35. I Love You A Thousand Ways
34. Hello Walls
33. I Gotta Get Drunk
32. Yesterday’s Wine
31. Uncloudy Day
30. Pretty Paper
29. Once More With Feeling
28. She’s Not For You
27. Stay All Night (Stay a Little Longer)
26. My Heroes Have Always Been Cowboys
25. Nite Life
24. Whisky River
23. Angel Flying Too Close to the Ground
22. The Party’s Over
21. Sweet Memories
20. Half A Man
19. Last Thing I Needed First Thing This Morning
18. Midnight Rider
17. Any Old Arms Won’t Do
16. Seven Spanish Angels (with Ray Charles)
15. If You’ve Got The Money I’ve Got The Time
14. Funny How Time Slips Away
13. Me and Paul
12. You Ought To Hear Me Cry
10. All of Me
09. Forgiving You Was Easy
08. Bloody Mary Morning
07. On the Road Again
06. Nothing I Can Do About It Now
05. Blue Eyes Crying In The Rain
04. Mammas, Don’t Let Your Babies Grow Up To Be Cowboys (with Waylon Jennings)
03. Blue Skies
02. Good-Hearted Woman (with Waylon Jennings)
01. Always On My Mind
Caeser Pink is a veteran artist that been a part or led cult acts since the 1980’s. He has been chasing the musical dragon since then .
The songs are kitsch and fun. In Caeser’s world, there is no pleasure too guilty. It is early Elvis Costello/Joe Jackson (albeit his lyrics aren’t as strong) funneled through The B-52’s, Black Grape and whatever surreal imagery that could be tacked in. The production is lo-fi, but that aids with their offbeat catchiness.
Since Gospel Hymns for Agnostics & Atheists , Caeser found his musical voice. From time to time, he steps back to his old tricks [“In the Praise of the Shadows (We Become Naked)]. The 2nd half is slower and drags on a little bit after the chirpy silliness of “All God’s Children”.
The tracks that stick are the ones that show more hand than silliness. “Rabid” is frustrated rant versus the music industry. “Happy Endings” is Lou Reed without the suicidal depression.
Check them out here: http://www.theimperialorgy.com/
[2.] Old Review of Caeser Pink
Caeser Pink & the Imperial Orgy ~ Gospel Hymns for Agnostics & Atheists
The cheekiness factor of Caeser Pink & the Imperial Orgy (not misspelled) had me anticipate a welcome new spin on the acid house genre (think My Life with the Thrill Kill Kult or Lords of Acid). Their appearance and moniker deceived – the septuplet sounded nothing like that genre … or any related dance classification. They’re (gulp) unique.
The outfit’s sound is best classified as the remaining wet slick after a weekend long Cracker, Black Grape and Rusted Root orgy. The music aspect of their art seems to be a work in progress; there is nothing that comes at you as immediate as the best of what those bands offer(ed).
Although well produced and randomly intriguing, the singer-lyricist does not come across charismatically on record. His vocals and words are equally peculiar. They are earnest and attempt accessibility, but are aimless and difficult to endure.
The aim of Gospel Hymns for Agnostics & Atheists is easily distorted with window-dressing and absurd self-promotion. It’s up to the band to not lean solely on their live performances and eccentricities as a crutch for marginal compositions.
File Under: Americana, Blues Rock, 70’s Style Rock
Similar Artist: The Black Crowes
Highlights: “The Highway, “Come Together in the Morning” and “Sway Again”
Lick And A Promise (like the spectacular Aerosmith song) is a German Band that plays American music with the skill and competence not present in most of their stateside counterparts.
Come Together In The Morning renders as a breezy gem. No element akin to Tokio Hotel neo-rock or the taint of David Hasselhoff spoils the CD. The musicianship and production are capable and fluid. It boasts an agreeable arrangement – each track just flows seamlessly together.
Lick And A Promise’s exportable element is their vocalist. Usually the drawback for European artists has always been their accent-soured vocals and awkward articulation of a language he/she does not fully understand. When Jochen Thoma croons, his English elocution is extraordinary. Even more, he bolsters “Loser And A Fool” and “The Highway” as well as Chris Robinson ever had with peak-period Black Crowes. He can also pull off infectious allurement in “Sway Again” and “Hey Hey Hello”.
Clichés are the only downside with Come Together In The Morning . They riddle each song. However, you have to give them a pass considering English Lick And A Promise’s 1st language. With all of the other extensive virtues the CD possesses, we very highly regard and recommend it.
My spooked donkey lumbers to the Bo Deans’ Still. I scolded HST’s translucent image for leading me to a band that most of us with a radio heard too much from in 1996. “Closer to Free” pounded the airwaves nonstop after Party of Five became a cult hit. Worse yet, they are from the Milwaukee area and local waves would not let up. At work, it replayed more often than those damned looped Blockbuster in-store ads. Prognosis is negative on the potential enjoyment if Still remotely recalls 1996.
