracks reworked in a more or less acoustic style. The music of the Black Crowes lends itself well to this format and overall the record, with its mix of recognizable and not-so recognizable songs, is an engaging listen. "Croweology" does stretch the limits of your attention though - it is a double album because most songs exceed five minutes and some clock in at near ten minutes. There is little point in songs like "She Talks To Angels" - which were acoustic-based to begin with - but reworkings of "Jealous Again", "Under A Mountain", and "Soul Singing" are very enjoyable. Not for the casual fan, but it is a great way to cleanse the palate after listening to today's overly processed rubbish.