Top 40 of 2013 - #35 to #30

The countdown continues…

35.

The Cannanes

Small Batch EP

(Lamingtone/EXROFM)

I know that I never consciously thought this, but I was pretty sure that I would never be buying a Cannanes collection again.  I have so many random 7” singles from them from the early 90s, along with (all that’s left anyway) their amazing Caveat Emptor CD that features the amazing “Broken Bottles.”  They were always all over the map, both musically, and literally all over the map with releases coming from every corner of the globe on the tiniest of labels and in various formats.  It was impossible to keep up with them – not to mention that much of what they would record would be released years after the fact, so there was no way to gauge their actual genuine progression as a band.  Eventually, I gave up and they eventually disappeared.  Yet, here we are, twenty years after the last record I purchased from them and with no idea what they’ve been up to.  Whatever the case, somehow I learned of new music of theirs last spring and liked what I heard.  This Small Batch EP is made up of a surprisingly groovy group of six songs.  I say surprisingly, because what I remember from them is lo-fi ramshackle, pretty and amateurish true indie pop.  They made the kind of music that was straight from the heart, with little regard to consistent tempos through songs, or ability to actually play their instruments proficiently.  When they happened upon a great idea, this approach was amazing and heartwarming or wrenching, depending on the message of the lyrics.  They also have always had the very unique and wonderful voice of Frances Gibson.  It’s Frances Gibson and her sweet vocals along with the only other original member Stephen O’Neil who guide us through this new direction.  The opening “Bumper” has a jaunty beat, a steady repetitive bass line and some really cool trumpet fills and a jazzy keyboard improv toward the end, as Gibson sings “Is it worth another try? My friends don’t think so.”  Could she be referring to her own band?  Next up is the crawling “Crawler” – which opens with the line “let’s break bottles / let’s jump off chairs / I’ll do that much to show I care” as Gibson details a fractured relationship over some yearning guitar plucking.  This is a beautiful song that reminds most of what I remember from a long time ago – aside from the strong musicianship that is.  Then, “Basics” returns to the steady beat of “Bumper” and provides another winning track, as does the more straightforward indie feel of “Tiny Compartment.”  Meanwhile, “Molecule” hits with a huge deep bass drum throb, a grinding bass line and some quiet trumpet.  Aside from a barely there conversation, this is a dubby dance mix.  Lastly, “Zone” opens with trumpets blaring just before a trip hop beat bursts in – giving off a “Step On” Happy Mondays vibe and the repeated lyric “you’re confusing me.”  I agree, because I’m confused, though completely impressed.  I love the new directions, and that they have kept their songs in bite sized nuggets – none of these surpass three and a half minutes.  This is a great small batch of songs! 

The band also released their first full length in about 11 years, but I have not yet tracked that down.  It seems as though (with a new single out as well) they are back in full force with their crazy release schedule. 

(cannanes.com)

34.

Cinerama

“I Wake Up Screaming” 7”

(Artificial Head)

The Wedding Present

“Two Bridges” 7”

(Scopitones)

Nothing makes sense anymore.  There’s a new Cinerama single and it’s on a tiny Texas label.  The Wedding Present have been touring relentlessly for the better part of the last two years in support of their winning 2012 album Valentina and various anniversaries of their older material.  And yet, here we are with new material under Gedge’s other band, Cinerama.  Cinerama came about at the end of the 90s when Gedge changed his musical direction quite drastically and started recording more orchestral baroque pop style songs with his then girlfriend Sally Murrell.  Over the course of three albums, several line-up changes and about six years, they were starting to sound like the Wedding Present again, so that seemed to be the end.  There are generally Cinerama songs performed at their shows, but now we got this new one and it sounds pretty much exactly like a less loud Wedding Present song.  It’s just all so confusing.  Having said that, “I Wake Up Screaming” is vintage Gedge, as he builds up an overwhelming jealousy in his dreams only to realize that what he’s been overlooking all the time.  In other words, it all goes poorly as usual.  The B-side is a live version of “Unzip” from their 2000 Disco Volante album and it’s oddly a hushed version for a live one.  A very good recording, however.

