As most of these million-selling artists were suddenly driven from the Billboard charts and shunned by their record labels, a small label called CMC International stepped up to become the afterlife for hairbands. This allowed a handful of them to continue releasing records through the ’90s, but many groups caved to musical fads; attempting to incorporate grunge and alternative rock at the expense of the sugary melodies and easy-to-understand lyrics that had earned them fans in the first place. By the end of the ’90s “big hair rock” was clearly dead and it seemed to have taken AOR with it.

So here we are, ten years on, and we’re seeing new labels like Italy’s Frontiers Records proudly releasing AOR and glam rock like it was still 1989. This is a real treat for those who miss the days of Slaughter, Poison and Warrant, and there is a niche of 30- and 40-somethings that will gladly shell over their cash to hear some new blood bring life back to this genre. Frontiers Records champions new bands that have taken up the glam baton, as well as “classic” bands that are still alive and kickin’, and for this week’s spotlight we delve into some of Frontiers’ latest releases from Keel, Jaded Heart, Wig Wam and Blanc Faces.

(1) KEEL -  “Streets Of Rock & Roll”

Ron Keel and his entourage are back with a record that sounds like the proper sequel to their breakthrough 1985 release, “The Right To Rock”. Twenty-five years later and Keel still delivers the goods with powerhouse twin guitars (courtesy of Marc Ferrari and Bryan Jay) and thundering bass and drums ( thanks to Geno Arce and Dwain Miller) Ron Keel sounds ready as ever with his characteristic growl omnipresent throughout the vocals. The boys have updated their sound a bit, but not to the point where it would alienate longtime fans.

“Streets Of Rock & Roll” kicks off with the title track, one of the strongest in the new bunch of twelve arena-ready rockers. Guitars come at you from all directions, swirling around one of the most infectious choruses Keel has ever written. Despite the slump to bonehead lyrics, “Push and Pull” is an enjoyable slice of sleaze rock in the finest late ’80s tradition. In stark contrast, the album gets a bit more serious with the excellent power ballad, “Does Anybody Believe,” and the record ends particularly strong with a great pair in “Hold Steady” and “Live”. “Live” is arguably the catchiest tune in the dozen, with riffs reminiscent of White Lion’s “Wait” – this one would have been all over the radio back in the day. In short, “Streets of Rock and Roll” is one of Keel’s best releases – ever.

For fans of: Motley Crue, KISS, W.A.S.P.
iPOD-worthy tracks: 1, 4, 5, 8, 10, 11
Keel on MySpace. Official site.

(2) JADED HEART – “Perfect Insanity”

Germany’s Jaded Heart gravitate more towards the Heavy Metal end of the spectrum, but they compromise on melodies. No one can knock the musicianship, but it often feels like they go out of their way to avoid writing a good hook. So, it probably comes as no surprise that I just couldn’t get into this one. “Perfect Insanity” works well when you need to get your blood pumping, though, and seeing as these guys have been going strong since 1990, it can be said that they have mastered their craft. I would recommend this one for fans of heavier, less melodic bands like Dokken, Heaven and Hell and Queensryche. Fans of classic metal such as Judas Priest will also appreciate Jaded Heart. 

Jaded Heart on MySpace. Official site.

(3) WIG WAM – “Non Stop Rock & Roll”

I didn’t know what to expect from this band: they hail from Norway, look like a nightmarish cross between Marilyn Manson, Brad Paisley and Enuff Z’Nuff and, as if that wasn’t enough, they call themselves Glam (vocals), Teeny (guitars), Flash (bass), and Sporty (drums)! However, looks and goofy nicknames aside, these guys sound about as glam as glam can possibly get and so, if you crave the long lost days of fun-filled rock and roll with huge juicy hooks and radio-friendly riffs, Wig Wam is gonna make you grin like a kid in a candy store.

In the context of this genre, Wig Wam does a superb job. Glam sounds like a cross between Vince Neil and CJ Snare and you’ll almost want to chuckle with nostalgia at the opening gang chorus of “Do Ya Wanna Taste It”. The party is just beginning, and if track one failed to move you, the thumping “Walls Come Down” will surely lift you out of your chair. “Wild One” and “C’mon Everybody” represent another one-two punch of melodic rock perfect for rocking your joint and “C’mon Everybody” features a riff reminiscent of Motley Crue’s “Dr. Feelgood” and the groove won’t let you go. “From Here” is the power ballad of choice on this CD and “All You Wanted” and “Rocket Through My Heart” are a couple more highlights from this very impressive set of sweet hard rock tunes.

