Bite Me! CD Reviews S - Z
Saliva – Back Into Your System
(Island)
3/4
Saliva has returned with a burning desire to get back into your system and they intend to do it with their sophomore release, Back Into Your System. The opening track begins with vocalist Josey Scott’s son confessing that he wants to be a rockstar. With that said, the band breaks into “Superstar II” (the sequel to “Superstar” off of Every Six Seconds). On Back Into Your System Saliva explodes to corrosive new levels; albeit, the Memphis quintet has tempered their chunky charge with tuneful ear-grabbing riffs. Melody aside, there is still lots of crunch and heaviness to be found as the album’s tracks offer up the ideal balance between brawn and brain. “Always’ is a solid single that appears to be cut from the same template as “Hero” (the collaboration between Josey & Nickelback’s Chad Kroeger for the Spiderman soundtrack). The title track rides upon a similar radio-friendly vibe. “Pride of America” is a call-to-arms that will undoubtedly become the new anthem for U.S. troops. The most powerful offering on this disc is the aggressive “Raise Up”. The song’s full-on angst will make you want to flash the devil sign and bang yer head in unison with the beats. The album closes with a good ole fashioned ballad titled “Famous Monster”. Yes, Saliva has toned down a bit but, worry not, Back Into Your System is crammed with plenty of dominating grooves that will shake your soul as harder than they shake your booty. -NIN
SEV – All These Dreams
(Geffen)
3/4
Let’s face it. The glory days of rap-metal are over, but SEV isn’t too worried. After all, the Virginia based unit isn’t concerned about current musical trends; all they care about is writing good-time music for all to enjoy. What separates SEV from the other faceless rap-metal bands is their character and spunk. Their songs are catchy and fun and their invigorating spirit is contagious. It’s really hard not to get caught up in the excitement that SEV creates on All These Dreams. The group’s bracing sound melds tight grooves with hooky choruses and thrashing riffs. This release begins with the dreamy melodies of the album’s title track. The fun really begins when the unforgettable and infectious “Same Old Song” kicks in. Much like Linkin Park, SEV offers up the rockin’ verses and smooth choruses backed up by smooth flowing rhymes courtesy of two vibrant frontmen (Danny & Phil). The duo’s talents really shine in “24/7/365“ and “What You Got For Me”. This energetic offering ends with “Twisted”. A dynamically astounding song that picks up where KoRn’s “All in the Family” left off. (Unfortunately, SEV was recently dropped by their record label. But I expect that we’ll be hearing from this ambitious unit quite soon.) -NIN
Sheavy – Synchronized (TMC) 3/4
Kerrang! is quoted as saying that Sheavy’s last album was the best Black Sabbath in the last 25 years. What the fuck? Are their writers smoking crack? [Um…it IS Kerrang! -ed] I suppose if J let me smoke crack I’d think every disc that came through our door was bloody fuckin’ brilliant. [After the shit you’ve had this issue – go for it. -ed] Unfortunately for Sheavy, I’m sober. I’ll admit that the band does bear a slight resemblance to Black Sabbath; however, they sound more like Black Sabbath on a bad hair day. Critics have even gone so far as to compare vocalist Steve Hennessy to Ozzy Osbourne. Thanks to pro-tools anyone can sound like whomever they want, so what’s the point? Strip away the hype and all you have is an album that sounds dated and lacks creativity. -NIN
Simple Plan – No Pads, No
Helmets…Just Balls (Lava/Atlantic)
If I ever meet the band or man who decided it was cool to mix punk and pop, they better hope I don't have a weapon handy. For every half decent (and that may be overstating their talent) punk/pop hybrid like Blink-182, there's another band like Simple Plan. It's not that these bands aren't competent enough - Simple Plan singer Pierre Bouvier and guitarist Jeff Stinco seem talented enough to carry a band - but the punk/pop genre is destroying what punk aimed to do in the first place: smash the musical boundaries of pop-and rock-friendly radio with an attitude of independence and rebellion. Take it from me, there's nothing independent, original, or rebellious about Simple Plan or the other 20 pop/punk bands that debuted during the last two years. [We wish it was only 20 –ed.] To call this music punk must make Sid Vicious beg God daily for reincarnation just so he could come back here and punch the members of Simple Plan, Sum 41, Blink-182, and their wimpy cronies in the face. So let's declassify Simple Plan as punk/pop and just call them pop with a touch of rock, which is really much more accurate. The opening track "I'll Do Anything" is about the best this Canadian combo has to offer with its energetic, uptempo, radio-friendly melody. The first single "I'm Just A Kid" lacks the balls the CD's title boasts it has – ‘nuff said. The rest of the album pretty much follows the same mold - - mediocre melodies, likeable choruses and an innocence that's hard to warm up to. Will Simple Plan get some radio play? Probably. Will they be a factor in the future world of music. Nah. Simple Plan's music is catchy, just not that catchy. – R-Lo