  

Meanwhile, the new (mostly) tour only available Wedding Present 7” comes along soon after.  This new song picks up right where Valentina left off, with some classic buzzing and quick strumming work before transitioning into the angular tempo changes that were all over that last album.  Despite the shifting moments and at least 45 full seconds of feedback at the end, this is as catchy and memorable as ever – handclaps and all.  The B-side is a cover of Wreckless Eric’s “Whole Wide World” (a famous 1977 new wave/punk era classic ballad) and sounds like an outtake from late 80s Wedding Present full speed ahead and so good to hear that unbelievably fast electric strum again.

(scopitones.co.uk)

33.

Defiance, Ohio

The Calling EP

(No Idea)

It’s been a few years since I’ve heard from this Midwestern folk-punk collective (their fourth album Midwestern Minutes was my #10 pick of 2010 seen here).  I know very little about them other than their music, but that’s pretty much what matters, right?  I first encountered their second album, 2006’s The Great Depression, and instantly fell for their heartfelt array of personal/political tunes performed with mostly acoustic instruments (including great violin and piano) and a fun collaborative feel where every member adds vocals and I’m guessing lyrics.  This strength gives them a wonderful variety without losing their cohesiveness.  This new EP, which apparently was released via free downloads on their website some time ago, appeared late this last summer and I was excited to truck down to 2^nd Avenue Records and pick up the vinyl.  That mission alone always leads me back to my younger days of buying multiple punk 45s from there based on label, or cover art or “I think I heard these guys were cool” or from the various compilations that used to add to my shopping list and maybe that’s what I kind of like about this band.  I love their passion and desire to truly find answers to social and political problems.  They have that energy that idealism that I far too often I have lost with age.  The opening song, “The Calling” even addresses this – the progression into soul sucking routine: “Monday morning drag your feet again / can you feel it? That’s the crawling of your skin,” which they valiantly fight against and hopefully encourage us all to do the same (“This is the part where I dig my heels in my heels / dig my own rut”).  Next up is the helpless feeling protest song “I’m Against the Government” whose obvious title cuts at itself.  It’s not offering any solutions by throwing up their hands with the question “what do you do with a council full of charlatans?” before concluding with the painfully obvious and silly line “I might not ever be the president.”  Side one closes with “Call it a Comeback,” which reminds so much of their work on the last two albums.  There are many tempo changes and moments of quiet reflection housed with a weeping violin, before exploding into a rousing chorus.  Side two opens with the strong “Horizon Lines, Volume and Infinity” – a song that is musically complex (though I could do without the orchestral Beatles style break during the final verse), and lyrically brilliant.  What makes their messages so perfectly relatable is how they house them in songs filled with personal imagery and they never preach.  This song is about friendship and memories and realizing their own limitations (“At times I’d like a map to what I cannot comprehend – but infinite cartographer, your trusted magic pen can only ink against the edge of understanding”).  Finally, the brief acoustic “Bad Ideas” builds into a nice little sing-a-long ditty, while the closing song “I’m Just Going to Leave Now” is a re-recording of one of their earliest songs in honor of their 10^th anniversary as a band and it shows how good they’ve been all along.  This stuff should be heard by more people.  Check them out, please.

(defianceohio.terrorware.com)

32.

Ex Cops

True Hallucinations

(Other Music)

The first LP from NYC’s is a brief foray into all kinds of sounds and directions and I was initially drawn in by their two minute chiming guitar burner “You Are a Lion, I Am a Lamb.”  The twin breathy vocals of songwriter Brian Harding and Amelie Bruun lift this song up to fantastic heights.  The first half of the album is full of these short moments of pure pop that land somewhere between the modern revivalist Raveonettes and the UK dream pop heroes Pale Saints.  This is a good thing.  Aside from the menacing instrumental that opens the album, the next five songs are all different ways to achieve this pure pop bliss.  “James” has Harding sounding a lot like the Pale Saints’ Ian Masters during the heavy beat and dreamy echo-laden guitars of the verses, while the chorus explodes in hyper driven “woo woos” on top of a Lacquer-era Popsicle bed of noise.  While “James” and “Spring Break (Birthday Song)” pull out moments of harmonies born from the Beach Boys and place them easily into the modern age.  It isn’t until the second half of this collection that the band expands their sound a little more freely.  “Jazz & Information” is a slow builder with bluesy guitars that shifts into a really strong catchy tune along the lines of Spiritualized which includes some killer saxophone guiding it home.  Things start to lose focus as the collection continues.  The hazy “The Millionaire” wallows in the clouds with obscured vocals and a promising melody, but it’s not enough to break from the fog, meanwhile the fun closing number “Broken Chinese Chairz” contains similarly altered vocals, but instead this one zips along with an excited energy.  “Separator” is the mid tempo gem that is the secret weapon of this album.  It is hummable, has a nice guitar hook, a Kim Deal-like bass line and a dreamy and glowing chorus.  I can never figure out why I don’t hear music like this on the radio.  Oh yeah, I gave up on radio a long long time ago.  This is a varied, promising, and inspired debut that could only be boosted by a bigger sound.  If they can find the incredible Hugh Jones to produce their next album, we may be treated to something extra special.