I would argue that if anyone can initiate a resurgence of ’80s pop metal, Wig Wam is up for the task: unbelievably catchy, upbeat, and ready to party,Wig Wam is a winner for good ol’ glam and roll.

For fans of: Poison, Warrant and Ratt.
iPOD-worthy tracks: 1, 2, 3, 4, 7, 9, 10
Wig Wam on MySpace. Official site.

(4) BLANC FACES – “Falling from the Moon”

Brothers Robbie and Brian La Blanc are Blanc Faces: a band that made a stunning impression on the AOR world with their self-titled debut in 2005. A throwback to ’80s melodic rock – big hooks, abundant harmonies, and straightforward lyrics that typically say either “I love you” or “You can do it” – the brothers make no apologies for their dated sound and style because they know it is exactly what their fans want. Fortunately, this is also the kind of music the brothers want to write and perform, so it’s truly a win-win situation for the band and fans alike.

“Falling from the Moon” begins with a rousing opener called “I Come Alive”, which easily could have been on a Rocky soundtrack at one point. I even think the La Blanc brothers must have raided Jim Peterik’s keyboard closet for this one. The melodies keep coming with the peppy title track and the driving devotional, “I Swear To You”. After a lackluster power ballad break, the boys come back with a couple of pleasant mid-tempo numbers called “It’s All About Love” and “Goodbye Summer Goodbye”. The mid-tempo pace continues for a couple more tracks, but rock kicks back in with “Like A Believer” and the CD closes strong with the electrifying sound of “I Will” and the epic ballad, “Fly”, performed in perfect stereotypical ’80s tradition.

Vocally these guys will knock your socks off. To my ears, the vocals are remarkably like those from Glass Tiger. My favorite cuts include “I Come Alive”, “I Swear To You”, and “I Will” – these were hard to select, though, given that the CD is an excellent listen from beginning to end. In short, “Falling from The Moon” is just about as good as the debut and is a terrific slice of AOR that fans will want to sink their teeth into. Like its predecessor, the production is immaculate and makes these strong songs even more of a thrill to hear.

For fans of: Survivor, Glass Tiger and Journey.
iPOD-worthy tracks: 1, 2, 3, 5, 8, 9, 11, 12
Blanc Faces – more info and CD ordering at Frontiers Records.

Q: I’m loving the blend of big, classic rock sounds with modern rock sensibility on the new album – what sort of musical influences led you to create this sound?

A: We are pretty rooted in classic rock, as well as some jazz and grunge. The Beatles, Zeppelin, Queen, Frank Sinatra, Herbie Hancock, Miles Davis, Brad Meldau, Buddy Rich, Soundgarden, STP, Supergrass …

Q: Even more amazing to me is that there’s no guitar on this record. You’ve somehow made an arena rock record with just keyboards, bass, and drums – how did you do it?

A: The piano is a huge instrument with an enormous sound, if you play it a certain way.  The goal was to have the piano sound as big as two guitars, but with more clarity. Add in some bi-amped bass with fuzz and you can cover a wide frequency spectrum. Then sprinkle some massive hard-hitting drums in the mix and you get a lot of sound. Then it’s all about trying to write some good songs and rocking out on stage.

Q: Just curious – why no guitar?  Did you have a bad experience with a guitar as a child or something?

A: We were beaten with guitars as children. It’s really no fun, especially when struck with the headstock. People would chase us down waiving guitars at us. Wait; maybe this was a bad dream. Anyways, when we sat down together to discuss the plan for Crash Kings, we were laying down some simple ground rules, and no guitars went without saying. I think we all had the same dream.

Q:  How does the “sibling factor” play into the songwriting and recording process?

A: Most of the songs start with Tony bringing an idea to the table and we arrange them together. At times there can be friction, as with most bands, but we all see eye to eye on most musical ideas. We’re not afraid to point out what we like or don’t like, as well as what’s working or not working. As brothers, we know each other’s musical ability and taste so well, it almost makes writing with anyone else seem nearly impossible.

Q: What’s your favorite track from the new record and why?

A: That changes everyday. One day it may be “14 Arms”, another day it could be “My Love”. We feel like Dave Sardy, our producer, did such an incredible job with making each song special and distinct. They are all favorites. That’s why they’re on the record!

Q:  You guys have toured with quite a diverse set of bands; do you have any good stories from the road that you’d like to share?

