Brendan Canning – Something For All of Us

Rating: ★★☆☆☆

Dear Arts and Crafts (and Broken Social Scene),

You really had me fooled.  From the minute you threw You Forgot It In People at me, I was hooked; I pledged allegiance to your label and its output. I trusted you; I considered you a friend.

You kept dishing it out, and even the first song on this record, “Something for All of Us” had me thirsty. It was murky, with driving percussion that just sounded like I needed it. You knew I would just listen to the first song and buy it.  I now call you out, tricksters!

There was magic, albeit momentary, then it disappeared. Immediately Brendan jumps into a song that eliminates the magic. It’s really slow, which isn’t a fault, but a majority of the song sounds like he just re-recorded the end of a Broken Social Scene song as the band faded away.

I thought that “Hit the Wall,” with the pace of the song alone would bring it back to the goodness, but there just doesn’t seem to be a focus in this song. I just couldn’t get that feeling back.  So you thought you’d let him get away with a soft acoustic song, “Snowballs and Icicles.” It was good, but then it ended – how is one of the better songs on this album the shortest?

So you try and get groovier with the next couple of numbers, but this is when I caught your ploy. You’ve been covering Canning‘s voice over this whole album. Sure, he doesn’t have the greatest range, but it sounds as if you disguised it, hidden behind a mask of harmonies, staying low in the mix.

I got lost in the next couple of songs, spending more time trying to make myself like this than anything else. Even after those two songs, “Possible Grenade” showed me promise, then it just floated way off into nowhere. That’s exactly what happened with the rest of the album, and in time, I am sure the whole album will float off into the back of my collection

I know that Broken Social Scene is a collective of sorts, but I don’t know where Canning fits in. I suppose his ideas are fleshed out by the rest of the band; or else he just completely went far off his usual course here. You unleashed him Arts and Crafts. You let him put out an entire album that meanders in and out of listenability, often within the same song. I hold you responsible for this. I don’t want my money back; I enjoy the majority of your output, but I would like the four straight hours I spent listening to this album back. You owe me. Or else we are not friends.

[audio:https://austintownhall.com/wp-content/uploads/2008/07/under-the-stairs.mp3]

Download: under-the-stairs.mp3

CSS – Donkey

Rating: ★★★★☆

This album kicks off with “Jager Yoga,” which-in my opinion-could have come off the last record by CSS. It’s got a throbbing bass line, some solid beats, backed by more prominent guitar work. It’s like a continuation, but in that, it kind of prepares you to travel with the band.

Suddenly, the next track brings in some heavy guitar work. This song resembles The Sounds, which bring in the full power of the band, giving them a different route to travel than just the typical dance track. It’s as if they came to rock, to melt faces if you will.

Then they go back to the old pattern with “Reggae All Night,” which kind of takes the album back a step, but sure enough, they bring back out the guitars in “Give Up.” I don’t know if the juxtaposition in songs builds a steady flow for a complete album, but most listeners will see a band with a new purpose.

The next three tracks offer something a little different, something a little aged. “Beautiful Song” and “Move” take the band as close to the eighties as they have been before, and in all honesty, it works for them. You can tell they put a little more focus on the instruments here, still creating rhythms we can all dance too, but without the requirement of blasting the beats in our ears.

“Beautiful Achieve” is a stranger phenomenon than other tracks. They slow it down here, but use the samples and loops that established the band. It’s an interesting touch to this album, throwing in a little variety.

“Air Painter” finally brings it all to a close, but it brings you to a new realization, quite different than the opening track. If I’m not mistaken, The Sounds singer, Maja Ivarrson, makes an appearance. The song is great – hands down, but it does come off a bit like a cover song.

The emphasis for me, and for the reference to that other band, is that this album lets CSS out of the the strict dance routine. Each song is over 3 minutes long, which means the band spent more time writing the songs, and fleshing out the sounds, allowing the songs themselves to carry the beat, rather than the beat carrying the song. I think its an impressive step, even if sounds like some other band did it before  It shows the band stepping out, and stepping up. At this point, there is lots of room for CSS to move towards for their next album, which should be a great one.

This is a good album, especially since it leaves you wanting more from the band in the future. It might not go down in history as their best, but it certainly solidifies them as a band to look out for in the future. Cheers to you Sub Pop Records; just another good release after another.