(excopsband.com)

31.

British Sea Power

Machineries of Joy

(Rough Trade)

British Sea Power’s fifth album is another perplexing collection.  I am coming to realize more and more that they are probably an acquired taste and one that I was sort of born with.  In other words, I like them, but I’m not sure that they will ever really find anything outside of their rabid small audience.  They are simply too obscure, despite their big arena rock type moments (especially seen on 2008’s Do You Like Rock Music?), or my favorite, the focused pop moments of 2005’s Open Season.  With 2011’s epic and chaotic Valhalla Dancehall (my #21 pick seen here), I think they simply embraced their eccentricities and went nuts with it.  This is probably a good thing, but no less inconsistent and confusing.  Luckily, Machineries of Joy has some of their best songs to date and some of the most subdued.  Plus this collection is thankfully much more concise.  Now that the string work from Abi Fry has officially joined the band, there is an added cinematic quality to their sound that adds warmth and comfort (no wonder they’ve been tapped for two soundtracks so far).  The opening title track is absolutely excellent.  It sputters and builds slowly and never fully crescendos, but rather floats us into a trance inducing bliss.  “K-Hole” continues their long history of short bursts of chant along shout outs, as does “Monsters of Sunderland.”  It’s amazing how they can get one to sing happily along with a catchy chorus from a song full of obscure historical and scientific references, but they do.  Notice the “Radio Goddard” title is not referencing the legendary film director Jean-Luc Godard, but rather likely the physicist, and inventor of the first liquid fueled rocket, Robert Goddard. But it’s still a song with a nice sentiment and it’s educational too, because I cannot help but look up some of their mentions and allusions.  Another favorite is the quiet “A Light Above Descending,” which is probably too cleverly wordy, but still somehow finds its way into the consciousness long after listening.  Unfortunately, there are three musical duds here.  “Hail Holy Queen,” “Spring Has Sprung,” and the closing “When a Warm Wind Blows Through the Grass” all have the components – beautiful soundscapes, and poetic lyrics, but they don’t seem to add up to memorable songs.  Despite this, it is the high points here that win out and will keep me coming back for more from this intriguing and perplexing band.

(britishseapower.co.uk)

see more here:

#40 to #36
#30 to #26 
#25 to #21 
#20 to #16
 #15 to #11
#10 to #6
#5 to #1

Top 40 of 2011 Part II

In an effort to keep things in more of a bite sized format, I have broken the Top 40 into 4 parts. These are the reviews for 2011 from pick #'s 30-21.

Here we go:

30. The Primitives
Never Kill A Secret 7” EP
(Fortuna Pop!)
The first time I heard the Primitives brand of speedy, buzzing, 2 minute pop songs in the late 80s, I was completely sold. Hearing the famous “Crash” single for the first time was a breath of fresh air that blew off the dormancy of my childhood love of the early 60s do-wop girl groups like the Shangri-La’s, The Supremes and The Ronettes, except now these catchy tunes came with the heaping portion of fuzzed out guitars a la Jesus and Mary Chain, with the adrenaline rush of the Buzzcocks thrown into the mix. “Thru the Flowers,” “Way Behind Me,” “Out of Reach,” and especially “Spacehead” were instantaneous blasts of energy that I feasted on over and over again. I think hearing Tracy Tracy’s semi detached vocals atop that buzz (on their appropriately titled debut Lovely) changed my music tastes forever. Up to that point, most of my music loves of the time were leaning towards the male dominated US indie bands like Sonic Youth, Dinosaur Jr., Lemonheads, Husker Du/Bob Mould, Pixies, etc, but now I had fallen in love with the female fronted bands. The love didn’t last long though, as their second album Pure, though it had some nice moments, didn’t contain that same immediacy that was their early hallmark, while their final album came and went without me noticing it. So, their return after 17-18 years of dormancy was one I approached cautiously. These four songs are quite a revelation! They may have more in common with the slower more 60s Nuggets garage style of rock, like Pure, my tastes have expanded as well, finding me in love with these songs. “Rattle My Cage” is a classic sex tune that needs Go-Go dancers in cages and a constantly panning camera for a video. Tracy Tracy’s cool has not diminished in the slightest and the band sounds invigorated to be back at it. “Never Kill A secret” is a nice acoustic strummer, while the closer, “Breakaway” definitely sounds like some lost early 60s pop number. Also, included is a very nice cover of the great Lee Hazlewood’s “Need All the Help I Can Get.” Welcome back! Now I’m ready for a new album.
(fortunapop.com)