Skylab – Side Effects
(Colour Sound Records)
Featuring former Plasticene members Charles Van Devender and Billy Slater, Skylab is a radio friendly modern rock band whose highly accessible sound is clearly inspired by The Stone Roses, Happy Mondays, and the Charlatans UK. The British guitar band’s fusion of intense lyrics with sonically brilliant melodies makes for an unforgettable album. The musicians’ collective talents really shine in “Radio Bliss,” “Kill Me,” “Some Dudes,” and “Monster We Made”. If The Beatles were around today they would have penned “Mon Amie,” but they’re not so Skylab took the liberty. In fact, Side Effects should have been the follow up to The Goo Goo Dolls’ Dizzy Up The Girl. Check this one out. -NIN
Snowdogs – Deep Cuts, Fast Remedies
(Victory)
3/4
This happy-go-lucky power-pop-punk trio derives its sound from the consumption of Offspring, Blink-182, & Weezer. Deep Cuts, Fast Remedies delivers twelve hyperactive tunes that are beefed up with soaring melodies, tight harmonies, and crunchy post-punk riffs. A majority of the songs lack substance, but they are bouncy and fun in a bop your head from side to side and sing la-la-la kind of way. This is truly an album for those who want to enjoy their music and not have to think about it. -NIN
Sparta -
Wiretap Scars
(Dreamworks)
1/4
The Japanese translation of Sparta is: to come through hard times. Thus, it’s a fitting moniker for a band whose members survived grueling touring schedules and other stressful factors in their previous incarnation. Featuring three out of five members from At the Drive In—Paul Hinojos, Tony Hajjar, and Jim Ward—Sparta exhibits a familiar spirit and experimental edge. Wiretap Scars was probably one of the most anticipated releases of 2002. Did it live up to the hype? That all depends on whom you ask. But one thing is certain; it’s not a disappointment. Wiretap Scars is an aggressive and abrasive offering, in which Sparta exhibits the same tranquil to torturous dynamics once employed by At the Drive In. However, the rhythmic ferocity of Sparta’s mother band is visibly absent. Melody is the key factor as Sparta is less apt to spaz out on a moments notice. Spaced out guitar excursions and electronic flourishes are scattered all throughout this raw and confrontational album, which teeters between moody atmospherics and blaring choruses. Standouts include the anguished “Cut Your Ribbon”, the pensive “Echodyne harmonic”, and the dynamic “Sans Cosm”. -NIN
SR-71 – Tomorrow
(RCA)
1/2
Employing multiple producers seems to be the latest rage. Unfortunately, for SR-71 this technique resulted in an end product that is sterile and over-polished. On Tomorrow, angst filled verses are balanced out by sticky sweet choruses and pretty melodies. SR-71 makes an honest attempt at delivering a heavy album, but the producers' push for poppy radio oriented tunes is too overwhelming. In the end, the alt-rock outfit loses. The band ends up being stretched in a more commercial direction in order to win the favor of the non-loyal teen audience. So they’ll sell a couple thousand more albums. The question is: will we hear from them five years from now? The tracks that make up Tomorrow are decent but scattered. The bottleneck guitar riffs of The Beatles influenced “Hello Hello” resonate with warm vintage tones. “The Best Is Yet to Come” represents the next generation of Emo. The band gets a little ballsy on “Truth” and the heaviness continues with the propulsive “Good-bye”. “Lucky” and “She Was Dead” take a sharp turn into nü-punk territory. After just one listen it’s pretty evident that Tomorrow is a corporate rock album geared towards the mainstream audience and not the devout listener. -NIN
Stage
(Maverick)