Check out the single from the album, “The Rad is Dead (Rage)”:

[audio:https://austintownhall.com/wp-content/uploads/2008/07/rat-is-dead-rage.mp3]

Download: rat-is-dead-rage.mp3

The Go-Betweens – Bellavista Terrace

Rating: ★★★★★

This is another album in our mini-series of old albums that you should probably revisit, or say hello to for the very first time. Our current selection comes from the Australian band The Go-Betweens.

Background information from this album:  First off, this is a compilation of some of their best songs from their earlier albums. It’s a good starting point, as it was the place that I first began. The band revolved around the songwriting partnership of Grant McLennan and Robert Forster. They played together, taking breaks, up until 2006, when McLennan passed away.

The closest comparison I can think of when referencing this band is to say that they come off a bit like The Smiths, which isn’t a bad way to begin if you ask me. I think that comparison deals more with the sounds of the vocals; there is a great deal of resemblance to the way Morrissey sings.

However, they don’t have a Johnny Marr, so the angular guitar sounds are a little bit smoother, which allows room for some really solid melodies. For me, it gives a little bit of a folk feel to the traditional eighties dance mixes. The drums, throughout the album, are extremely crisp, accenting every beat perfectly.  There isn’t a bad moment from the rhythm section on this album.

Every song on this compilation has something redeemable, and I always listen to this album from the first song to the last. Here are some of my personal favorites:

That Way: This is probably the song I dance to the most in my bedroom all year long. The guitar work is very clean, encouraging you to swing your arms about your body in glee. And the percussion work on this song is ridiculous – every time the kick-drum comes in, I’m taken aback.

Draining the Pool for You: This song is all about seeing through that person you’ve pined after for years, and you come to realize they’re a little less special than you thought. The chorus alone makes this song worth every listen.

The House that Jack Kerouac Built: This song has strings in the background to accompany the bands. For me its a very dark song, which I kind of think is the point, as the lyrics ask “to keep me away from her.” This is what Joy Division could sound like if they were mixed differently.

Streets of Your Town: If you wanted a cheesy song to sing along to at your wedding, I think this is the one for you. It sounds a lot like The Church, which is another great Australian band. Every few words, female vocals come into the background, creating melodious moments of magic. I think this is one of their most popular songs.

There are many more songs on this album worthy of mention, but I don’t want to take up all that space. It’s sad that McLennan passed away because this writing partnership gave the world some of the better moments in music history. If you’ve passed them up, start here.  It will get you acquainted with one of indie-rock’s best kept secrets.

Tilly and the Wall – O

Rating: ★★★★☆

I’ll be honest, on the last release from Tilly and the Wall, I was a little underwhelmed.  Sure, they stepped out of their box for a second to confront the masses, but overall, it just didn’t have the intimate appeal of their debut record.  Now, the opening track, “Tall Tall Grass,” instantly returned me to the days of glory for this band.  Acoustic guitars with an irresistible female vocal.

All of a sudden, “Pot Kettle Black,” just knocks you out of your chair.  It’s a straight rock song, well, as much as a band with tap dancers can rock.  The song appears to be a warning against an unnamed enemy.  Still, this has a certain cleverness to it that makes it enjoyable.

Right after that they whisk me right back into those rhythmic tap-dancing songs.  Clearly, this band is at its best when they stick to their guns.  And this new batch of tunes has a hint of maturity to it, without trying to go too far away from the band’s roots. They continue in this traditional vein for a few more minutes, still mixing it up enough to make this album interesting.

“Chandelier Lake” is one of those songs where they walk that line of trying to push themselves too far.  It’s got a fuzzy guitar swirling around the song, with some decent piano work added to it.  Still, its the kind of song I just don’t really expect from them; actually, I’ll give them credit for that–just not sold yet.

Then they follow that up with what is their closest effort to a dance song with “Dust Me Off.”  The tap dancing gets a bit tedious here, and I almost wish I could trade them in for some synthesized drum beats, or even real ones.  I like it-this is what they do well on this album–they pick up where they left off, and go forward.

The end of the album goes a little too far off for me, until the second to last track, “Blood Flower.”  The vocals here are really being pushed here, which gives it a different feel–once again going further with what I once thought was a really minimal sound.

Another cool tip is that each album comes with special artwork designed by local artists in their town.

Check out the band this Thursday, 7-17, at Emos.  You can pick up your tap shoes and head out to the show; just don’t forget your tickets.

