Album Reviews

Fountains Of Wayne: Out of State Plates

Brian Malone August 2, 2005 No Comments

Fountains of Wayne seems to constantly improve on their formula for structured radio music.

Frank Black: Honeycomb

Shane Handler July 31, 2005 No Comments

Like Iggy Pop before him, Frank Black went from being the leader of a highly influential rock band, to landing a successful solo career. As a result, the Pixies front-man has been in a position to call his own shots in more ways than one. This liberty came to light before last year

Martha Wainwright: Martha Wainwright

Osvaldo Oyola July 29, 2005 No Comments

This collection of songs of bitterness and self-destruction are sure to be popular with those who can relate to reveling in your own low self-esteem.

John Hiatt: Master of Disaster

Tony Engelhart July 28, 2005 No Comments

The latest John Hiatt offering was produced by Jim Dickinson and features his two sons, Cody and Luther (from the North Mississippi Allstars) on guitar and drums. With impassionate lyrics, the singer/songwriter paints confessional narratives with a sundry assortment of styles.

DJ Williams Projekt: Projekt Management

Brian Gearing July 27, 2005 No Comments

Guitar upstart DJ Williams looks like he ought to be serving you fries, not the kind of heavy jazz-tinged funk and soul on his debut, Projekt Management. The surprisingly mature young bandleader relies heavily on his Projekt of Richmond funk all-stars for the record

Leo Kottke and Mike Gordon: Sixty Six Steps

Shane Handler July 26, 2005 No Comments

As a child, Mike Gordon and his family took a trip to the Bahamas. It was there, sitting by the pool, that he first heard the smooth, calypso rhythms of the Mustangs. Years later he would bring “Ya Mar” to the Phish table, but those island sounds would stay with him for much longer.

Earl Pickens: Country Music Jukebox

Shane Handler July 25, 2005 No Comments

Honky-tonk bars and love-sick cowboys aren’t exactly common on Long Island. And they certainly don’t make it into the New York punk scene. But somehow Earl Pickens managed to transition his Anti-Folk, East Village holler to more subdued, Lone Star drawl and do just that.