The Best Albums You Probably Haven't Heard

Jerome Wincek & the Old Hats

The Revelator – EP 1

Independent

Jerome Wincek is one of my favorite artists. Created from acoustic guitars, primitive electronics, banjos, and gut buckets, his music is as raw as it is powerful. For me, it’s his voice that brings everything together though. It’s a voice that has truly lived life, a wise observer and a masterful storyteller that isn’t afraid to let his voice crack or go off key to convey his message. It’s the voice of the working class, the people struggling to get by and find happiness. While my favorite songs are on his album So Low (“Love is a Martyr” may be my favorite song ever in fact), it’s The Revelator EP’s that I feel are his most overwhelming works. Particularly EP 1, which sets the stage for the last man and woman on Earth and their journey together.

The Revelator is a series of three individual EP’s that tell the story of a man and a woman who meet after the “apocalypse/second coming/Jesus’ return/end of the world” or whatever other title you may choose to bestow upon it. This EP, the first in the series, tells the story of the man and woman meeting, their struggle to determine why they were left behind, whether or not they can trust each other, and what might be next.

To call this EP musically and lyrically intense would be a big understatement. For example, I might cite the haunting piano and kind of traditional Western meets Surf Rock style guitar work of “When Trouble Comes” or the mesmerizing drum loops and melodies in songs like “Another Sun” (my personal favorite track) and the absolutely brilliant “So The Lady” as ample evidence of what I’m talking about but it’s best if you just hear it for yourself and bask in its intensity. The EP’s final moment is the only arguable misstep. Entitled  “The Evil Hootenanny” it tries its damndest to blend Western Swing, Electronica, and Bluegrass but falls just shy of the mark as it never really comes together as a complete sounding piece. Despite that slight detour (and the fact that it was a valiant effort), the rest of this EP is flawless. Everything sounds new, fresh, and different yet strikingly traditional and familiar at the same time.

Jerome Wincek is probably one of the most honest sounding musicians you will ever hear. The rawness of his music and his keen ear for melodies are unlike any other artist I have ever heard (and as a music journalist for the last 18 years, I have literally heard thousands of artists). Don’t take my word for it though; go download it for free!

The Revelator EP 1 at: http://jeromewincek.bandcamp.com/album/the-revelator-part-1

Also check out his album So Low for free at: http://jeromewincek.bandcamp.com/album/so-low

Reviewed by Mark Fisher

The Best Albums You've Probably Never Heard

Warrant ‘96

Belly to Belly, Vol. 1

CMC Records

After the coup grunge created in the early nineties, many million-selling bands were left disillusioned and without record deals. No longer the flavor of the month, hard rock and glam bands let the hair down, cut the excess fat and got down to business for labels like CMC and Sanctuary. 

One such band was Warrant, known for their over-the-top Cherry Pie single and a string of hit power ballads to the tune of 10 million copies. So, why are they included here? Well, it’s because after 1992’s gold-selling Dog Eat Dog you probably stopped paying attention.

After a brief breakup/hiatus/disagreement that lasted about a year, vocalist Jani Lane returned to the band, while guitarist Joey Allen and drummer Steven Sweet did not. The band would go through a series of guitarists and drummers starting with 1995’s “comeback” album Ultraphobic. It was guitarist Rick Steier and drummer Bobby Borg coming in though that helped Warrant fully embrace a more raw sound that some would see as them embracing grunge but that I have always believed was what they sounded like when they came to eye level with their fans. Steier has been quoted as saying that this album is built around the concept of what happens when you have everything and then it’s gone.

Aside from Lane’s distinctive voice, Belly to Belly, Vol. 1 bears little resemblance to any other Warrant album (hence the “Warrant ‘96” moniker). “In the End (There’s Nothing)” kicks the album off with dark tones and grungy guitars, culminating in a buried, but obvious Beatles-esque melody. “Feels Good” follows it and you are crazy if you aren’t hooked, following the same format with the grungy verses and a surprisingly hard rock, bright-sounding chorus contrasting the verses. Rounding out the trio of awesomeness is the moving “Letter  to a Friend.” This is, in my opinion, Jani Lane’s finest moment lyrically. Driven by its bass line, Lane offers some deep insights like “This is not a fairy tale, this is life and sometimes life fails” and “There’s a place in the sun for everyone, you just gotta find it.”