[audio:https://austintownhall.com/wp-content/uploads/2008/07/pot_kettle_black.mp3]

Download: pot_kettle_black.mp3

The Glands – The Glands

Rating: ★★★★★

The Glands released this album in 2000.  I came across it a little after that via good taste.  This has been an album that consistently comes into my playlist year after year after year.  For me, it’s the perfect album, and one I will listen to for years.

When the alarm bell rings in “Livin Was Easy” you know that you’re in for an awakening.  Here we come across the dirty driving guitar work made famous by Built to Spill on Nothing Wrong with Love. Singing about a time when things were easier, Russ Shapiro wins you over on the opening track.

Then comes “Swim.”  It’s full of a trouncing piano beat that keeps the pace for the entire song.  There’s no choice other than to bob your head with this track.  I often use this on mix tapes for friends, and I’ve never heard a complaint.

Suddenly, the pace is flipped up.  The band offers a slow burner here in “Mayflower,” which resembles a lot of present day dream pop.  The guitar shoots off into the background of the song, as Shapiro slowly soothes you with his voice. Special.

“Lovetown” is up next.  It sounds an awful lot like Dear Catastrophe Waitress-era Belle and Sebastian.  The difference is that The Glands were here first.  Lyrics are kind of sparse here, but the song drives on through, pushing you with the fuzziest of bass lines.

Afterwards, you get the rushing pace of “Straight Down,” which is just a solid rock track.  Everything about this song epitomizes what indie pop was all about in the early days, before it got too bogged down with seven member collectives and such.

If you like a little alt-country in your ears, then you can grab hold of “Fortress.”  The vocals match every inch of this song–almost as if Shapiro is walking you slowly escorting you through his words.  He brings it down just a bit, then blasts straight into “Work It Out.”  Everything about this song sounds extremely modern, yet it precedes its own sound.

“Ground” is a song that brings us back to a lot of the dreaminess in pop music.  You could leave out the lyrics and still find yourself traveling through this song with ease.  I guess a popular way to label this song is to throw out that word ambient. There you go, I did it.

I love “Favorite American.”  It’s an acoustic number accompanied by some interesting reverb on the vocals, which give it that dark bubbling effect that Black Rebel Motorcycle Club seem to have perfected.  It’s got a political undertone, but it’s one that would only become relevant a few years following the release of the album, so decipher the code.

In the closing three minutes, “Breathe Out” kind of lets me out.  It’s not a bad song by any means, it just doesn’t hold up to the rest of the album.  There is some light synthesizer that awkwardly keeps track of time, while the vocals just sort of float in midair.

Fans of Grandaddy, Modest Mouse, Built to Spill, Flaming Lips, Wilco and The Wrens will all find themselves loving this album.  You can even say that a lot of those bands followed in the steps of The Glands, but their short-lived career makes it hard to assess their lasting effects.

I know it’s hard to take the words of another man on buying something that you’ve never heard of in your life, or perhaps you have, but take my word here.  Go to iTunes and buy this.  You will thank me for it later on, or I hope you do.

The Dutchess and the Duke – She’s the Dutchess, He’s the Duke

Rating: ★★★★½

Before giving in to a dear friend’s suggestion, I hadn’t heard much about The Dutchess and the Duke.  Sometimes a lack of knowledge is precisely what you need to come across a brand new album with open arms, awaiting the approach of greatness.  Thanks Corey.

Here is some background information, though limited.  The band hails from Seattle, although they resemble very little of that signature sound.  Currently, they are touring our nation in support of Fleet Foxes.  Apparently, they’ve been friends for a long time.  That’s about all I’ve come across.

The opening “Reservoir Park” immediately brings to mind the Rolling Stones, which isn’t a bad place to start off an album.  The chorus, with dual harmonies, is absolutely perfect.  I believe that this song is going to be in my Top 5 Singles of the year.  I’ve placed it their already.

After opening appropriately, they switch it up–they go off sounding more like a product of Nashville or Louisville, filled with American traditional country pop goodness. The interplay between Jesse Lortz and Kimberly Morrison on the following songs is precisely what makes this so special. I feel like it’s everything that She and Him were built up to be, but here it’s much more real–much more authentic.

“Strangers” has them returning to that Stones flavor.  It’s everything you want in a song, with both singers harmonizing the whole way through the song.  There isn’t a bad thing to say here.  And they follow that up with “Back to Me,” a song about trying to recapture that great love of your life.  Sure, its cliche, but the earnestness wins you over.