29. Low
C’Mon
(Sub Pop)
This is Low’s 9th album and they have not made a misstep along the way. Their only downfall is maybe diminishing returns over the years, as their cryptic crawling songs can weigh a bit heavy over time. Then again, their last two were their loudest and most upbeat records to date, ending with 2007’s Drums and Guns (Really? Has it been that long?). This new material definitely includes some of their fuller arrangements that they’ve been slowly (sorry) adding on over time, but this overall harkens back to their 2002 classic Trust. Like that album, this is one is recorded in a church and has a big open-ended sound that does wonder for their sound. This album is a bit of a mixed bag as compared to some of their seamless past work. Maybe they’re trying to find new directions and haven’t landed on exactly which way to turn yet. My favorites on this include what may be one of their best singles to date in the album opener “Try to Sleep,” and the banjo infused stomper “Witches.” Some other highlights are two of the longer tracks that remind of their earliest days with evil sounding organ led “Especially Me” and the hypnotic “Nothing but Heart.” It’s good to have Low around, like it’s good to have at least an occasional snowfall in the winter. They remind us to ease off the gas a bit and reflect.
(chairkickers.com or PO Box 600 Duluth, MN 55801)

28. Maritime Human Hearts
(Dangerbird)
This band will always be compared to the great 90s act The Promise Ring, because of Davey von Bohlen’s distinctive voice. This is both a good and bad thing. Those who appreciated that band’s work should be alerted that a couple of these guys are still at it (Maritime also includes the complex drummer Dan Didier from the Promise Ring) and on their fourth album since 2004. On the other hand, some might be disappointed with the mildly new direction and I’m sure the band itself grew tired of past band references years ago. What sets this band apart from their predecessor is the basic simplicity of their songs. They are built on top of a very rock solid rhythm section and guitarists von Bohlen and Dan Hinz color in the remainder with nice high end post-punk fills. What we’re left with are a bunch of really nice hummable pop songs that will stick in your head after a few listens and keep you coming back for more. Several of these songs would make great hit singles: “Paraphermalia,” “Air Arizona,” and the teen angst anthem “Annihilation Eyes,” but “Peopling of London” and “Faint of Hearts” are the big standouts for me with their deep bass walk and gradual build. Check these guys out.
(maritimesongs.com)

27. Still Corners
Creatures of an Hour
(Sub Pop)
This debut album from Still Corners is an interesting work. I’m not sure what to make of it. Apparently, they released an EP in 2007, but I didn’t hear of them until last year’s really strong “Don’t Fall in Love” 7”. This collection does not contain any songs that quite live up to that single, but overall, it is a dreamy mood piece that will transport the listener into another world. I’m just not certain what kind of world that is. Many of the songs here are infused with some creepy sounding organ which gives it a circus crossed with 60s acid drench psychedelic feel, which is an odd juxtaposition considering that Tessa Murray’s breathy barely there vocals sugarcoat a pretty mellow and relaxing, if not a bit unsettling collection. The best songs here include the opening “Cuckoo,” the misplaced instrumental “Circulars,” which should be later in the tracklisting, the shuffling “Into the Trees,” and the goth-tinged “I Wrote in Blood.” I’m sure this is all very confusing to read, so just check them out and see for yourself.
(stillcorners.tumblr.com)

