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eMusic Pick of the Day - The Donnas Turn 21

“The Donnas Turn 21″ by THE DONNAS

Young, hot, loud and awesome. The Donnas are definitely the Ramones meet the Runaways.

Aspiring to nothing more than a good old-fashioned rock & roll party, the Donnas won a cult following and considerable media attention in the late ’90s after scoring a record deal right out of high school. Early on, they were invariably described as “the Ramones meet the Runaways,” with a definite emphasis on the former (they’d even adopted identical first names as a tribute). But their bratty high-school-delinquent image was clearly indebted to the latter, as their songs concerned themselves mostly with boys, booze, drugs, and hated classmates. As the Donnas grew up and polished their technical abilities, their music evolved into a distinctly female take on cock-rock metal, drawing more from AC/DC, Kiss, and Mötley Crüe than from punk. Some critics praised their cheerfully crude adoption of male sexual bravado; others complained that the band’s music never transcended its vintage influences, and remained suspicious that their naughty-girl packaging was a bigger part of their appeal. The Donnas were originally formed in May 1993, when all four members (all born in 1979) were still in the eighth grade together in Palo Alto, CA. Calling themselves Ragady Anne at first, they played covers of groups like R.E.M., L7, the Muffs, and Shonen Knife, and entered a junior-high battle of the bands just one month after forming. During high school, they kept practicing virtually every afternoon, and soon moved into riot grrrl territory with inspiration from bands like Bikini Kill and Bratmobile (though it was more musical than political). In early 1995, Ragady Anne released a 7″ EP on the local Radio Trash label, but soon changed their name to the Electrocutes and adopted a trashy jailbait image and a loud-fast-rules aesthetic. They gigged around the Bay Area that year and were spotted by Darin Raffaelli, a onetime member of trash-punkers Supercharger and head of the small Radio X label. Raffaelli had written a cache of Ramones-style songs for a hypothetical girl band, and approached the Electrocutes about recording them. Deciding that the songs didn’t fit the Electrocutes’ metal-queen style, the girls created Ramones-worshipping alter egos known as the Donnas, even going so far as to mock them in Electrocutes interviews as though they were different people. Thus, vocalist Brett Anderson, guitarist Allison Robertson, bassist Maya Ford, and drummer Torry Castellano became Donna A., Donna R., Donna F., and Donna C. Before 1995 was out, they played their first gig as the Donnas, and released their first single under that name on Radio X. Two more followed in 1996, the last one on Raffaelli’s new imprint, Super*teem. Meanwhile, they hadn’t yet abandoned their identity as the Electrocutes, and in fact recorded an album called Steal Yer Lunch Money during 1996; however, it wasn’t released until three years later, when Sympathy for the Record Industry acquired the rights in the wake of the Donnas’ eventual success. In 1997, the Donnas recorded a self-titled debut album for Super*teem, using songs ghostwritten by Raffaelli. Critics charged that Raffaelli was acting as the band’s Svengali, likening their relationship to that of Kim Fowley and the Runaways; both sides vehemently denied that was the case, and eventually severed their professional relationship to avoid fueling more speculation. Following the release of The Donnas, the group took a week off from its senior year of high school to tour Japan. After graduation, they postponed plans for college and accepted an offer to sign with Bay Area indie Lookout, the original home of Green Day. Their label debut, American Teenage Rock ‘n’ Roll Machine, was released in early 1998, and did feature some uncredited songwriting input from Raffaelli. The Donnas quickly became underground punk favorites, and even landed some attention from mainstream media like MTV. The Donnas’ third album, Get Skintight, appeared in 1999 and marked the first time the band composed its material with no outside assistance. A distinct hard rock influence began to creep into their compositions, underlined by their cover of Mötley Crüe’s “Too Fast for Love”; they even opened a show for Cinderella. That year, they also appeared in the teen comedies Jawbreaker and Drive Me Crazy, the latter as the Electrocutes. In early 2001, the band issued The Donnas Turn 21, which continued their move away from punk and toward the hard rock mainstream of 15-20 years previous (this time the cover was Judas Priest’s “Living After Midnight”). The album received some of their weakest reviews to date, generally from critics who felt that their party-hardy subject matter was starting to feel forced. Nonetheless, the Donnas caught the attention of major label Atlantic, who signed them up in late 2001. Launched with a new wave of publicity, the Donnas’ label debut, Spend the Night, arrived in 2002 and became their first album to break into the Top 100 of the pop charts. It also earned them their biggest radio hit to date in the single “Take It Off,” whose video also got some MTV airplay. In the summer of 2003, the Donnas played the main stage on the revived Lollapalooza tour. That September, after a full year and a half of touring and promoting, the girls took a break to rest up. When the foursome reunited in 2004, they made a conscious decision to shake the Ramones comparisons by making a record that drew from their various other influences. They entered the studio with Butch Walker (Avril Lavigne, Injected) and created the highly polished and semi-poppy Gold Medal album, released in October that year. The following album found the group embracing their hair metal influences, resulting in a record heavier than their last, but cleaner than their early punk efforts. With the help of producer Jay Ruston (the Polyphonic Spree, Meat Loaf), they released Bitchin’ on their own independent label, Purple Feather, in September 2007.

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eMusic Pick of the Day - The Day I Turned to Glass

“The Day I Turned to Glass” by HONEYCUT

Imagine Squeeze produced by Trent Reznor and Timbaland and you have just the beginning of what this album brings to the table.