And all of a sudden, they bust out the ghost, well soul really, of Bob Dylan.  “Mary” is the perfect song at this moment because it switches the sound, though not too much.  The band maintains their personality here, keeping the album interesting.  This band has an arsenal of classic musicians to reference, but never once does it feel as if they faked it.

The album closes with “Armageddon Song,” which, for me, is the exact ending I wanted to this album.  It’s an acoustic affair full of harmonies and whistling–its the song where they seem as if they’ve completely shed their influences, just to let you in closer to themselves.

Despite wearing their heroes on their sleeves, The Dutchess and the Duke have created a wonderful debut album; this is one that is sure to hold up as one of your favorites for a long time to come.  Don’t take my word on it; please please please listen.

[audio:https://austintownhall.com/wp-content/uploads/2008/07/01-reservoir-park.mp3]

Download: reservoir_park.mp3

Ratatat – LP3

Rating: ★★★★☆

What does one actually have to say about instrumental music that can garner any attention? How on Earth do you come across a Ratatat record and give it any justice without completely losing the point of the album? I’m not sure how to do this, so I am going to take a different approach.

Shiller: The curtain is pulled back immediately, revealing a lonely woman in a chair. A light appears just above her heart, and it pulsates with the rhythm. Her eyes blink candidly, occasionally shooting towards the window at the back of the stage as lightning strikes. Towards the end of the scene, rain falls hard against the window; her heart beats on.

Falcon Jab: This is a Lance Armstrong commercial. He is pedaling slowly uphill, fighting the winds in his face. Down he cruises through the town, racing past buildings on all sides. Stopping, he takes in a few short breaths, then continues on his journey.

Mi Viejo: While in Mexico for summer vacation a few years back, I sat outside a local bar at the outskirts of Saltillo. Empty, I opted to sip slowly on my Negro Modelo. Suddenly, two dancing sirens entered the bar, bright flowing dresses circling their ankles as they pulsated to a silent rhythm. Mesmerized, my beer grew warm. I opened my eyes and they were gone.

Mirando: This is the sequel to Close Encounters of the Third Kind. Tired of the l label of classically trained aliens, only able to play symphonic harmonies, the aliens step it up. Instead of their traditional beeps, they opt to add some guitar; all riffs taken from their latest version of Guitar Hero.

Flynn: This is what it feels like to be on mushrooms in the middle of nowhere, as your college roommate plays guitar by the firelight. He thinks he is the next Bob Marley.

Bird Priest: I’ve never been able to beat the game of Zelda. I bought Nintendo Power Magazine because it had all the maps to get through the game in the quickest fashion. I’m not good with directions, and my father never told me how to read a map, so I just sat there watching the credits roll down my anti-HD TV.

Shempi: Iv’e been sitting in my room all week trying to write music to dance to with my friends. I’ve got some solid loops going in the background; the basic beats aren’t anything special. Still, when I threw those bongo beats in at the end, we grabbed our glow-sticks and shook it until my mom told me to turn it down.

Imperials: DJ Shadow is a close friend of mine. We like to get together and blow a lot of bubbles while lounging in the comfort of his home. Occasionally, we just chill out while he lets the washing machine make the bubbles for us. Today was one of those days.

Dura: When you hang out with Stephin Merritt of Magnetic Fields you think that he is only good for one thing; brilliant ukulele songs. This is not true. On off nights in New York City, he likes to write serious electronic music. I still hear the ukulele.

Brulee: Girls love to jump rope, especially when its double-dutch. Sometimes they jump and jump and jump, and the rope becomes a blur on the horizon of the suburbs. At some point, they have to catch their breath, pouring water over their heads to cool off in the summer heat.

Mumtaz Kahn: Electronic dragons are the biggest thing in Japan right now. Instead of roaring and shooting flames, which we know is not good indoors, they now purr like kittens. It’s the perfect house pet, and sure to keep the neighbor’s minding their own business. Of course, they all come with their very own Mongolian Kahn.

Gipsy Threat: Do you like to listen to Beirut? I do. The problem is, I only have a computer; there isn’t money enough for real instruments. I spend my days trying to write Beirut cover songs with Garage Band. I made you this one for you.

Black Heroes: We all know that Bruce Leroy defeated Sho’nuff in their epic battle during the eighties, but most never saw this side of the two enemies. In the Criterion Collection of this movie, it has a flashback scene where Sho’nuff and Bruce Leroy were making lemonade in their neighborhood. This is just before they parted ways, most likely due to a poor profit margin.