26. Big Troubles
Romantic Comedy
(Slumberland)
This is the second long player from Big Troubles, but the first for me. It makes sense why Slumberland picked these guys up, because they have a knack for very catchy pop numbers, one of which approaches a lost Pains of Being Pure at Heart track (“Minor Keys”). By all accounts, their debut is a super low-fi fuzzy nugget, but I hear no evidence of such on this follow-up. In fact, they’ve brought in Mitch Easter (Let’s Active and, most famously, early R.E.M.) to put his producer’s touch on this and from what I can ascertain it would be a similar makeover that the UK’s Moose made when Easter produced their first LP back in the early 90s. That transformation found Moose suddenly going from shoegaze noise makers to whistling acoustic pop purveyors. That’s what this album sounds like, even though the lyrics defy the title and spell out bad luck with love, the music is mostly pretty splashy and full of sunshine. It’s an enjoyable listen that reminds a bit of Velvet Crush’s debut In the Presence of Greatness. There’s no big statement here, but a whole big of hooky songs to enjoy like “She Smiles for Pictures,” “Misery,” the melancholic “Engine,” and my favorites “Make it Worse” and the closing “Never Mine.”
(bigtroubles.bandcamp.com)

25. Astrid Williamson
Pulse
(Incarnation/One Little Indian)
This is easily Astrid Williamson’s worst album in her career. It lacks the highly flying breezy intensity of her solo debut in 1998, or the strong singer-songwriter back to basics of her second self-titled album and 2006’s Day of the Lone Wolf. And though this album seems like an old relic from the world of 80s overproduction and prodigious use of senseless sound effects, it lacks the 80s new romantic spark of her 2009 LP Here Come the Vikings. And don’t get me started on how far removed this is in quality to the epic shoegazing classic she led her original band Goya Dress through. The blame seems to lie with her collaboration with Leo Abrahams who has apparently worked extensively with famed ambient lord Brian Eno. He has crushed the drive of much of this album with bleeps, bloops and frustratingly distracting effects. Having said all of this though, Williamson is an accomplished songwriter whose deft touch with lyrics and beautiful piano flourishes saves this album. For every weighted down mess such as the drudgingly dull “Underwater” and “Husk,” we find a back to basics straight-forward “Miracle” and a winning “Pulse.” The best songs feature mostly (aside from some unnecessary flourishes) just Astrid and her piano as on the timeless “Connected” and achingly beautiful “Paperbacks.” This isn’t a bad album, it simply has a few missteps, but I will continue to sing the praises of this way too overlooked artist.
(astridwilliamson.co.uk)

24. Sons and Daughters
Mirror Mirror
"Breaking Fun” 7”
(Domino)
This is this Scottish quartet’s third long player, and after the in-the-red forcefulness of their last LP, 2008’s This Gift (my #1 pick of that year), they have brought the tempos down a lot. Instead of the straight-ahead guitar assault of the last one, or the foot stomping traditional Scottish tones, crossed with punk styling’s of their debut and near perfect EP, 2004’s Love the Cup, Sons and Daughters go all gothic post-punk on us. What has remained is their love of murderous and menacing lyrics, as evidenced in the back to back songs about a serial killer (“Rose Red” and the famous Black Dahlia murder “Axed Actress”). This fits in well with their new style. The scratchy guitars and empty echo chamber effects of the drums make this feel like a lost Bauhaus album with some female vocals added in. Unfortunately, this is not what I signed up for with this band. It has taken me some serious listening to find a way into this heavy somewhat burdensome album. Once inside, there are moments of light that remind why this band has always been so appealing to me. That reason: catchy songs! Though, they are clearly going for atmosphere here over pop singles, there are some sparkling sing-along choruses that have wrapped themselves into my psyche, such the declarative passage in “Orion” and the upbeat downshift chorus of “Don’t Look Now.” The clear standout here though, is “Rose Red,” which finds the band hitting their strengths and sounding like they’re having a good time re-telling the bloody story and even jumping into a first person mindset. This album at first was a bit shocking. My distaste for it as a whole was palpable. It has won me over a bit since the summertime, but I am hoping that this turns out to be an experiment only and that they angle for something different next time. I recommend this, only to the hardcore fans. To anyone wanting to try them out for the first time: start with Love the Cup and then jump full bore into This Gift!