I slipped this disc in just to preview it but I became so enthralled that I couldn’t bring myself to take it out. Stage’s sound is a mixture of Pearl Jam, Coldplay, and the Goo Goo Dolls. Not my cup o’ tea, but fine in small doses. At the age of eighteen these boys opened up for Bon Jovi and Kiss and now they are poised to headline their own tours. With the aid of incredibly pop friendly guitar-driven tunes, this triumphant rock band is destined to become the next darlings of modern rock. “Jesus Was a Test Tube Baby” reflects the Long Island unit’s ability to fluidly craft fearless hits. The emotionally intense “Live Happy, Live Anorexia” really makes you wonder what is going on inside vocalist Ryan’s head. The acoustic strummings of “The Scientist’s Canvas” adds a light-hearted feel to this urgent offering. Each track on this self-titled effort conveys an unwavering passion and a high sense of drama. But what’s more compelling is Stage’s craftsmanship, which seems to indicate that the best is yet to come. -NIN
Sum 41 – Does This Look Infected
(Island Records)
3/4
Love ‘em or hate ‘em there’s no denying that this Canadian quartet has a knack for constructing memorable, pop infected hardcore tunes. Their latest, Does This Look Infected, is chock full of them. Ah yes, the loveable punks are back in full force with an enthusiastic follow up to their double platinum All Killer, No Filler. For most it’s not an easy feat, but it looks like these boys have nothing to worry about. Does This Look Infected mixes nü-punk’s pop hooks with the retro guitar style of Social Distortion, and pure speed of Slayer. The album’s cover art is reminiscent of past A.F.I. releases, but it’s also a pretty accurate reflection of Sum 41’s demented humor. For an album that was written and recorded in a month it’s pretty impressive. There are a number of great tracks on here such as “Still Waiting” and “Thanks for Nothing”. The classic metal crunch of “Mr. Amsterdam” & “The Hell Song” and the speed thrash riffs of “My Direction” & “A.N.I.C.” reflect Sum 41’s need to channel their manic energy. Overall, there is nothing unexpected or original on Does This Look Infected, just lots of good time tunes. -NIN
The Sun – Love & Death EP
(Warner)
1/4
“Fell So Hard,” the first track of The Sun’s Love & Death EP will make you scream, “Not another Strokes clone!” Thankfully, The Sun and not The Strokes shine through soon after. Featuring New Bomb Turks’ drummer Sam Brown, The Sun delivers an addictively catchy blend of garage rock and noise-pop complete with vintage riffs, fuzzy distortion, and high-pitched vocals. The‘60’s psychedelic funk rocker “Carry It All” sounds as if it was pulled from a collection of a Beck B-sides. “Back in the Summer of ‘72” is a cross between The White Stripes and The Doors on a bad acid trip. “Eyelids Apart” is an artsy fartsy folk tune that fits well within the album’s retro context. -NIN
Tora! Tora! Torrance! – Get Into It
(The Militia Group)
T!T!T! follows in the footsteps of “the” bands and MC5 with an undeniable heavy guitar twist. The incomprehensible screamed monotone vocals of Nick Koenigs somehow work with this mass of noise. In short – Get Into It is the shit underground fucking rock stars are made of. These guys must bang out an amazing live show. And they get my vote for top band name of the year. -J
The Transplants
(Hellcat)
1/2
Formed as a friendly experiment, this super group—featuring punk rock veteran Tim Armstrong (Rancid), Blink-182’s Travis Barker, and newcomer Rob Aston (vocals)—could very well blossom into a full-time gig. The Transplants’ self-titled effort fuses together a vast array of disparate elements. Each track rides on its own unique vibe as elements of hardcore punk, hip-hop, rock, and reggae collide with modern beats and dancehall style piano melodies. A number of the Transplants’ friends—Lars Frederiksen & Matt Freeman (Rancid), Brody Armstrong (Distillers), Davey Havok (A.F.I.), Vic Ruggiero (The Slackers), and Son Doobie (Funkdoobiest)—also add a signature spice to these alluring tunes. “Romper Stomper” pays homage to the likes of GBH. “Tall Cans In The Air” falls in to the party tune category. “D.R.E.A.M.” gives nods to old skool hip-hop, while Surf punk collides with reggae in “D.J.D.J.” The bluesy piano loops of “California Babylon” draw inspiration from the Stereo MCs. The spaghetti Western tinged “Diamonds and Guns” follows a similar vibe. Armstrong’s reverb fueled surf guitar riffs brings the party to a close on “Down in Oakland”. A punk rawk ‘fuck-you’ ‘tude is prominent all throughout, but you don’t have to be a punk fan to enjoy what The Transplants have to offer. There’s a little something for everyone on this tasteful offering. -NIN
Theory of a Deadman
1/2
