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eMusic Pick of the Day: Paleophonic

“Paleophonic” by THE RUBINOOS

Produced by the late, great Kevin Gilbert, Paleophonic shines like a jewel in the pantheon of indie rock.

The first real Rubinoos recordings in over ten years, this delicious platter picks up where their classic recordings left off. With all original members present and accounted for (Jon Rubin on vocals and guitar, Tommy Dunbar on guitar and vocals, Donn Spindt on drums and vocals, and Al Chan, who joined in 1980, on bass and vocals), this is pure pop for all people. More Raspberries than Beatles, the Rubinoos play music from the heart filled with memorable hooks, glorious harmonies and honest sincerity. Although many years passed between the last time that these four recorded together, it seems that time stood still between those sessions. Immaculately produced by the late Kevin Gilbert, TV Dunbar comes up with another fine batch of songs that will melt your heart when Jon Rubin wraps his voice around ‘em. It’s great to hear the magic again.

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eMusic Pick of the Day: Pasadena

“Pasadena” by OZMA

L.A.’s Ozma is one of those bands you’ll hear and wonder why they aren’t humongous.

Many fans of southern California alt-rockers Ozma were disappointed by the band’s last album, considering Spending Time on the Borderline a weak-willed attempt to break into the new wave revival. Coming nearly four years and one breakup and re-formation later, Pasadena reverts to the straightforward indie pop of Ozma’s earlier material; it even features a re-recording of one of the previous album’s better songs, “Eponine,” in apparent atonement. These 11 songs are as crisp and bouncy as the best material on Rock and Roll Part Three, with a newfound lyrical maturity and a more wide-screen sound that better incorporates the synthesizer parts that started to overwhelm the rest of the band on Spending Time on the Borderline. (See “Incarnation Blues.”) The album’s true highlight is the simply outstanding “Heartache Vs. Heartbreak,” a dramatic, Electric Light Orchestra-influenced duet between lead singer Daniel Brummel and guest star Rachel Haden that sounds like a great lost New Pornographers single; if she’ll have them, Ozma should consider asking Haden to join the band permanently. Surprisingly considering the indifference towards their last album, Ozma have returned to active duty with perhaps the strongest work of their careers.

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eMusic Pick of the Day: So You’ve Ruined Your Life

“So You’ve Ruined Your Life” by GET SET GO

No punches pulled lyrics and vocals by lead singer Mike TV makes this an incredible hook-driven album.

Get Set Go specialize in a style that is equal parts Weezer (their love of snappy guitar-driven pop) and the Violent Femmes (their quirky lyrics), as evidenced by their 2003 full-length debut, So You’ve Ruined Your Life. The group is essentially singer, guitarist, and songwriter Mike TV, who is joined by a revolving cast on-stage and in the studio — usually musicians who are part of their local Highland Park, CA, scene. While they’ve been known to also play largely acoustic-based tunes, So You’ve Ruined Your Life focuses on primarily melodic rock. Some may be quick to lump Get Set Go in with influx of pop-punk bands of the late ’90s/early 21st century, there’s certainly something more “left of center” about this lot, as evidenced by such song titles as “Jesus Christ Wore Leather,” as well as such up-tempo standouts as “Twenty One,” “One with the Numbers,” and “VKFD (The Fire Truck Song).” While the majority of the album is an adrenaline rush, the group surprisingly opts to close the album on a mellow note, with “What I Love About You” (which includes some very interesting lyrics) and “Wait” (no, not a cover of the White Lion song of the same name). Get Set Go prove that not all pop-punk has to sound like Good Charlotte.

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eMusic Pick of the Day: Let it Bleed

“Let it Bleed” by THE ROLLING STONES

Arguably one of the greatest rock albums ever, it’s now available on eMusic! Get it free with your trial membership!

On the very Sunday morning I sit down to write this review, there is on the cover of Parade, the inoffensive family supplement (”yummy no-guilt desserts”) that comes with the local paper, a familiar face grinning out at me from the cover: How Mick Jagger Still Gets What He Wants. Nearly 40 years after the Stones told us that we get what we need, it seems we still want and need them, or vice versa, and Let It Bleed is the reason why.

The album is one of a quartet of late ’60s and early ’70s Stones albums that have since passed into discographic legend, Beggar’s Banquet through Exile On Main Street, ushering in that moment when the Stones were not only a band, but a cultural touchstone, a call-to-arms and a repository for our collective sense of sin and retribution: “We all need someone we can bleed on,” Mick sings in the title cut, and the echoing need from “You Can’t Always Get…”, so coupled with want and desire and the toll exacted — in addiction, in death by misadventure, in riot and ruin and perhaps absolution — was the Stones’ bargain with the Devil.