[After this fruitless rant, I encountered a discarded bumper sticker…
SAVE THE ENVIRONMENT
SHARE A TOOTHPICK
… this image shifted my rotten negativity to giddiness and allowed me to approach the new CD with deserved responsiveness.]
The BoDeans have been around forever – nearly three decades, Kurt Neumann and Sammy Llanas have contributed eight albums and thousands of gigs. With the band’s sonic wheelhouse and audience are uber-defined, Still’s formula plays up reputation and their roots-pop signature.
Non-offensive in every way, tracks spill with consistent quality and expected musical trademark. Publicity and awareness are urgent. Trolling their forums, you can sense the need for an aggressive marketing campaign – their audience has aged with them; the boost from “Closer to Free” slowly thinned and are left with a core of aged fans that are getting increasingly less likely to buy new music.
The jamboree treatments and Midwestern vibe that defined their early days are lost. Those experiments only rewarded when they worked and sometimes killed the ebb and flow of your appreciation. Neumann and Llanas realize their charge – it is to create a consistently enjoyable CD.
Still claims the tightness and likeability honed with past commercial success. You can hear similarities to a lot of neo- (albeit less plastic) Bon Jovi. 12 tracks boast tight mid-tempo roots-pop jangles – the best example is “Round Here Somewhere”. T-Bone Burnett’s production is darn near immaculate; outside of the laughable pseudo blues cut “Lucille”, the release is a consistent pleaser that deserves to reclaim its past audience and maybe even some Bon Jovi fans. 
Years have been kind to the BoDeans’ legend. Instead of crafting an embarrassing fusion of their sound and modern pop, the attribute combination of adroitness and obsessiveness reap a master class earworm gem.
 Hunter chided me for my glibness and exposing the dangerous side of my freak. “You pig-faced rat bastard. Stop babbling and get to the point – Bon Jovi’s fans would never steer clear of candy lane. Tell them that anyone that gives this record a chance is helpless to resist another listen.”
.:. Top Tracks .:.
This Must Be The Place (Naive Melody)
The Book I Read
A Clean Break
Crosseyed and Painless
Once In A Lifetime
Pulled Me Up
Girlfriend is Better
I Wish You Wouldn’t Say That
Love –> Building on Fire
Born Under Punches
The Lady Don’t Mind
Sugar on My Tongue
Don’t Worry About the Government
Found A Job
Making Flippy Floppy
Road To Nowhere
Thank You for Sending An Angel
The Big Country
Radium88’s Artificial Life was recently delivered. Opening up the CD containing packet, I read their description; it boasted “the lo-tek sound of tomorrow and the kitschmongers of doom”. Aimless insane energy progressed as the words continued. Realizing that a little psychosis was needed in an otherwise dull day, Artificial Life was spun.
Blame England! Radium88 is the hybrid of the Cocteau Twins, random yet seamlessly sequenced spaced-out electronica (within song) and Einar Orn. The eclectic mix of celestial sonic steam, anarchic structures and unique arrangements promote an engaging ambience.
Invitingly melancholic, a gaping odyssey formed by programming with Jema’s ethereal vocals is transmitted with the initial two tracks. Hooks are spare, but unnecessary due to dense and ever-present melody. Diversification begins with “Watch the Skies”. Tim Thwaites performs his foil with his cheese-filled and odd rap. Jema plays along and each harmonize during the chorus.Each song thereafter, focused on “mixing it up” to further titillate the listener.
Even more impressive tracks on Artificial Life are “Phat Wah”, “Disenchanted” and “White Noise”. “Phat Wah” is a twin brother to “Watch The Skies”. Spasmodic vocals, superb jittery lyrics and its genre mocking twists leaps over its above-written relative. J. Edgar Hoover provided self-mocking assistance, while Jema chanted intermittently regarding disenchantment (in reference to J. Edgar musings) supported with a consistent drippy dub track. Inventive and jaded irony were clashed as “White Noise” effectively exercised of a witty protest. Using an extraordinarily appropriate sample (and splicing) of a white supremacist’s blathering regarding his views on parenting and “Negro music”, sparring hip-hop pulsations stimulated a signature Radium88 underlay.
ApeQuake’s only suggestion is to propose a resequencing of the Artificial Life. After several listens, they develop pleasurably. However, some new listeners may lack the patience to swim through the filler material which build toward the increasingly stronger pieces.
Don’t let that relatively minor jab deflect your interests in Radium88. Their charm, multi-layered production and attention to artful songcraft are altogether a flourishing experiment.
Suffering through a nomadic existence of barely treading a music career, Brandon persists when others would have pleaded his/her parents for a cozy return. Patton outlasted a solo effort (1997) and his band (Three Against Four). Having such an extended career with modest results must force angry rhetorical questions, but love, confidence and good ol’ fashioned sticktoitiveness charged Should Confusion.