A: Right before our first show opening for Stone Temple Pilots in Kelowna, B.C., we had just met the DeLeo brothers and were hanging with them on the side of the stage. We were geeking out on music gear and aliens, and then it was time to get up on stage and play a show.  Robert DeLeo yells, “Don’t be nervous! Don’t mess up! Haha!”  We laughed and then took the stage, and then Mike looks around and says, “Dude, I left my bass in the dressing room!” Mike runs offstage to get his bass and Tony just took a solo on the clavinet, by himself, to open the show.

Our last show with STP, they invited us on stage after their encore to do a bow with them. Just like in the movies: slow motion, thousands of screaming fans lit up – the time of our lives.

Q: Are you excited about the upcoming tour with Jet?  I think it’s a great match.

A: We agree! Jet is one of those bands we thought would always be an amazing match for us. We love their records, especially the ones that Sardy produced. Amazing hooks, kickass vocals, and they’re Australian. Come on now.

Q: Any final thoughts you’d like to leave with our readers?

A: Get off your couch, computer, phone and go outside. Go for a hike. Surf. Go skiing or mountain biking. Play in the dirt. Never stop learning. Practice self-discipline. Read the book, “The Four Agreements”. Strive to be a better person. And eat your vegetables!  Thank you [laughs].

For all the latest news on Crash Kings: http://www.myspace.com/crashkings

Crash Kings

AlterVertigo have just released a self-titled EP, which is truly a stunning offering. Influenced by everything from art to politics, each of the four wicked tunes is extremely individual and rich and the best part is you can download it for FREE (legally!) from altervertigo.bandcamp.com/album/altervertigo-e-p

AlterVertigo recently took some time to chat with The R&RR, here is what they had to say:

Q: Has your bold move of giving the EP away for free been working as planned?

A: Yes, it has been very successful for us. We thought that if we give our music away for free we can try to build a hardcore fan base, which will in turn help us to develop as a band. We’ve had a huge amount of people download the EP and give us feedback; this is quite an important thing for any band to have!

Q: What is your gig history so far and what do you have planned for 2010?

A: We haven’t really gigged too much because it is so difficult to get gigs these days and it’s even harder when you have no material available. With the release of the EP we hope to attract venues and booking agents to us so, hopefully, we will be playing a lot more shows this year. Towards the end of 2010 we are also looking to tour in America. We have management over there and they are just waiting for us to get out there! We are also looking at releasing our debut album at the end of the summer.

Q: Which art forms influence your sound the most and why?

A: Well, the obvious one is music as that’s what we’re doing! But we’re heavily influenced by the art of Escher, Geiger and Dali. They were great expressionists who found ways to transcribe feeling, energy and meaning into their respected art form. We think this is important and as long as you achieve what you want to achieve, and people understand that everything is there for a reason, we believe it’s very powerful. Yes, it’s not for everyone’s liking and we respect that many people just like to listen to the song and not think about it too much. What we try to do is combine this so that if you want to just listen to the song, then hopefully you can do that and appreciate it. But then there are also meanings in the songs that we hope would be appreciated by those who like to look further into things.

Q: Same question, but this time in respect to politics?

A: This is obviously a difficult subject to approach because no matter what happens, people will always be upset. There will never be a time where absolutely everyone is happy. Politically we tend to be interested in more of the impact of political decisions rather than trying to preach to people. If you look at certain film writers/directors you will see that they’re trying to express feelings and react to political situations. We don’t, and never will, claim to be clued up on world politics. But what we try to do is just write naturally about what’s around us. It’s not all politically based though; there are no boundaries as to what we write about. Music is a good way to channel energy and express opinion, so that’s all we try to do.

Q: What are your hopes and goals for AlterVertigo?

A: The main goal is to keep writing music that we enjoy; that’s all you can do. We accept that it’s not for everyone,, but we’d like to think that we always maintain our own identity. We think ambition is good to have, but in today’s world you need to be prepared to get nothing, then anything is a bonus. As long as you work hard you can’t do anymore. We’re in an age where you can’t completely control your fate, but as long as you enjoy what you’re doing, there should be no reason to be unhappy. We don’t want to think too far ahead so at the minute we just want to finish writing the album and get it out there to people. Hopefully they will enjoy what we’re doing, if this is the case then we’d feel like we had achieved exactly what we want to achieve.

More at: www.myspace.com/altervertigomusic

This year we have another great four bands for your rock and roll pleasure. Performing in aid of a great cause will be:

• Special Ops (www.opsmission.com)
• Emery Street (www.myspace.com/EmeryStreet)
• Vinyl Hero (www.myspace.com/vinylheroband)
• The In & Outs (www.myspace.com/theinnouts)

Now the coolest part of this whole thing is that you are not going to just see four great bands but that by paying the entrance fee of one blanket or a warm article of clothing you will be directly help keep the homeless of Montreal warm this winter. Last year Blankfest donated over 500 items of clothing and blankets to the Old Brewery Mission and this year we are looking to up that number significantly so if you want to hear some great live rock and roll and do some good then head out to Bar St. Laurent 2 on February 19th with blanket in hand and help us rock the joint.

