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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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eMusic Pick of the Day: You Are All Diseased

“You Are All Diseased” by GEORGE CARLIN

You can find great comedy on eMusic and Carlin’s masterful observance of life’s little annoyances is entertainingly brilliant.

As the years progress, George Carlin only gets angrier — and, considering that the world is just getting more ridiculous, that may be the only response. Fortunately, his anger keeps him sharp, and that’s why he’s still fascinating and funny in 1999, when most of his peers have dried up. The key to his success is that he doesn’t continue to recycle his routines — he writes new material which illustrates that he’s not just a comedian, he’s a commentator. He tackles a number of subjects on You Are All Diseased, from familiar items like “Airport Security” to the silly cigar boom of the late ’90s, television, religion, and “American Bullshit.” Some of this is dead-on and some of it suffers from a delivery that is a bit too reminiscent of past routines, but it’s all entertaining and the best of it ranks with the best of his past work. Not many comedians could claim that their latter-day work is as good as the stuff that made their name, and that’s a strong testament to Carlin’s skills, talent and wit.

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eMusic Pick of the Day: Jennie Bomb


“Jennie Bomb” by SAHARA HOTNIGHTS

Don’t listen to this album in the car unless you’re ready to get a speeding ticket. Driving rock from cool chicks. Hotnights, indeed!

Swedish rock vamps Sahara Hotnights spent their teenage years discovering music and making a band. They obviously paid close attention to the raw form of those who came before: Chrissie Hynde, Joan Jett, and PJ Harvey. Sisters Jennie (guitar) and Johanna Asplund (bass), Josephine Forsman (drums), and Maria Andersson (vocals/guitar) eventually derived a ’70s-inspired, guitar-driven sound by the time they reached their twenties. They arrived in America in fall 2002 to release Jennie Bomb, and the timing was perfect. Pop kids were mad for the likes of the White Stripes, the Hives, and the Vines, but Sahara Hotnights gave the new millennium rock push a bit more swagger. Jennie Bomb is a punk-glam mix and it’s a heavy disposition for such a young band, but equally impressive. There’s a lot of attitude as well, but in good measure. Album opener “Alright Alright” kicks things off with snarling guitars and quick-stepped drumming. Andersson is a vocal vixen delivering a tough impression with tough lyrics. “On Top of Your World” bounces with punk-styled pop, whereas “Fall Into Line” highlights Jennie Bomb’s undeniable elasticity. It’s infectiously energetic and free of modern rock’s catchy radio hit. Sahara Hotnights composed an entire album of sophisticated rock songs and it’s a solid effort, musically and vocally. They’re certainly giving the boys a run for their money, too.

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eMusic Pick of the Day: Severed

“Severed” by MUNK

Dark, brooding and dangerous. This album has hooks that will sink deep into your flesh and make you keep hitting the repeat button.

As the walls of the traditional record industry crumble down and artists like Radiohead, Nine Inch Nails and Madonna strike out to peddle their wares directly to the consumer, is there any hope for an up-and-coming independent artist to reach the status of “international superstar”? While the major label behemoth slowly lumbers to stop the bleed, just beneath the shallow surface of popular consciousness, New Media is in rapid, exponential growth, poised to surpass the business model of the old guard.

After the release of his beats driven debut, 2001’s ANIME SWEETHEART and the confessional, hard rock follow-up 2003’s SEVERED, [munk] was critically lauded in traditional press, regional major market radio and national college radio. The Boston Globe wrote, “[munk] crafts his music with intelligence and panache. Can superstar status be far behind?” He was invited by the program director at WFNX, Boston to perform alongside signed touring artists in the Phoenix Best Music Poll, was the listener voted feature artist on WBCN’s Buzzcut for two weeks and had the phone lines lit for a solid hour at WAAF after an interview and debut of tracks from SEVERED. Two songs from SEVERED received honors in the 11th Annual Billboard World Song Contest, noted as “demonstrations of the talent and dedication it takes to write a hit song” by Billboard Contest Director David Kindred. [munk] also earned Top 30 airplay on over 100 college radio stations around the country.

Make sure you check out “Blow Away” (the closing titles theme song to “Number One with a Bullet”)

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eMusic Pick of the Day: Mouthful of Love

“Mouthful of Love” by YOUNG HEART ATTACK

Rock yer face off, balls-to-the wall, high octane tunes with great hooks. Drop this into gear and floor it!