Cut from the same radio-friendly cloth as soft rockers Nickelback and Creed, Canada’s Theory Of A Deadman deliver perfumed power ballads best suited for top 40 radio. The similarities are not surprising. After all, Theory Of A Deadman is signed to the Nickelback frontman’s label and Mr. Kroeger also co-wrote six of the ten tunes on this disc. Theory Of A Deadman’s self-titled effort is a solidly crafted effort packed with radio friendly material. The problem is – this disc lacks creativity and heart. But hey, the mainstream rock crowd will love it. -NIN
Thy Veils – The Diaphanous Depressions
(Nonnut Muzik)
3/4
Hailing from Romania, Daniel Dorobantu is the architect behind Thy Veils’ foreboding walls. His neo-classical excursions employ exotic embellishments, haunting atmospherics, mournful string arrangements, and delicate piano melodies. These meditative instrumentals make for perfect background music. The Diaphanous Depressions is a stark, moody offering that will escort you into the deepest depths of the netherworld. Vocals occasionally seep through these gothic ambient offerings, but they are more like soft whispers than full expressions. All in all, The Diaphanous Depressions is a conceptual piece of work that is all at once graceful, beautiful, spiritual, and melancholy. -NIN
Troubled Hubble - Penturbia
(Latest Flame Records)
½
It’s not a quick, painless death either. No, unfortunately, it’s being dragged out slowly; album after album of the same boring "look at us, we’re cool," lyrics and music that only Weezer is able to pull off anymore. It’s this style of self-effacing pop/punk that Penturbia attempts, and ultimately fails. It’s not quite clear what Troubled Hubble is trying to accomplish with Penturbia. They alternate sounds, moving back and forth from a band trying to appease the masses to a jam band getting together on the weekends to practice and dream about the big time. Unfortunately for Hubble, they don’t really excel at either form. The first two songs on the album highlight this problem perfectly. Track one, "Understanding Traffic," has radio eagerness oozing from it and track two, "Airplanes," may or may not have lyrics. The seemingly endless opening sequence can cause the listener to zone out and not hear the two lines of lyrics that eventually follow. Of the twelve songs on Penturbia, at most three have the seeds of potential. "Migraine," "I Love My Canoe," and "Paper/Stone" would be passable B-sides on an album by a better band, but to be the best songs on an album is not a good sign. Apparently, there still is some sort of market for albums like Penturbia and bands like Troubled Hubble. Small local clubs will hire such bands to perform every Saturday night. But to make it to the big time, they will need to decide what type of band they want to be. -R-Lo
U2 – The Best of 1990-2000
(Island/Interscope)
The members of U2 play music not out of obligation but out of celebration. These four dedicated musicians have found beauty and comfort in age and their devotion to music is reflected all throughout their latest, The Best of 1990-2000. Let’s face it, no best of collection can ever appease the masses, but this one will make a majority of U2 fans happy. The album’s appeal lies in the inclusion of new material (“Electrical Storm” and “The Hands That Built America”), great new mix versions (“Discotheque,” “Gone,” “Numb,” and “Staring at The Sun”) plus other big hits from the past decade. The special limited edition version comes with an additional disc titled Best of the B-Sides as well as a bonus DVD. Overall, the album highlights the raw chemistry and unique spirit of this timeless group. -NIN
Unwritten Law – From Music In High
Places (Lava/ Atlantic)
3/4
Unwritten Law has always been classified as a punk band and, for the most part, they are. Recorded live in Yellowstone National Park for the MTV series of the same name, this acoustic collection proves that when you strip away the title (and the electric guitars), Unwritten Law are just 5 talented musicians with a knack for composing good, enjoyable music. Done campfire sing-a-long style, From Music In High Places features raw and unpolished versions of some of the band’s best work from the past. Surprisingly enough, the songs sound just as good acoustically as they do in their original full blown high-energy glory. The first track (“Before I Go”) is a little weak, but by the time “Rest Of My Life” (track #2) kicks in the vibe and the energy are flowin’ freely. Lots of soul and heartfelt emotion comes through on each tune and before you know it you’re caught up in the moment. If you’re an Unwritten Law fan, or just appreciate good music, From Music In High Places is definitely worth checking out. -NIN
Various – 8 Mile Soundtrack
(Geffen)
3/4