Let It Bleed, released as 1969 shuddered the ’60s to a close, is the one that made it all possible, bridging the gap between the Brian Jones years (Jones himself would be found at the bottom of his swimming pool in July of 1969, only two months after leaving the Stones) and all that would come after. It was a critical juncture for many ’60s bands — even a primal force like the Beatles would not survive the decade; but the Stones, renewing their vows with the addition of guitarist Mick Taylor, who could be counted on to remain self-effacing, seemed to find a new resolve, and produced some of their best-remembered standards. They would always celebrate the blues — “Love in Vain” is one of the most affecting performances of those who would follow in the passway of Robert Johnson — but “Gimme Shelter” with its sense of impending maelstrom, and “Midnight Rambler” with its Hyde to Jagger’s Jekyll (and Richards’ Hekyll) and Bryon Berline’s sawing fiddle on “Country Honk” and Keith’s croaking lead vocal debut with “You Got the Silver” and Mick’s self-bemused “Monkey Man” and the holler-along “Live With Me…” Every cut a classic.

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eMusic Pick of the Day: Octane

“Octane” by SPOCK’S BEARD

Huge vocal harmonies and evocative themes make this a great find for prog rock fans.

Spock’s Beard return to the music stores with their first record since Light [Bonus Tracks] in June, 2004. It’s an odd package. There are two discs here; the first is the album Octane. The first seven tracks are a conceptual suite entitled “A Flash Before My Eyes,” based on a story by John Boegehold. It’s about the experiences of a man in the process of experiencing a car wreck as it happens and watching his life flash before him as it passes out of him. He recalls everything from his parents’ separation on Christmas, high-school football games and meeting his wife and creating a life with her. It all ends at the end of the flash. The overture, “Prelude to the Past,” is all big prog symphonic rock Former frontman and guitarist Neal Morse’s gigantic presence is still missed, but the ambition here is sweeping. Nonetheless, drummer and frontman Nick D’Virgilio is putting forth the effort and he has a compelling presence as a singer, but his lyrics aren’t yet there, they still tell more than show. The contrast between Boegehold’s narrative passages and the song lyrics that illustrate them is harsh. The music, while more “accessible” than in the past and harder in its rock-ist intentions, still has plenty of flair and verve though one does miss the wonderfully labyrinthine passages and surprises of yore. The remainder of disc one and disc two is a collection of “other” songs, unrelated to the suite. Of these, the instrumental “NWC” and “Watching the Tide” work best. There is also a promotional video at the end of the second disc that offers a rather irreverent view of the making of Octane.

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eMusic Pick of the Day: Age, Occupation

“Age, Occupation” by ARI SHINE

A great indie rock EP that definitely shines. “Crank it Out” is outstanding.

Indie rock singer/songwriter Ari Shine made his recorded debut with the EP Age/Occupation in 2006. After gaining critical acclaim from the likes of Time Out and The Village Voice, he embarked on a touring schedule that helped him develop a fan base in both the United States and abroad. In addition to winning a John Lennon Songwriting Contest award for co-writing the Gaby Moreno tune “Escondidos,” Shine’s work has also been featured in Veronica Mars, Kyle XY, Viva La Bam, and Dance Life. His debut album, A Force of One, was released on Canada’s Bongo Beat Records in July 2007.

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eMusic Pick of the Day: Ga Ga Ga Ga Ga

“Ga Ga Ga Ga Ga” by SPOON

David Lynch, Phil Spector, Billy Joel walk into a bar…

To call Ga Ga Ga Ga Ga one of the year’s two or three best rock albums is to overstate how much it sounds like a rock album. There’s no mistaking its imperturbable swagger and seething refrains for anything else — Spoon still knows how to write a song that could fit into each of rock’s past five decades without tipping toward any one in particular. But even songs on Ga Ga that traffic in guitars don’t sound like they were written with guitars in mind. Spoon sounds more interested now in drums and empty space, both of which sparkle and boom in ways that make singer Britt Daniel sound positively electrified to be in their presence.

The sparse and experimental lean of Ga Ga Ga Ga Ga places it closer to the group’s 2002 breakthrough Kill the Moonlight than its bash-minded follow-up Gimme Fiction. “Don’t Make Me a Target” opens on a note of resignation and rage, with portentous guitar and piano that build toward a sort of atonal rockabilly jam about two minutes in. From there, though, the album takes on an air of mystery with “The Ghost of You Lingers,” a gorgeous and terrifying ballad in which Daniel’s distended voice duels with blasts of static and more reverb than could ever sound earthly. The jarring tonal shift into “You Got Yr. Cherry Bomb” proves perverse but, as goes for most of Spoon’s moves at this point, not overly pleased with itself: After bells and slappy drums enter like Phil Spector as summoned by David Lynch, the buoyant tune takes over and lodges into that part of your brain where pleasurable pop hooks go and stay mum.

What sticks most on Ga Ga Ga Ga Ga is the grain and range of Daniel’s voice, which must have been miked a dozen different ways to capture his timbral moods in tracks as disparate as “Don’t You Evah” (Spoon’s most funky song yet, by a good measure) and “The Underdog” (Spoon’s most Billy Joel-like song yet, to the same degree). Nothing Daniel does has ever sounded labored, but Ga Ga Ga Ga Ga finds him and his band with a newly refined balance between craft and restraint.