After it’s initial trio of tunes, the album continues to ebb and flow. The slightly cheesy “A.Y.M.” (Angry Young Man), embraces the grunge sound wholeheartedly, all the while smirking just underneath the surface as if mocking the mindset. Meanwhile, the mostly acoustic “Room With a View” lyrically is the anti-thesis of “Letter to a Friend,” exploring the darker side of loneliness and let down.

For my money, this is hands down, the best Warrant album. None of their other albums touch it’s intimate feel, especially lyrically. The production is raw and Lane sounds like he is exorcising his personal demons throughout it’s entirety. It’s a great moment in music history, and certainly Warrant’s history, that has been almost entirely ignored. Unfortunately, it also serves as the final album Warrant would record with Lane, who passed away in 2011. 

The Best Albums You Probably Haven't Heard

Andy MacCarroll & Moral Support “Zionic Bonds”

Reviewed by Ian Eastman

I do a lot of writing, but never about music. I tried to write a music review once for a school assignment but gave up in frustration and defeat, so normally I would pass on a request like this. Mark’s invitation intrigued me because I love getting tipped off to good stuff, whether a book, film, or album, and contributing a column to this series seemed like an appropriate way to pay it forward.

That, and the note I got from Mark when I tossed out my selection for consideration: “Ian—There are very few people I know that can come up with an album I have never heard or known of, but you have done it!” Very few people have an encyclopedic knowledge of Christian rock like Mark’s, and I was afraid hinting about this album and not delivering the goods might throw Mark into an existential crisis. I just hope that I can do the album justice, because the album Zionic Bonds by Andy McCarroll & Moral Support deserves the recognition.

There was very little innovative Christian music in 1980. If you went to your local Bible bookstore to buy some music of a “youthful” nature you’d probably be handed something like Keith Green, the Imperials, Evie, or Silverwind. It all sounded like something you’d hear on easy listening radio. Rarely in stock, but available through special order were things of a more contemporary nature like Larry Norman, Randy Stonehill, and Resurrection Band. It was an improvement, even though those artists seemed stuck in the previous decade (at least in my 12 year-old perception).

To the few people that heard it in 1980, Andy MacCarroll & Moral Support’s “Zionic Bonds” was like an atom bomb going off in the Christian music scene. They were a high energy Irish band that encompassed everything exciting about punk and new wave circa 1977 – 1980. The combo was musically diverse, as evidenced by its one-and-one album: Sin is a great punk anthem, I Am Human takes things in a more new wave direction, and In Control has a nice reggae groove. One thing that sets this album apart from other Christian alternative albums of the 80s is that it has real heart. The lyrics ooze love and concern for the kids listening to the music.

I was heartbroken when my cassette was eaten by my boom box after 24 years. This band and album is so obscure that I thought I had lost the music forever. I was elated to snag a Dutch import on eBay several years ago and hardly a week goes by that I don’t listen to it.

I’d recommend buying a copy if you ever see one for sale, especially if you are a fan of Christian alternative music. There’s some real history here--these guys were alternative when Daniel Amos was still wearing cowboy hats!

The Best Albums You Probably Haven't Heard  

Reviews by Todd Carlson  

 I remember it clearly. Moke opened for King's X on their Manic Moonlight tour. I had never heard of them before, but they made a big impression. After their set, literally half of the venue was at the merchandise table buying their CD.

     Carnival , their second album, was released in 2001. It was classic british, guitar-driven rock with pinch of alternative and a dash of pop at a time in which most rock bands were experimenting with rap and electronica. That vintage vibe, along with a crisp, modern production, helped this album to stand out. From the opening punch of  "My Degeneration" to the mellow soundscape of closer "Fluicide" , there isn't a bad song in the bunch. John Hogg's vocals are equal parts grit and soul and his melodies are infectious. A very solid effort that should have gotten a lot more attention.

Diffuser formed in 1994 on Long Island,NY. Lead by Tomas Costanza, they only recorded 2 major label albums before their break-up in 2004. Their first release was "Injury Loves Melody".

    The album is 11 tracks of what can be described as alternative, but definitely leaning towards the rock side. Unlike a lot of alternative, it's a rich texture of great hooks with many layers of guitars and vocals. From uptempo songs such as "I Am" and "Karma" , to the slower "Loser of The Year" , the album has a nice cohesive feel to it.