Somebody out there who is having a rough time of it would thank you if they could….

Their early work attracted the ears of acclaimed songwriter/producer Marti Frederiksen (who has worked with the likes of Aerosmith, Motley Crue, and Buckcherry) and he soon got on board to help the band record their latest album, “Black and White”.

Q:  There’s really something for every fan of modern rock on this album – hard rock, punk, plenty of catchy hooks – how has your sound evolved over the years?

A: Well, growing and evolving as a band has a lot to do with maturing as well as new inspiration and everyday life. New problems and new beginnings come and go. It’s been the three of us since we were teenagers and we each have our own lives and opinions on music, style and pretty much everything. All of these things play a huge part in our sound evolving through the years.

Q: The single “I Can’t With You” is a terrific highlight off the record. Can you tell us more about what that song means to you?

A: “I Can’t With You” expresses the struggle of a long distance relationship and how many sacrifices we make in our lives for the things we grow to love. Most of the time you “can’t have your cake and eat it too”.

Q: Another favorite of mine is “Do You Believe” – what is the story behind that song?

A: “Do You Believe” is definitely a story in the video, but this song just asks the simple question: “Why does it take tragedy, pain and regret to realize what’s right in front of you?” We thought that this song, with its meaningful lyrics, would be something everyone can relate to. It sends the message “anything can be taken from you with the blink of an eye”.

Q: It seems you drew a great deal of inspiration from your father, guitarist Tony Santoro.  How has he influenced your musical career?

A: Yes, Tony Santoro was a huge influence in our lives. Sadly, he passed away when we were 14 years old. He was an incredible musician as well a great friend and father. Believe it or not, Tony introduced Justin and I to sports and was really supportive in everything we did. He never pushed music on us, but he did give us our first guitars and we grew up in a house full of his instruments. We both have come to realize that he knew how hard it is being a musician and being passionate about your art. He inspired us on so many levels.

Q: I’ve never interviewed a band whose primary members were identical twins – How does that factor into songwriting?

A: Throwing things in the studio is never going to change! [laughs] However, being twins is a miracle and the things that happen in our lives separately or together seem to have the same effect on us. When we write songs, Justin is definitely the melody guy, but we all have input as well [and] the lyrics are a collaboration. Sometimes songs are not created equally, but all together the hard work that is put in makes an equal effort.

Q: You have a new cover tune hitting iTunes February 1^st – Whose idea was it to cover “Blister in the Sun” by the Violent Femmes and why?

A: Yes, “Blister in the Sun” is released nationwide to radio and iTunes Feb 1^st. The idea for us to do a cover came from our record label United Media Group. Honestly, I don’t really know where the idea to cover this song came from originally. I know that our producer and partner Marti Frederiksen mentioned the idea to us, but also I heard it came from Kari Smith, another person that is a part of the Still Standing family. At first, the band did not think that this was going to be something we would enjoy, but wow did we change our minds as soon as we got into the studio. The original sound and style for this song is definitely punk. Taking a song that was very live sounding and unproduced, but very catchy, and making it sound like our record was such a great idea and we are so excited for the world to hear it.

Q: Are there any other songs or bands you would like to cover in the future?

A: There were other ideas throughout the years such as “Straight Up” by Paul Abdul and “Invincible” by Pat Benatar. These would have been great up-tempo covers, but at the moment we have no plans. You never know though; the future has a lot of roads, it’s unpredictable!

Q: What more can we expect from Still Standing this year?

A: Still Standing will be touring for the rest of our lives and we cannot wait. Whether it’s a van, mini van, pickup truck, pontoon boat, UFO, train, rickshaw, submarine, airplane or a tour bus, we are so eager to play everywhere and anywhere. To all of our fans, thanks for the support and believing. Thanks Bill Sullivan and Rock and Roll Report for this great interview. Stay tuned at our Official Sites below and keep rockin’!

More Still Standing at: www.stillstanding321.com and www.myspace.com/stillstanding

Q: How did Hearts of Black Science start?

A: I moved back home (to Stenungsund) after having struggled as a horror movie director in London and Berlin. Daniel’s band, Astroqueen, had just split up and we were both eager to start a band ourselves. We had made music together before, when we were younger, in various mini-projects, but nothing serious like HoBS.