So much has been said about this movie, which I hated. I actually almost admire Eminem for what he has done with rap, but at the same time loathe him for it. The days where hip hop and rap were unique and considered party music are long gone, first with the advent of gangsta rap, and now with what I call generic rap (anything without the Neptunes, which is in an entirely different sonic crap category). Most of the admittedly excellent assemblage of artists here contribute generic fluff – 50 Cent, Nas, Xzibit, Rakim. Few of these tracks were used in the flick so you probably have only heard them on your local play-it-over-and-over Clear Channel urban radio outlet. There are some decent songs - “Lose Yourself” - Eminem, “8 Miles and Runnin’” – Jay Z and Freeway, “Battle” - Gangstarr, “Rabbit Run” – Eminem. Overall, I guess my age is showing when I miss party hip hop like Doug E. Fresh and even gangsta rap stuff like Dre and Snoop. [PS: love the new Snoop CD] –J
Various – A Tribute to Ramones, We’re a
Happy Family (DV8/Columbia)
3/4
Tribute CD’s are usually either relegated to the dust bin or to Repojay around these parts. So imagine my surprise when I actually enjoyed some of the tributes on We’re a Happy Family. Sure, the majority of the tracks are junk and shouldn’t have been done, except for on a B side or a Greatest Hits album for filler, but there are 3 (or 4) exceptions. The first is Metallica’s rendition of “53rd & 3rd” which sounds like it was recorded during the early days in someone’s garage – not polished, definitely not the current Metallica sound. Next on my list is Pete Yorn with “I Wanna Be Your Boyfriend”. Talk about being surprised – wow. Last up on the good list is Kiss’ “Do You Remember Rock ‘n Roll Radio” which was a total showstopper. Huh – for some reason, all the best covers were contributed by “non” punk artists. Interesting… -J
Various – Crank Yankers: Vol 2
(Comedy Central Records)
1/2
Created by Jimmy Kimmel and Adam Corolla (The Man Show), Crank Yankers is a half-hour comedy show that centers on puppets making perverse crank calls. It’s nowhere near as cool as The Jerky Boys, but there are some laugh-out-loud moments and some complete duds as well, which makes it hard to get through all twenty-two skits in one sitting. Perhaps a few in small doses would have been easier to deal with. In addition to Adam & Jimmy, a number of A-list comedians contribute their wit and humor. Standouts include “Karl Malone Beanie Babies” and “Spoonie Takes Out a Personal”. Badankadonkabutt is the new ‘in’ word. If you’re a Crank Yankers fan you know what I’m talkin’ about. -NIN
Various - Movie Soundtrack:
Carnivore (Dark Star Records)
1/2
I sort of remember seeing this flick at some drive-in back in upstate New York when I was a teenager. I might have been trying to get some tuna turnover at the time and totally blanked the movie. As the soundtrack emerges from the rubble some fifteen odd years later, I can’t help but wonder, why? With only half the songs on this release having actually been in the flick, it seems more like a half-assed attempt to revive some of these cheesy glam metal bands that never made it past the Sunset Strip. Your best bet on this eleven track CD are the two tracks from Slave Driver (“L.A.’s Burning” and “Mother Mary”). It goes way down hill from there with tracks from Nitro, Holland, Cuttlass and aaahhhh! L.A. Guns! Even Axl Rose knew L.A. Guns sucked! On the plus side, this disc does contain a movie trailer and a music video preview of Slave Driver’s “Mother Mary”. -Colin Bowel
Various – Jackass:The
Movie
(American)
Now here’s a soundtrack that is guaranteed to encourage lots of headbanging and slam dancing fun. This over-the-top collection appropriately starts off with “Corona” by the Minutemen (the Jackass theme song in case you were wondering). Andrew W.K.’s “We Want Fun,” “Flesh Into Gear” by CKY, and “California Sun” courtesy of The Ramones complete this wild offering. But wait, that’s not all. The Smut Peddlers’ “Let’s Get Fucked Up” and the ole time classic “Baby Got Back” by Sir Mix-a-lot also contribute to the madness. With all its angst and craziness the Jackass soundtrack is a boys’ album through and through. If possible, pick up the limited edition, which comes with a bonus DVD that contains a hilariously funny video for “Party Boy” in addition to other treats. It’s so worth it. -NIN
Various - Rebirth of the
Heavy
(The
Music Cartel)