The Best Albums You Probably Haven't Heard

Burning Airlines

Identikit

2001

DeSoto Records

Review by Jim McDonald

There are a handful of musical geniuses who will never be fully appreciated for their contributions to their art form.  In the world of post punk there is J. Robbins.  Those who know the unsung hero of noise tend to think of his work as singer/guitarist/songwriter for the Jawbox, a band who created a sound that was unique, harsh and melodic.  Few are aware of his activity with punks Government Issue starting in 1986, and his post Jawbox bands Burning Airlines, Channels, and Office Of Future Plans.  Beyond these, he has produced some of the most underrated albums of the last few decades, including released by Braid, mewithoutyou, Jets To Brazil, The Promise Ring, Hey Mercedes, Jawbreaker and Against Me.  Considering all his projects, it’s the feeling of this writer that Robbins produced his best work with Burning Airlines. 

Burning Airlines emerged after the demise of Jawbox as a trio featuring former bandmates Bill Barbot (bass, ex-Jawbox) and Peter Moffet (drums, ex-Government Issue).  While Jawbox had a wild and untamed sound, their accessible, self-titled release on Atlantic Records alternative subsidiary TAG in 1996 showed the band focused to a cutting edge that mixed just enough pop melody with the trademark Jawbox noise to bring the band widespread attention.  Just when success lingered around the corner Jawbox broke up.  In the aftermath Robbins created Burning Airlines, a melodic noise rock outfit that picks up well from where Jawbox left off, adding a greater sense of fun and emphasis on J. Robbins’ top notch work as a lyricist. 

While many reviews have claimed that the band’s debut, “Mission: Control!” is Burning Airlines’ best work (often citing the presence of Barbot who left after this release as a rationale), I am fond of second, and final, release “Identikit.”  This overlooked gem opens with a roar as “Outside the Aviary,” a fairly straight forward driving punk number with a quirky Jawbox riff during the verses, smart lyrics, and a catchy melody that sticks to the brain.  “Morricone Dancehall” kicks in before the awe inspired by its predecessor has time to dissipate.  This track offers a funky take on the meandering noise produced by Jawbox, but in a slick, fun, upbeat and melodic package.  It’s this mix of unexpected swirling and clashing guitars with melody and a joy that didn’t often come to the forefront in the intensity of Robbins’ previous band. 

While there are no real ballads on a Jawbox album, the slow paced and introspective “A Song With No Words” and “A Lexicon” offer a unique tone and feel I haven’t encountered elsewhere.  “A Lexicon” creates a hypnotic effect by juxtaposing a staccato guitar riff with a busy, counter-melodic bass line.  Lyrics such as “We are, we are steering by falling stars.  We’re swearing upon a lexicon of scars” are delivered with an energy that pulls the listener in.  “A Song With No Words” is as close to a love song as the band delivers with a prominent staggering bass line behind a guitar line that would sound drunk and piercing alone.  In the end the mix of these dissimilar parts creates a landscape that is unique and haunting, the perfect background for Robbins to paint a lyrical mosaic upon.  Neither of these songs is devoid of power, and both are eerie and beautiful. 

While many lament the lack of Barbot’s bass on this album, Mike Harbin creates quirky bass melodies that become the focal point of many songs.  Title track “Identikit” boasts a nearly whimsical bass line, creating a counterpoint to Robbins’ swirling, schizophrenic guitar work during the verses.  As the chorus approaches the band pulls together into a tight syncopated rhythm.  In “All Sincerity” a surprisingly simple bass riff holds the song together being the glue that holds the seemingly mismatched guitar and drums together.  The brooding “Surgeon’s House” has but a few soft guitar notes in the verse, allowing Harbin’s eccentric bass line to become the main rhythm for much of the song.  While often a busy bass can make a song sound cluttered, Harbin is obviously of the Brian Ritche (Violent Femmes) school of bass guitar, playing the instrument like a lead instrument while still holding down the low end.  Harbin’s bass adds texture and emotion, and is a primary factor in the magic that permeates this release. 

“Identikit” is the album I always wanted to hear from J. Robbins.  The soundscape shifts from driving punk, to introspective improvisation, all mixed with a  dash of pop melody and outstanding production.  It’s a shame that the band called it quits after the tour in support of this bit of musical genius.  As for me, I will continue to rock out to “Paper Crowns” and croon along to “Dear Hilary” for years to come.  These songs stand the test of time, always sounding current – a testament to J. Robbins’ abilities as a songwriter.  Every now and then I introduce a new to the wonder that was Burning Airlines and watch their face as they take in “Identikit” for the first time.  It is truly a lost treasure worthy of reclaiming. 

The Best Albums You Probably Haven't Heard

Loudermilk

The Red Record (2002)

Dreamworks Records

Eleven years ago, one of the most heinously overlooked albums of the 2000’s was released. The Red Record by Loudermilk is that album.