Q: You don’t often see rock bands with only two members; does this ever cause any difficulties?

A: I think most bands, no matter how many members they have, are centered around one or two people that do most of the work. In many ways it’s a blessing just being two guys making all the music: it keeps things simple and focused.

We tried to work with more musicians in the studio at one point and all we ended up with was camps of egos and loads of wasted time debating what parts should be played by whom and what should stay in the song. As soon as we got rid of the extra “help”, and went back to our version of the songs, it felt right again and we finished up quite fast. However, we’ve done a few collaborations with other musicians and it’s been great. It’s who you work with and whether you have the same vision or not.

The only time we wish the band was bigger is when we play live. It would be awesome to have something like ten people with us on stage to play all the parts. At the moment we have a couple of guys that help us out with bass and drums live and it adds a lot to the songs.

Q: D you have a particular way in which you approach writing music?

A: We never write as a band in the classical sense where someone picks up a guitar and starts finding the song. At least I don’t. I think Daniel enjoys that a lot more, having been in bands before, but I’m much more the lone guy with a laptop. I need to have my head clear and focused on the sounds and the melodies. I don’t mind changing things later on, but I can’t have people hanging over my shoulder while I write. As I also produce a lot of our stuff, it’s hell to have to go back through twenty-odd tracks in a rough temp mix and exchange sounds and beats. I’d rather get all that in from square one. All my demos are fairly close to a finished mix.

Daniel hums the parts to his songs into a mobile phone – we are completely different as people and musicians.

Q: You recently released your second album, how was the experience of writing /recording it?

A: We wrote the first album together to a certain extent: we both came up with songs in various stages of completion on our own, then we brought them into the studio and continued writing on them together.
On The Star in the Lake, I wrote the demos for all the songs on the album by myself. Daniel came in and we shaped and arranged the whole thing together and recorded all his vocals and guitars and so on. I would mix and produce along the way as the songs evolved. It was a good process for me. The next album might be done differently though.

Q: Did you encounter anything surprising while working on the album?

A: I think the biggest surprise, and positive change, has been Daniel’s vocals and the way he sings now. He really found his voice on this album and I think it adds a lot to the record as a whole. Some of the songs on there just wouldn’t work if he had done it in that low-key style of the first record.

Q: Compared to making the first album, did you see any differences? Was it easier, harder etc.?

A: Much easier. We’re much more in control of the sound of the band now. If anything needs to be changed in a certain way, we actually know how to get there now. On The Ghost we were guessing and hoping to a greater degree. It has to do with us being better at what we do as musicians, but also to do with us having worked out most of our differences and issues. I think we’re much more comfortable working together now.

Q: What’s your personal favorite song on the new album, and why?

A: The Procession is my favorite song out of all of them. It’s just the strangest piece of music I’ve written: so theatrical and epic and completely shameless. To me, that song represents everything this band is about and what made me want to do this kind of music to start with.

I wrote it just as we were finishing the first album, but we never released it on any of the singles, as was our original plan. At one point this sort of famous Swedish singer was meant to do a duet with Daniel on it, but it never happened. After that fell through it ended up in a folder on my hard drive. Fast forward two years and we’re having problems with this collaboration we had done with an American artist called Cybo that we wanted to use on the Star album. That also fell through after a lot of back and forth about certain missing files and suddenly we were one track short when I happened upon The Procession again. I played it to Daniel who had almost forgotten about it and suddenly it was back in play. We re-recorded all the vocals and beefed up the mix and now it’s on the album. It’s the song that, despite the title, simply refused to die!

Q: How would you describe your sound in 1 word?

A: Melancholy.

Q: If you could collaborate with any artist or band, who would you choose?

A: I’d love to do something with Cevin Key and Ogre from Skinny Puppy. They’re my all-time fave band. Not that I’d see them being into our stuff at all, but it would be a life long dream come true for me.

As it happens, we’re in talks with the guy from Neverending White Lights about doing something together. We really like what he’s doing and there are a lot of connections between our music and his various projects. We’re excited about the prospects!

Q: What do you think of the Swedish music scene? Is it encouraging to new talent?

A: Yes and no. The only thing that seems to be working over here is this incredibly annoying teen indie pop thing that’s on the radio all the time. Sweden’s too concerned with trends to be able to expand and evolve its music scene. It’s lost some of its versatility. So it’s hard, not just for us, but for any genre outside of the indie pop scene, to get noticed. But Sweden will always be a land of musicians, I think. We produce a lot of bands so I guess we’re doing allright.