Only occasionally do you find a group or album that manages to incorporate diverse influences into a unique sound and still remain absolutely accessible, be it to the casual radio listener or the die-hard record collector. Honeycut is such a group, and their debut, The Day I Turned to Glass, is one such album. Comprised of by-now fixtures in the Bay Area music scene Bart Davenport, Tony Sevener (who, though he uses both live and programmed drums on the record, plays — as in, taps out each snare hit, each cymbal crash — the MPC during shows), and Hervé Salters (whose keyboard work is found on many Quannum releases), the band weaves its way through soul, funk, rock, bossa nova, and electronica without ever stopping firmly on one, instead creating something that’s very much their own. Salters’ key grooves are biting but warm, moving from hard-edged riffs to lush chords, while Davenport’s vocals stay clean and smooth the entire time, which isn’t to say he’s lacking in versatility. He reaches easily into a falsetto in “Silky” and “Tough Kid” but stays lower in songs like the fantastically sinister yet somehow very bright and fun “Shadows” and “The Day I Turned to Glass.” It is, in fact, the darker, faster tracks on which Honeycut truly excel, where the talents of the three members come together most effectively and excitingly. Spooky chords and a key vamp haunt the title track as Davenport croons, “So what if you send me a bill/Don’t mean I’m gonna pay/You could send me a piano/Don’t mean I’m gonna play,” with confidence and swagger, both of which continue throughout the entire album. “Baby I’m so glad that your mama gave birth to you,” he sings in “Crowded Avenue,” doing his best Prince imitation, then switching to purposeful didacticism for the jazzy bittersweet closer, “Fallen to Greed.” Salters mixes live horns and strings into his keys, the whole record a fusion of near contrasts, like the name of the band itself, giving Honeycut an almost unclassifiable vibe about them that makes them entertaining and danceable while retaining their musical integrity. The Day I Turned to Glass is the kind of record that’s good for almost any situation; it’s quick but controlled, welcoming but with a mysterious edge, and, most importantly, always really funky, which makes for something pretty great, and very, very fun.

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eMusic Pick of the Day - Go

“Go” by VERTICAL HORIZON

Like a lot of people I made the mistake of thinking VH was a Christian rock band. Regardless of what others may think the band states that their big hit “Everything You Want” is not about Jesus. LOL.

In 1999, Vertical Horizon didn’t have much with which to follow its breakthrough single, “Everything You Want.” And yet the song’s percolating groove provided enough sustenance for listeners led astray by Secret Samadhi, Live’s pompous follow-up to Throwing Copper. Now, Vertical has returned with Go, an album in which “When You Cry” stands in for “Everything You Want” and introduces the album’s catch phrase psychotherapy, with Matthew Scannell singing “I can’t wait until you let me down.” “I’m Still Here” seems to cross the band’s 1999 hit with Michelle Branch’s “Everywhere,” which was produced by Go helmer John Shanks. “Echo” is at once the album’s hookiest and most opaque moment, applying the familiar acoustic/electric, quiet-loud formula. “I don’t want to be just another echo,” Scannell sings. [This version of the album includes the bonus track “Better When You’re Not There.”]

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eMusic Pick of the Day - Black Licorice


“Black Licorice” by CONVOY

Alt-Country is not just some kind of keyboard command in Nashville, it’s a style of rock made famous by bands like the Stones and carried on by the boys of Convoy.

If the Jayhawks had taken less influence from the Byrds and more influence from the Beach Boys, they’d probably sound a lot like Convoy. Their debut release for Warner Bros., Black Licorice, is essentially a revved-up version of their earlier collection of demos (1999’s Pineapple Recording Sessions) with the addition of several new tracks. The studio re-recordings are crisper and have more punch than the earlier versions, and, for the most part, are more successful. The anthemic “Weekends” launches off the runway like a pop 747, while the earthy “Is He in Your Heart Tonight” evokes the intimate spirit of Gram Parsons. Unfortunately, either the band or the label saw fit to revamp some of their tracks, transforming the tender “Caught Up in You” and the sunny “California Girls” into stop-start, radio friendly alternative rock clones, sounding more like Sugar Ray than the warm country-influenced rock that pervades the rest of the album. Luckily, the highlights outweigh the flaws, including the chunky “Gone So Quick Tomorrow” which jumpstarts the album, and the Stonesy “Loosen it Up” which could’ve been ripped from the Exile on Main Street sessions. Since their earlier release was a collection of demos, Black Licorice holds together better as an album, but in some cases the refreshing looseness of the Pineapple Recording Sessions has been stripped away, to the detriment of the songs themselves.

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eMusic Pick of the Day: Andy Pratt


“Andy Pratt” by ANDY PRATT

A look inside an artist’s mind shortly before a nervous breakdown forced him out of music.

Andy Pratt’s self-titled album is a very quirky, idiosyncratic album that definitely establishes Pratt as a major force in the singer-songwriter arena. He also sounds very depressed as many of the song titles indicate (e.g. “Inside Me Wants Out,” “So Fine, (It’s Frightening)”). However, this doesn’t diminish the album’s power or the particular style that is very much Pratt’s own. The highlight of the album is the near-hit “Avenging Annie.” Sung mostly in Pratt’s falsetto voice, it is a tale of a mythical heroine told from the woman’s point of view. The fast piano technique is impressive, as are some other production touches (such as the cat sounds and descending guitar line). The song deserves its classic status hands down. The next number, “Inside Me Wants Out,” is in the running as one of the most dismal songs ever recorded, and could seriously be used as a study tool for a psychology class — Sigmund Freud would have a field day with it. It also has a strong hook, and is another top-notch cut on the album. There is a strong jazz element in several of the songs, particularly “Sittin’ Down In The Twilight,” with its almost funky trombone solo. Pratt’s falsetto voice is also a strongly felt presence, though its sometimes shrill quality may not be to the liking of all. Though this album is not nearly as polished as Pratt’s “Resolution,” and has a very different, more home-made feel, it is nearly as powerful.

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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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