Initially coming off as Vince Neil fronting The Smashing Pumpkins, it’s so much more. From Davey Ingersoll's (vocals, guitar) poetic lyrics and lofty expression, to the "crash and burn" yet "killing us softly" of Isaac Carpenter (drums), Mark Watrous (guitar, piano, vocals), and Shane Middleton (bass), the output is simply amazing. The production work of George Drakoulias (The Black Crowes, The Cult, Tom Petty) and Ron Aniello (on two tracks) isn't overbearing; it's just right. The dark and brooding "California" touches on a party Ingersoll once observed, one of detached and stark figures wandering their way through life. Full of bombast and punk attitude, "Elekt" sounds familiar, but in a new way. "Mai" is chock-full of so much power, emotion, and affection that it simply leaves you drained by song's end. Not only a cool song title, "97 Ways to Kill a Superhero" is a beautiful piano ballad accompanied by lush strings, acoustic guitars, and subdued drums.

Sadly, Dreamworks Records didn’t promote this objet d' art, and that was a tragedy. In a supposed attempt to get out of their contract with the record label, the band eventually changed their name to Gosling. They released two albums under that moniker: e.p. and Here Is... The sound was more subdued, but it still packed an emotive punch.

Loudermilk/Gosling has since called it a day, so do whatever it takes to check out The Red Record.

Key Songs: "The Twisting" and its dirge-like love letter set to melancholic instrumentation. Also, the aforementioned "Mai" and "California," "Juillet" and its straightforward rock aesthetic and expressive vision, and album closing "Attached at the Mouth."

Chad Olson

The Clash

Sound System

Legacy Records

Sound System is a comprehensive look at the unique stamp The Clash put on rock and roll in the seventies and eighties. It’s a massive twelve disc set that includes the albums as well as three discs worth of extras and rarities and a DVD chronicling all the band’s visual works.

As any self-respecting rock fan will know, the albums need not be included here. We know them all by heart and we know that with today’s technology they can only sound better, right? So, we aren’t gonna waste time talking about the albums. If you don’t have them, go buy them because they will change your life.

On to the rarities discs then. All three discs contain very early works from the band and the quality is shoddy at best. Disc one kicks off with the single version of “White Riot” and the B-side “1977,” to little fanfare and it’s pretty downhill with the gritty production and a batch of songs that just don’t live up to the band’s legacy (I’m looking at you “Bank Robber” and “1-2 Crush On You”). The Cost of Living EP appears on this disc as well so “I Fought the Law” saves the album a bit.

Disc Two fares a little better featuring both the single version and the 7” B-side (with different lyrics) of “This Is Radio Clash.” It also includes a forgettable Bob Clearmountain mix of “Rock the Casbah” and some outtakes of  both “Midnight to Stevens” and the album’s main bright spot “The Beautiful People Are Ugly Too.”

Disc Three focuses on the rarities by collecting the band’s first ever recording sessions (not a good thing as it turns out), the Guy Stevens produced Polydor demos (only a year after their original), and a live show from 1979 that took place at The Lyceum in London. The Polydor demos are largely a better version of the band’s original demos with the editions of “Janie Jones” and “Career Opportunities.”  “White Riot” is the most notably different as it’s much tighter and clearer. The live show is okay but the recording is pretty weak (typical of the time though, so just making it available is kinda cool for diehard fans). I was really excited to check these discs out and, to be honest, I was shocked at how terrible they are.

What redeems the extras in this set is the DVD. By the time I got to it I was questioning whether I actually still enjoyed The Clash but the DVD served as a strong reminder of how important this band actually was and still is. It features all the band’s videos, which in hindsight is an interesting revelation. The band changed so much from their early punk rock days to the questionable choices the early eighties brought, particularly with regards to fashion and bigger melodies. I don’t see this as a bad thing but they seemed so much less volatile by the early to mid-eighties. Super 8 Medley and the immortal Clash on Broadway appear here as well reminding us that The Clash were more than just a band. The Julien Temple archive appears here as does the White Riot Interview, both of which are interesting once through and show a much humbler band than you are expecting to see. A Sussex University show from 1977 is also included which is kinda fun as well but it makes it obvious that the band were still trying to find their place. They are awkward all the way through but the it was certainly resonating with the fans.

Overall, if you aren’t a diehard fan of The Clash then this is not for you. If you are a diehard fan then you’ll likely want to own this, but I’m not convinced it’s worth the cost of admission. There aren’t any real hidden gems here in my opinion.