Q: Can you recommend some local bands for our readers to check out?

A: Thermostatic, Strip Music, Kent and Silverbullit are all great bands at different stages of fame here.

Q: What’s been the most memorable show you’ve played so far?

A: Hard to say. There’s one in London where we ended up playing for one fan and the bartender. It kind of sucked, but we had a good time regardless.
Our album release show this year, with our newly acquired drummer and bass player, was awesome! HoBS was back together with a new album and we did a great show. The sound was great, the new songs came out really good and we had people fly in from Norway and Germany and the US to see us.  All in all, it was a perfect night.

Q: The best Hearts of Black Science moment so far?

A: Getting our first album in our sweaty palms for the first time, and knowing we had built that house from the ground up with our own hands, was and will always be a monumental moment.

Q: Forced to listen to one album for the rest of your life, what would it be?

A: Depeche Mode’s Violator is my stock answer for questions of that nature.

For more: www.myspace.com/heartsofblackscience

As a special feature for readers of The Rock and Roll Report Hearts of Black Science has made available to you a free download of Gold and Dust for your listening pleasure! That’s right just click on the link and fill your ears with goodness courtesy of Hearts of Black Science and The Rock and Roll Report!

But wait there is more! Announcing our first contest!

Sweden’s “Hearts of Black Science” know how to please you!

The duo that fuses rock and electronica in an unforgettable (and stellar) manner brings you a rockin’ interview, a free mp3 download of their latest single “Gold & Dust,” and a giveaway of an autographed copy of their latest album, “The Star in the Lake.” To enter the contest just send us your email address to be entered to win this amazing new album that will rock your iPod (I promise … and did I mention it’s signed?!)

Cheers,
Barbara Pavone (Your Features Editor!)

10. Bonnie Tyler – “Have You Ever Seen The Rain?” (Creedence Clearwater Revival)

Bonnie Tyler is the female Meat Loaf: she records those epic Jim Steinman songs, her performances are over the top, she uses the line “I will do anything for love, but I won’t do that” (on her song “Getting So Excited”), and she now sits at home on Friday nights desperately waiting for VH1 Classic to call with a gig. She is best known for her monster hit, “Total Eclipse of The Heart”, but her attempt to eclipse some great songs on her 1983 album, “Faster Than The Speed of Night”, failed totally. In addition to her vocal shredding of this CCR classic, she rips up the Bryan Adams tune “Straight From The Heart” on this same record.

9. Michael Bolton – “When A Man Loves A Woman” (Percy Sledge)

When a man loves a woman, is he supposed to appeal to her as if he is in the middle of a proctology exam that has gone horribly wrong? When a man loves a woman, is he to have more fabulous hair than she? When a man loves a woman, is the best way to her heart to utterly ruin classic R&B? Check out this video of his live duet with Percy Sledge: the side by side comparison makes my point and then some.

8. Toad the Wet Sprocket – “I Want To Rock And Roll All Night” (Kiss)

For the record, Toad the Wet Sprocket is one of my favorite bands of all time…but what were they thinking when they did a slow-as-the postal-service acoustic cover of the greatest rock and roll anthem of all time? They play and sing this Kiss classic as if they were hung-over. “You drive us wild, we’ll drive you crazy” never sounded more insincere.

7. Emery – “All I Want” (Toad the Wet Sprocket)

Time for a little revenge…perhaps in an attempt to “show them what it feels like to have your song slaughtered”, hard rock band Emery has covered both Toad the Wet Sprocket and Bonnie Tyler (“All I Want” on “Punk Goes 90s” and “Holding Out for a Hero” on “Punk Goes 80s”, respectively). “All I Want” was a beautifully uplifting song originally done by Toad the Wet Sprocket in 1992, but Emery managed to pummel it to a pulp and beat out all of its light.

6. Scissor Sisters – “Comfortably Numb” (Pink Floyd)

The progression of feelings here is: laughter, disbelief, sorrow, nausea. If you are not familiar with Scissor Sisters, they make the Bee Gees sound like that dude from Crash Test Dummies. They will make you uncomfortably numb with their disco version of this Pink Floyd classic, sung entirely in a grating, high-pitched falsetto. You’ve been warned – click if you dare.

http://www.youtube.com/watch?v=o58efclneRs

“Embedding disabled by request” – why, you idiots?