It’s appropriate that Young Heart Attack hail from Austin, as their XL debut feels like a love letter to the kids in Dazed and Confused, Richard Linklater’s meditation on teenage kicks in 1970s Texas. Mouthful of Love is a mulletheaded rush of the Who, Led Zeppelin, and the Sweet’s “Fox on the Run” — it’s nappy, not slow, and likely narcotics-fueled. Daltrey-do’d vocalist/guitarist Chris Hodge shares the mike with slender Jennifer Stephens. It’s a weird mix, because Hodge is one of those guys who doesn’t so much sing as scream (see Brian Johnson), and Stephens wails with the high-pitched glee of a singer who can sing and who knows it. But the two make it work, painfully so — they demand Mouthful of Love be played through cabinet speakers, because that’s the only way their collective yowling and the din of two guitars won’t destroy the ears. In typical ’70s revivalist fashion, the introductory title track spends nearly a minute rocking before the vocalists come in, making their mark on the line “Boots are gonna knock now.” “Starlite” is a completely un-ironic love anthem (”Because you wear my jacket girl!”), a triumphant big block stomp decorated with a gorgeous chorus break from Stephens, and “Tommy Shots”‘ ridiculous thrill of crackling riff and flying spit foreshadows “Over and Over,” Young Heart Attack’s MC5 cover that builds an addition onto the phrase “over the top.” It’s all ascending “Do do do do do do do doo!” vocal squeals, Hodge’s clenched-eyelids lead, and caterwauling electric guitar baited by pounding snare. But as giddy as all of this is, YHA’s enthusiasm can work against them. Their songs contain so many relentlessly exciting chunks, it can be difficult for the band to build a dynamic beyond Rock! You! Right! Now! Ahhrrggh! Still, the loopy intro and subsequent Stones vibe of “(Take Me Back) Mary Jane” offer some levity, and make the double-time stumble of “Sick of Doing Time” even more satisfying. By the time closer “Misty Rowe” rolls around, you’re back to reveling in throbbing summer-night nostalgia. Whose summer nights? Who cares? A case of Shiner, loud guitars, and hot American metal through the ass of your jeans — that’s a Mouthful of Love, and it’s about to eat you for dinner.

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eMusic Pick of the Day: Designs in Music

“Designs in Music” by BEN VAUGHN

Designs in Music is like the big hip movie score for the film of your life constantly playing before your eyes.

While rock fans know Ben Vaughn from the handful of witty but rockin’ albums he cut in the ’80s and ’90s with his band the Ben Vaughn Combo, since the mid-’90s Vaughn has been making his bread and butter working as a composer for film and television, hitting pay dirt with his music for the shows Third Rock from the Sun, Grounded for Life and That 70s Show. For his first album since 1997, Vaughn has taken his inspiration from his current day job by composing and conducting 12 pieces for movies that exist only in his head. Recorded with a 16-piece studio band (complete with horns, strings, and a whistler), Designs in Music is a collection of instrumentals that harkens back to the era when film scores had personality and added atmosphere to a film rather than simply adding more rumble to the Dolby Surround mix. Vaughn appears to be having some fun with this stuff, and the shadows of such sonic eccentrics as Esquivel and Joe Meek can be heard throughout the album, but Designs in Music doesn’t sound at all like a goof; there’s far too much skill on display for this to be a joke, and Vaughn and his collaborators certainly do right by their influences; the spy flick ambiance of “The Stalker Pt. II,” the western pastiche on “Smoketree Serenade,” the European intrigue of “The Big Parade,” and the uber-cheery “Avanti” wouldn’t sound out of place in any number of late-show epics from the ’60s, while the arrangements (by Vaughn and Ryan “Shmedly” Maynes) are superbly inventive (facing the rattley twang of the bass end of a clavinet against a banjo shouldn’t work, but somehow they make it happen). Designs in Music is smart and engaging fun that honors pop music history while making just a little of its own.

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eMusic Pick of the Day: Death by Sexy

“Death by Sexy” by EAGLES OF DEATH METAL

No subtlety about it, this is rollin-down-the-avenue-windows-down music made for cranking out loud.

A super-stööpid name, a slumming superstar and a living caricature of mustachioed machismo — hell, everything about Eagles of Death Metal’s 2004 debut screamed “one-off.” But through no-brainer riffs and punchy production (think the tinny, overblown speakers of a make-out van), their second album Death By Sexy is a far meatier sleazefest. Unlike the costumed cock-rock of the Darkness, Death By Sexy pays no allegiance to era or scene, allowing for honky-tonk womanizing, tube-snake boogying and a drop of cold gin to cohabitate in the same moist sweep. Lead falsetto Jesse “the Devil” Hughes is on the prowl (”I can be your daddy/Be your rock and rolla/You can be my sugar, be my cherry cola”), but he remains hosed down by the mecho-maniacal Devo-styled drumming of Queens of the Stone Age lead brah Josh Homme — check out “Poor Doggie,” which mixes T. Rex stomp with innuendo so deliciously unsubtle that AC/DC would cringe. Or cheer.

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