Now you try.

Hear opening track “Shiller” below or listen to “Mirando” elsewhere on our website:

You can also stream the whole darn thing over on spinner.

[audio:https://austintownhall.com/wp-content/uploads/2008/07/01-shiller.mp3]

Download: shiller.mp3

Chromeo – Fancier Footwork

Rating: ★★★★☆

This album doesn’t really need a review. Odds are you already have it, or at least you should have it, but just in case you haven’t. This album is a “Deluxe Edition,” but I am not sure that it really warrants that title. It’s the original album, and then they add a bunch of remixes. I guess that merits a reissue.

Now, if you don’t have this album, here is why you need it.

Remember those really cheesy songs from your dances in middle school. The ones where you danced in a circle with all your friends while you were carefully avoiding contact with the opposite sex? They were songs full of carefully constructed beats; the majority of which were made on really simple keyboards. If you remember that with fondness, you have that nostalgia right here.

“Fancy Footwork” evokes everything from an eighties staple song that you want. There are effects on the vocals, and the lyrics don’t really have much purpose, but you know that with the simple beats that you and your friends will be dancing around the living room with Lone Star in hand.

I think that any person could find great faults in this album. There isn’t an ounce of of originality in the music, and the lyrics are nothing but comedic–a good thing in my opinion. But, Chromeo approaches there craft unapologetically. They didn’t come here to make you wax poetic about the hidden meaning in their songs; this band came to make you dance. Dance you will.

The most playful track on the album for me is “Momma’s Boy.” Lyrically, it speaks of a boy and girl who are a little too much into their attachment with their parents. Now, if you don’t find the lyrics mildly hilarious, then something is probably wrong with you. And, you can shake it to this song as well!

The bonus disc here has some new material not present on the original album. But, for the most part it is filled with remixes, which don’t really do much to the original songs; I guess they give you a different perspective.

All in all, this album is the dance album you need to own. Okay, so some of the songs go on a minute or two too long, but you will find that every track on this record is worthy of some booty shaking. After all, its summer time, and you have no excuse not to dance the night away with your friends. Go buy it. Go dance with it. Thank me later.

Fancy Footwork!

[audio:https://austintownhall.com/wp-content/uploads/2008/07/fancy_original.mp3]

Download: fancyfootwork.mp3

Beck – Modern Guilt

Rating: ★★★☆☆

When reviewing a Beck record I think you come across some very difficult waters. The man is revered by so many, and at the same time, it’s become increasingly difficult to put a definition on his music. You have to respect that, yet at the same time, it’s not the easiest thing to write about.

With this album, you have the uber-producer Danger Mouse aiding the production along the way. It’s kind of an odd step, and one that I was skeptical of – I’m not a DM kind of guy. That’s where we begin.

The album opens well enough with “Orphans.” You have some of the staple touches of DM, accompanied by the gentle guitar work of Beck, for which he always wins me over. He throws in some hand-claps as well, which I believe is becoming a bit of a Beck staple. It’s a good start.

“Gamma Ray” is the next track, and its the track you expected to hear on this album. It’s got a bouncing little bass line that pushes the song all the way through. Sure, you have vocals and such, but if you can’t get into this bass line, then you can’t get into this song. This is definitely a high-point on the album.

“Chemtrails” seems like an odd song to follow the previous track. It’s mellow atmospherics leave it completely juxtaposed to “Gamma Ray,” which is probably the intention. Stay with this song because it picks up in the end, with Beck or Danger Mouse, doing his best Stereolab/Air imitation.

The album’s title track comes next. Once again, this is a head bobber. You can’t help but realize that your feet are tapping, while Beck’s familiar voice dances on in the background. Honestly, I’m starting to realize that his voice is playing second fiddle on some of these more upbeat songs, which is kind of disappointing.

I didn’t get much from “Youthless.” You can blame me for poor tastes I guess. Perhaps because it comes off to me like Beck vs. Gnarls Barkley.

I love the next track, or I love the vocals on this next track, “Walls.” The beats present in the background don’t do much to enhance this song. Beck has that passion in his voice here, but it’s the kind of passion that makes you wish he would just pick up his guitar and sing it to you straight.

Then you can skip the next track. I did.