5. Pat Boone – “Crazy Train” (Ozzy Osbourne)

Pat Boone got drunk one month and decided it would be a neat idea to cut an entire record of cover tunes…of some of the hardest rocking songs ever! The record, “Pat Boone: In A Metal Mood – No More Mr. Nice Guy” is laugh out loud hilarious. Perhaps this is what he was going for, and nothing makes me laugh more than his rendition of Ozzy’s “Crazy Train” (especially the shuffle at the end of the chorus). But what really takes the cake…the background singers actually sing “Choo choo”!

4. Filter – “One” (Harry Nilsson)

This song was originally written by Nilsson in 1968, but the best known version is the stupendous ‘one’ by Three Dog Night recorded ‘one’ year later. Three decades later the song had a sudden revival. This horrifying cover of “One” by the alternative rock band Filter appeared on the soundtrack to the “X-files” movie in 1998. Also in the 90s, Aimee Mann recorded it for a Nilsson tribute album (her version is much better, though!)

3.William Hung – “I Believe I Can Fly” (R. Kelly)

William Hung is unequivocally the most catastrophic thing to come out of American Idol, other than Ryan Seacrest’s radio show. William Hung is exceptional in that he landed a record deal for NOT being able to sing…oh wait, isn’t that the rule these days? Hung’s entire album, “Inspiration” (2004), is atrocious, but I’ll only torture your ears with this one song. Take the Hung challenge…see if you can perform an entire song without singing a single note in key!

2. Sid Vicious – “My Way” (Paul Anka/Frank Sinatra)

“My Way” was written by Paul Anka based on a French tune, but was made famous by Frank Sinatra and later Elvis. In 1978, Sid Vicious (Sex Pistols) infamously performed a version of “My Way” that is almost unrecognizable. Sometimes you can punk a song, but this one just falls flat. He puts the audience out of their misery at the end of this disturbing video. (Thanks (?) to my good friend Jerry Boyd at SideBMusic for bringing this one to my attention!)

1. Paul Anka – “Eye of the Tiger” (Survivor)

And in this corner…we have what has got to be a joke. Back in his prime, Paul Anka could do no wrong, but oh how things have changed. He is still doing things ‘his way’, but someone needs to tell him to stop. His 2005 album, “Rock Swings”, consists of – you guessed it – swing versions of pop and rock songs. The album should have been subtitled “Rock Swings (and misses)”. There are so many dreadful covers to pick from on this record, but I’m going with the swing version of Survivor’s 1982 classic “Eye Of The Tiger” to top our list. Mostly because he actually purrs at the end! All we need now is for Anka to come out of his tanning bed once again to team up with Pat Boone to butcher some Led Zeppelin.

And there you have it, folks…ten of the lousiest cover tunes I know of…sorry! If you know of some you’d like to share, leave a comment…if it is bad enough, I may include it in a sequel!

Our Interview with Ernie Cefalu – Part 3

Having spent a number of years working with “creative types” in the music, television and computer/web production worlds, I have been fortunate enough to be exposed to talents both large and small. While I often times found myself relying on a short list of “go-to guys” I’d developed over time for projects that required a fast turn-around or had limited budgets (wasn’t that most of them?), there were occasions that I was able to approach projects without those constraints and look at a greater number of options for people who might bring their unique abilities to bear and help me/my team produce some awesome products, making both myself and my bosses/clients quite happy with the results.

While I won’t name names today (you know who you are!), suffice it to say that when I discovered people who could help me take a project “to the next level”, I also took great interest in watching for what it was that made them/their output so special. Sometimes, it was the simple things that made their input that much more valuable, whereas other times it was the ways they looked at projects that helped them approach their tasks in such ways that when they came to me with concepts to review, I would either have to shake my head in wonder (either wondering what the @&%! was going thru their minds, or why I never saw the possibilities as they did) or simply step back and say “you’re amazing”. To someone like me who’s been involved in creative development and production and who’s been collecting art for over 30 years, it still to this day never ceases to impress me that there are so many talented people in the world, with most of them remaining “below the radar” or simply enjoying their talents as a hobby.