Sweeeet! Nice collection of ‘80s induced nuggets from several unknown underground rock bands like Sons of Otis, Thulsa Doom, Dozer, Lambs, The Cumshots, and Fireball Ministry. This comp also features a track from everyone’s favorite utility rockers, Electric Frankenstein. With the help of Bully Magazine, The Music Cartel promises “NO CRAP, NO BULLSHIT” in the bio. What this reporter found was close to the boast, but still found some fluffy fluff here and there. Overall, this is still a good rock ‘n’ roll buy. If nothing else, it’s a great introduction to new bands. -Colin Bowel
Various – World Wrestling Entertainment Presents: The Anthology (Koch / Smack Down) 1/4
Thankfully this wasn’t the complete three-disc set. If it were I would have slit my wrists. True torture is having to listen to three decades worth of WWE theme songs (86 in all). This sampler got ¼ rating for laughs. Why did I waste my time reviewing it? To keep some fool from throwing away $29.99 on this monstrosity. Lines like “I think I’m cute, I know I’m sexy, I got the look that drives girls wild,” are proof that this is the worst and cheesiest collection of metal tunes on the planet. Baaawwwaaa!!!! I can’t stop laughing. What’s really scary is that these lame pieces of crap make Warrant seem decent. -NIN
Waiting For Autumn
– Now I Know Forever (American Jealousy)
1/2
Waiting for Autumn is a five-piece radio rock band from San Diego, California. Their debut album, Now I Know Forever, is also the first album released on upstart SoCal label American Jealousy. It is a commonly known and seldom discussed fact that the process of cloning is arduous and dark. To make a clone takes hundreds of tries before any success is achieved, and even then success can be temporary. Over 200 eggs went into making Dolly. Only one clone is ever actually born without being horribly mutated with grotesque defects. It is enough to make one wonder if cloning is actually necessary. We have plenty of sheep, monkeys, and people. Why do we need to produce more? The scientific answer is generally, "To see if we can." Can a legitimate substitute for an actual, working entity be created entirely through the process of cloning? When the clone being looked at is Waiting For Autumn, the answer to the question is no. One look at the name lets you know that you’re about to hear another band that takes pride in calling themselves emo and playing melodic music with a few awkward and annoying screams thrown in for good measure. One look at the cover art, an illegible letter with a "Love" stamp and "all I have to say is I miss you" written across Polaroid photos of the band in action, lets you know that you’ve probably seen this album before done by another group when it was trendy to do this type of stuff. One look at the liner notes and your worst fears are confirmed: more pictures of the band in action with little romantic phrases scrawled across the photos of the members all jumping or screaming or doing something that involves more emotion than full grown men would have been allowed to show in our fathers’ day. And you haven’t even heard the band yet. But you don’t need to, you know exactly what you’re in store for and you know you’ve heard it before. Whiney melodies placed on top of overproduced music with sped up choruses involving phrases like "I want you to know" screamed in the background just in case you thought these guys were pansies. At 10 songs and 50 minutes the album just seems like too much, it makes you think the band produced it themselves. Oh wait, they did. Even the press sheet that accompanied the album does little to redeem this poor band. The lead vocalist is Rancid’s Lars Fredrickson’s cousin. Tell me how that matters at all. The album was engineered by the guys who worked with Blink 182 and the Counting Crows (ok, so that last part is almost pretty cool [eh? – NIN]). The band is from Southern California. Woo hoo. Oh yeah, and apparently these guys have "an incredibly loyal fan base". But on their mediocre debut, Waiting For Autumn is nominal at best. Maybe these guys will prove to be a somewhat successful clone, like Dolly or 98 degrees. Even then, though, they will still be nothing more than a clone - something that we’ve all seen before and is only appealing for its novelty value. -R-Lo
The Wallflowers – Red Letter Days
(Interscope)
3/4
Remember Jakob Dylan? He’s baaack – and sounding mighty similar to their breakthrough album Bringing Down the Horse. Red Letter Days has taken a while to find its audience, and it’s taken me a while to appreciate it on its own merits myself. Middle of the road without being wussy, The Wallflowers have targeted their audience with precision. Recommended tracks: “When You’re on Top”, “Everybody Out of the Water”. If you’re looking for “One Headlight” – it’s here again in “Everything I Need” – totally recycled track. –J