We find ourselves at “Soul of a Man.” This is a solid track, and another of the upbeat numbers you will find, even if the guitar sound does come off like every other garage rock tune you’ve heard in the past years. But, the pace is stepped back up on the album, which is probably where the focus of this album should stay, which it does. “Profanity Prayers” continues the pace, with pounding drums in your ears. One of the better songs on the album. To me this album just screams good times. This should definitely be included in the live set; it just has that feel to it.

Then we close the album with “Volcano.” A down-trodden little number where the acoustic guitar work really makes me reminisce about Sea Changes. It’s a good call to close the album here. For me, its the song that most resembles the Beck I came to know and like. Nice call here.

As I play this time and time again, I can’t help but feel a little distance from it. I don’t find Danger Mouse’s work very interesting, in fact, I think it kind of comes off like everything else he’s done recently. Perhaps he’s just tapped into the same thing one too many times. Due to that, it just doesn’t have the feel of a solid Beck album. Sure, there are some high points, like “Gamma Ray” and “Volcano,” but there are some moments that just don’t reach the listener.

I guess at the end of the day, he can do whatever he really wants to do. He’s earned that right, and as long as he keeps releasing albums with several great songs, I think he’ll still be important. I’m just waiting for him to put out that solid album, all the way through. I’ll keep waiting.

Below is “Gamma Ray” off the new album:

[audio:https://austintownhall.com/wp-content/uploads/2008/07/02-gamma-ray.mp3]

Download: gammaray.mp3

Albert Hammond Jr. – Como te Llama

Rating: ★★★½☆

When Albert Hammond Jr. released his first record, I was completely skeptical. Could the guitar player step outside of his work with The Strokes and go it alone, successfully? The answer was an astonishing yes! That record filled my ears with gem after gem of sunny pop tunes. The new question was could he maintain that on his newest effort? Could he make me question the genius behind his other band once again?

Yes and no.

The opening track, “Bargain of a Century” comes in with swelling guitars, and what sounds like some bass lines stolen from the closet of his old band, added with a flare of piano. The vocal effects are all very reminiscent of his last effort, yet also quite like his pal Julian Casablancas. This song sets the pace for the rest of the record, demonstrating that at his best, Albert can write a really infectious tune.

The next two songs are good enough, but I go through them time and time again without really holding on to any redeemable quality. This isn’t to say that these are bad songs, for surely someone will enjoy them, but I just kind of found them as filler, holding time before we get to the next track.

Now, “GfC,” the fourth track is the single from this album, or the first one at least, and deservedly so. Every time I listen to this track, I immediately want to push repeat. A song like this shows just what a great songwriter Albert actually is; he’s a forced to be reckoned with more often than not. My head bobs, the wind blows in my hair, and all I can do is grin like a child. Beautiful.

Once again you find yourself at an impasse. The next few songs don’t pack the punch you’ve grown used to by this point. He seems to have missed a step with these songs, but I urge you to proceed through these songs with open ears because the chorus on “Rocket” is a superb moment in a fairly subpar song, which I suppose makes this song wonderful in its own way. Chills creep down my skin each time those guitars come blasting in to my speakers.

Hidden in those tracks is “You Won’t Be Fooled by This,” which is a track that most closely resembles his work in that other band . It’s a classic song, and it makes me wonder if Albert is just better off to go it alone. Really.

“Spooky Couch,” is an awful song. It is a seven minute instrumental tune that adds nothing to the album. I am not sure why its on here. Please skip this song.

Albert steps up the pace again after that yawner. He proceeds through the next few tracks with fervor, and possibly too much. A little more focus would have made those songs as memorable as the earlier tracks on this album.

And then we come to a close ladies and gentlemen with “Feed Me Jack…” which is as close to a classic ballad as this fellow has come. It might not be the best ballad of all time, but I like it for the fact that he went another direction entirely, using this song to display just how strong his voice is. It’s lacking lyrically, but a good solid step.

You see, Albert Hammond can write some amazing songs. He doesn’t need that other band to establish his credibility, but the weaknesses of this record hint that if there were a few more members battling against his ideas, then we might just have another great record in our future. All in all, Albert stands on his own, continuing to show us that he is force to be reckoned with in the pop world; all on his own. Dig it.

Below is the single we posted a long long time ago “GFC”:

[audio:https://austintownhall.com/wp-content/uploads/2008/07/04-gfc.mp3]

Download: gfc.mp3

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