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eMusic Pick of the Day: Over and Over

“Over and Over” by THE 88

No foolin’, this aptly named record by Hollywood’s The 88 will make you listen over and over and over…

L.A. power pop/rock never dies, it seems; it just slightly transmogrifies. So if the line of descent from Love to the Knack to Jellyfish to the 88 is more indirect and generalized than specific, the 88 are nonetheless heirs to a tradition, one that the band’s sophomore album does little to disrupt. Over and Over starts off with a clipped riff followed by Keith Slettedahl’s creamy/dreamy (and slight ghost of Marc Bolan) vocals, and by the time the band kicks in fully on “Hide Another Mistake,” the band’s many core strengths and unavoidable weakness — simply put, the 88 bring terribly little new to the table — are clear. Song for song, Over and Over is the bubblegum chewed because it’s so familiar rather than because it’s strikingly new: post-Beatles melodies here, glam swagger there, piano-led jauntiness courtesy of Adam Merrin everywhere (the unspoken roots of the band might actually be early Squeeze). That said, the members of the 88 are absolutely crackerjack at what they do, whether it’s the big beat stomp and wailed vocal break on “All ‘Cause of You” or the steady build in intensity of “Battle Scar,” each verse and chorus seeming more powerful than the previous. Ethan Allen’s production and engineering might just be the secret weapon throughout — he makes the rhythm section of Carlos Torres and Mark Vasapolli sound massive while never drowning out Merrin’s piano at the same time. The resultant balance of sound (and volume) makes for an immediately enjoyable listen, while the occasional curve balls add just enough variety as well — there are the unexpected percussion breaks on “Nobody Cares”; the near-epic wallop and slow, measured stomp of “Bowls”; the tender acoustic guitar and vocals of “You Belong to Me.” Over and Over won’t surprise anyone — but it entertains start to finish, flat out.

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eMusic Pick of the Day: Alpacas Orgling

“Alpacas Orgling” by L.E.O.

You will be stunned by both the production and songwriting on this album. One of my favorite records in a long time.

Alpacas Orgling is the sort of record that drives people who dislike the contemporary power pop underground scene absolutely out of their heads with rage. If those three letters look familiar, that’s entirely by design: LEO is an unabashed re-creation of the sound of vintage late-’70s Electric Light Orchestra on an indie rock budget. The album’s mastermind is Boston-based power popper Bleu McAuley, with key contributions from Mike Viola (formerly of the Candy Butchers), Papas Fritas’ Tony Goddess, Andy Sturmer of Jellyfish and members of Hanson, Chicago (!!) and Self. The ELO lifts are subtle but unmistakable, with direct nods to tunes like “Telephone Line” and “Mr. Blue Sky” mixed in with bits that cleverly nod to Jeff Lynne’s creamy pure pop goodness without actively ripping him off. It could possibly be the most clever album-length evocation of an established band’s sound since the Rutles. “But that’s all it is, right?” sneer the non-believers. “It’s nothing but a baldfaced ripoff of the sainted Jeff Lynne, and with a silly album title besides!” Well, there’s little defending the goofy album title other than the fact that it’s fun to say, but here’s the thing: Alpacas Orgling knocks McAuley’s polite, pedestrian solo albums into a cocked hat. In fact, with the possible exception of Papas Fritas’ unjustly overlooked second album, Helioself, a lost indie pop treasure of the late ’90s, Alpacas Orgling is the single best album any of its major participants have ever taken part in. And yes, that includes the hugely overrated Jellyfish, a band much more interesting in concept than in practice. Given the self-limiting task of channeling their own pop sensibilities through those of an earlier generation of craftsmen causes all concerned to step up their game: the songs are gorgeously arranged, with instantly memorable melodies and lyrics generally far less pretentious than the sort of claptrap Jeff Lynne himself often came up with. Of course, the most logical next step is for McAuley, Viola and company to take the lessons learned from this project back to their primary careers, but as long as one is clear on the album’s artistic intentions and is willing to approach this kind of wholesale imitation on its own playful level, this is an album any true lover of ’70s AM radio pop fluff should treasure.

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eMusic Pick of the Day: B-Sides and Rarities

“B-Sides and Rarities” by CAKE

Their cover of Sabbath’s “War Pigs” is worth the price of admission alone.

It’s just like Cake to eschew the typical compilation route, instead opting for a collection of “b-sides of rarities.” The group has consistently gone against the grain of popular opinion and won each and every time throughout their career. Here, the group tackles a number of covers that would seem to be impossible for one band to perform (Barry White’s “Never, Never Gonna Give You Up,” Buck Owens’ “Excuse Me, I Think I’ve Got a Heartache,” Frank Sinatra’s “Strangers in the Night”?!?!?) and pull them off without a hitch. It’s a testament to their versatility — and their resilience in the face of trends that have come and gone many times over — that Cake is still standing. And excelling.

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