The single “Breaking Fun” is an odd choice. It has no real hook and though the lyrics are quite thought-provoking, it hides this band’s true talents of writing really catchy tunes. Kind of a dud. Better is the short b-side “Giallo,” but definitely not worth seeking out.
(sonsanddaughtersloveyou.com)

23. Idaho
You Were A Dick
(Idaho Music)
Idaho has returned after a 6 year a hiatus with their 8th long player. It’s hard to believe really. I skipped the last LP, 2005’s The Lone Gunman, as it was really more of a movie soundtrack then a proper LP. So instead for me it’s been 10 years since Jeff Martin’s musical vehicle has crossed my path with his first truly solo work, 2001’s Levitate. To be honest, I barely remember that album. All of the past trademarks return on Dick: Martin’s quiet, croaky voice, mostly down-tempo and atmospheric, short songs dominate. As with all of his work, my favorites tend toward the edgier, louder numbers such as “The Space Between” and “Up the Hill.” The excellent title track starts things off on a telling path with its story of personal disappearance, as the narrator observes an old acquaintance over what sounds like a social media site. Has he really moved on with his life, or simply changed locations (“is it that you were a dick to me in high school?”)? It sets a thought-provoking tone. Like much of Martin’s work, the songs can be a bit hit and miss and can be difficult to dig into. However, it is worth the effort, as repeated listens provide increased intimacy into what he’s trying to achieve. This doesn’t achieve the heights of Idaho’s best work, 1997’s The Forbidden EP, nor 1998’s most cohesive work, Alas (which Martin reissued on his own imprint a few years back as a combo pack), but it has it’s moments and is a welcome return. If you seek this out from his website, you will also receive a bonus DVD with a bunch of extra songs! While you’re there, pick up the reissue I just mentioned; along with Idaho’s fantastic debut 7” single “Skyscraper” from 1992, which sold me on them from the beginning and their ’93 debut Year After Year!
(idahomusic.com)

22. Social Distortion
Hard Times and Nursery Rhymes
(Epitaph)
Six plus years since their last LP has passed in a flash and Social Distortion return like an old friend. After about 33 years or so, this is only their seventh actual album, yet they have chiseled a permanent mark in rock-n-roll history. Who would’ve thought that Mike Ness – a skinny little punk rocker – would become a source of some of the most authentic old fashioned classic rock-n-roll? Yet, we’ve witnessed the evolution with each spread out entry from the snotty punk of their early singles and 1983’s Mommy’s Little Monster to the Stones by way of Ness’ heroes: Johnny Cash and Hank Williams Sr. blend of today. In many ways, this LP feels like what Ness has been striving for since 1988’s Prison Bound, with its tough guy ballads and tales of bad luck, fugitives on the run, and surviving through and despite it all. Though I personally prefer the shredding and angry side of Social D that rears its ferocious head on a few songs each album and throughout the entirety of 1996’s White Light, White Heat, White Trash, I cannot deny that this may be their ultimate complete statement with such cracking numbers as the opening instrumental thesis statement “Road Zombie,” to the closing favorite “Still Alive,” and all the dusty sidetracks in between. Thanks for stopping by on your travels, old friend.
(socialdistortion.com)

21. British Sea Power
Valhalla Dancehall
(Rough Trade)
I’ve always liked British Sea Power, but I have also always held them away at a suspicious distance. They have a remarkable ability to write huge hooks for massive sounding anthemic songs, but they also have the tendency to bury them in obscurities, needless complexities and what seems like inside jokes. They also like to clutter much of their collections with needlessly long songs. Aside from their most focused work yet, 2005’s Open Season, their other three albums though grandiose and innovative, also drag on too long and wear out the audience. As always, there is much to recommend here. The opening “Who’s in Control?” is like a soccer chant filled with angry lyrics that gets the adrenaline going. “We are Sound” is an even better offering, but then the mixed bag starts to set in. “Georgie Ray” is a slow burner that has a nice hook, but is a bit of a momentum killer so early in the album. “Mongk II” is a personal favorite, with its buzzing and endlessly open ended sound working its way to an obscure but catchy refrain, while “Observe the Skies” also gets me singing along at every turn ("Let's watch the nebulae explode"). “Luna” is a solid mid-tempo song, as is the first single “Living is so Easy” and the closing “Heavy Water.” On the other hand, these 13 songs are hampered by the heavy handed and odd “Baby,” and the unbelievably endless “Cleaning Out the Rooms” and “Once More Now” (over 11 minutes!!). These epics aren’t bad songs; they’re simply a bit much. The good greatly outweighs the bad, so I definitely will keep an ear out for their future material, but will continue to hope for a tighter album that focuses on their strengths.
(britishseapower.co.uk)



That's it for this installment!  We're halfway there, so please stayed tuned for the Top 20.



links: Top 40 #40-31
                     #20-11
                     # 10-1