“Counting the Paces” leads the CD with a lush bittersweet ballad strung with acoustics, soul-emptying harmonies and a tasteful use of the synth bass — yes, reminiscent of Beck’s Sea Change except Brandon has natural sonance of Ed Roland (Collective Soul). Ecstatic, I could not envision a greater piece than “Counting the Paces”. But if you already viewed the track highlights and/or the grade, the critiquing direction should not be in question.
Guerilla bushwhacks cleverly attack. My first hair-raising moment occurred when the casually boppity “What’s the Worst That Could Happen?” instantaneously erupted into a grunge-structured onslaught within in and out of its chorus. Crashing the middle of the recording are the exuberantly irreverent cuts, “Did That All Before” and “Auspicious Moment”. Both altered the perceived tone so much that it felt like I was manipulated by the previous songs.
During the second half, Should Confusion boomeranged; it cunningly (and quietly) ended with the falsetto-laden valentine, “Someday When Were Old”. Even more choice than Brandon’s illusionary sonics and unorthodox structures are his transcendent lyrics. They share identifiable aspects of Bob Dylan’s adroitness and Steven Malkmus’ silly quirkiness to form the most memorable lines heard by any artist reviewed in SpunoutCentral’s Underground Archive section. In fact, this is my new favorite CD.
Click over to Brandon’s site and sample Should Confusion. Many overlooked and superb American artists strike once they focus on Europe — do not let ignorance provoke Brandon Patton to be another.
Geoff Westen musical approach marks an era that recalls largely horrific music (and my pre-teen awkwardness). 1985-1987 are years that producers went hella crazy and over-produced twice-baked acts –the remnants of formerly awesome synth-pop / new wave pioneers like Echo & the Bunnymen, Oingo Boingo, the Cars and Talking Heads went flailing into the purgatory’s crotch. Geoff sticks his arm in and pulls out functional bits from the period to mash into Vidiots Tune In!!
The artist’s approach is pure. His obsessiveness guides his path. Every word, note and instrumental stab rumbles with vision and execution envisioned when I first played my dual tape deck. The production is masterful; its sheer absurdity perfectly balance — particularly on “Better Get Started”, “Angry Young Man” and “She’s So Young”.
Vidiots Tune In!! proves an era’s aural trash is redeemable as a glistening neon-tinged treasure.
Before I passed this through to the publishing queue, I just had to gain more insight into the GW’s musical inspirations for the recording. Fortunately, he responded with the following …
I guess there must be something to the fact that back when – taking good drugs went hand in hand with listening to great music. It’s not like I listen to music from the 80’s anymore – far from it. But something from that long ago timeframe must have stuck to my musical genes so that today when I turn on the “create music” button – out it comes. I don’t/can’t control it.
I’ve been told that nobody is doing NEW music from the years you reference, and that I am recreating this period with pure excellence. My hat’s off to those critics of course. The idea that I have purposely targeted 1985 – 1987 is far from reality. It’s beyond me to be able to tell you what the diff might be between 81-83 pop music and 85-87 pop music. This would be your area of expertise, so I’ll leave that up to you to define.
The last thing I want to do is try and emulate anything. This is not premeditated music. It is actually very spontaneous. You’ll just have to take my word for it that what comes out of me musically is on the natch – with nothing more added than a few **funny cigarettes**.
(**See “Better Get Started” from the Vidiots – Tune In!! CD)
It was back in 1987, I believe, that the Honky Tonk Man claimed he never heard of Elvis Presley. Just kidding of course, but I could certainly hear why anything that subconsciously infects needs purging. Geoff demonstrates that it can be done with fantastic flair.
Bloom accosted one unit of Ani Difranco’s unzipped artistic mojo, an equal amount of Steely Dan’s jazzability and their capability of escaping customary time thresholds by creating six-minute plus tracks that feel rapid and Sarah McLachlan’s ethereality, vocal abilities and her youthful passion. Amun Ra flawlessly blended each and an evolutionary hybrid bore.
Although Difranco applied jazz, hip-hop and ‘alternative’ beats into her oeuvre, they were simply exercises (often monotonous). Jazz isBloom‘s backbone. Emily fronts as an urban Sarah McLachlin; she has a like vocal tone, but credibly mixed it up with the support of the band’s juice and her inherent city-fed soulfulness. Spicing it up (without disturbing the batter), are inserted traces of trip-hop, breakbeat, dNb, hip-hop and world beat for a risky, but rewarding texture.
Commercial radio play is unlikely, since only one cut clocks in at under five and a half minutes. However, Bloom is sophisticated pop that surpasses its grand intent because Amun Ra actually forged its own identity.
If you have listened to the bland quasi-jazz pop market and decided that your senses need arousal, lustrate with Amun Ra.