I also found that my job as a producer could be even more difficult when I had two people of prodigious talent (and, sometimes, egos to match) collaborating on a design project. If I was good at getting the best from both players – while at the same time keeping them from destroying each other during the process – the results could be quite impressive. More often, though, two big talents/egos would come to loggerheads during a project and I’d be forced to use my own judgment to decide who was better-suited for a particular effort and then gently let the other one down so that they’d be willing to make themselves available again for the next project. With this experience in mind, I was truly amazed to hear the story of how artist/designer Ernie Cefalu teamed up with now world-renowned artist Drew Struzan in the mid-1970s to successfully work together on the creation of dozens of iconic album covers for clients of Cefalu’s Pacific Eye & Ear agency. As you’ll read in today’s edition of UnCovered (the third in a series of interviews with Ernie C.), when such a relationship is based on a high degree of respect, friendship, and the desire to always do something new and different, the results of such a collaboration can surely be awe-inspiring. Today’s story takes up after the formation of the Pacific Eye & Ear agency in the early 1970s…

In the words of the artist, Ernie Cefalu (interviewed September, 2009, in Los Angeles, CA) –

What would you call a reality-altering, career-forming experience that allowed you to touch the world with what you did best and leave a lasting impression, but not even realizing the impact of your accomplishments until 36 years later? I know what I would call it – “My Life.”

In 1972, with the Jesus Christ Superstar, The Rolling Stones Tongue, Cheech & Chong’s Big Bambu, The Jefferson Airplane’s Long John Silver and Alice Cooper’s Schools Out albums to my credit, I now my own company. I was starting to gain traction in the album design category and as an extra bonus, building quite the reputation. I was also working 18 to 20 hours a day 6 to 7 days a week just to be able to stay in front of it all. I needed help and I needed it quick!

That help came in March of 1972, when Joe Garnett, who had been a freelancer, signed on as our first staff illustrator, and not a moment to soon. I had just secured our next major cover from my friend Lee Dorman. Lee had been the bass player and “front man” of Iron Butterfly, and the group was reforming into a new band – Captain Beyond – and they wanted me to do their cover.

Over the next few weeks, I worked very closely with Lee creating the look and feel of “The Captain” character. I then asked Joe Garnett to create the cover illustration depicting a futuristic captain, standing on a meteor in space, with his foreshortened hands reaching out for an iconic globe with two inverted triangles glowing inside it.

When he was done, I took a 5”x9” piece of Lenticular (3-D) plastic and printed Joe’s illustration on the plastic’s surface, which created an amazing illusion of movement and depth. We then added the plastic onto the printed covers. This was the first time that anything like that had been done on an album cover, and even though the record company fought it at every turn, Joe and I had nailed it. The cover and the group were both big hits!

Over the next months Joe and I did packages for the Door’s Full Circle, Cowboy’s Glad To See Ya and Grand Funk Railroad’s Phoenix albums, but this was all about to go South. In the middle of a shoot for the new Dennis Provisor (the lead singer for The Grass Roots) solo album called 7 Deadly Sins – and the biggest photo shoot we had ever done – Joe took ill. Shortly afterward, he moved away from Los Angeles and, needless to say, I was devastated.

Joe was a really versatile and fast illustrator that I had become both comfortable working with and dependent upon. On top of that, at the request of the Jefferson Airplane, I needed to go to San Francisco to meet with Grace Slick, Paul Kantner and Jorma Kaukonen to work with them on the design for their new album FAT. Even though I was stoked about that and 1972 was shaping up to be one “hell of a year” my go-to-guy, Joe Garnett, was gone.

I had to remove those diversions from my head and focus only on what was in front of me. It was going to be great seeing the band again. When I was finally with them, we immediately picked-up where we had left off months earlier with their Long John Silver album. Our meeting went very well and ended three hours later on a very high note.

On the flight back that evening, I had extreme mixed emotions. On one hand, I was elated to do another album design for the Airplane… what a high. Joe had gone, what a bummer! But maybe it was OK. Even though I didn’t have Joe, maybe I could do what was needed. A strong concept and some really cool lettering could work – after all, I had done the last Airplane cover myself, and it came out great. It sounded good, and I was glad to settle that conversation with myself!

I have always been a firm believer in “Good Karma” and have tried to live my life that way. But at this point I was wondering which of the bad things that I had done was coming back around to impact this situation. It was surely, the best of times and the worst of times all… at the same time!

Soon afterward, my concerns evaporated when this clean-cut kid by the name of Drew Struzan showed up at Pacific Eye & Ear’s doorstep. He was very friendly, in a quiet way. He had short hair and looked very straight, but as we talked, I found that he was interesting and articulate, with a certain air of confidence about him that I liked.

I remember thinking to myself, there’s something different and very special about this guy. Then I saw his book and immediately knew what it was… and it hit me like a wet kiss at the end of a hot fist! I want to go on record today and tell you that, to this day, 36 years later, I have never seen such incredible work in my entire life! Even though he hadn’t been out of Art Center all that long, Drew’s work was unbelievable!

His understanding of anatomy and ability to draw and paint was uncanny. His command of light and shadow, as it defined the form of his figure drawings, brought them to life on his page. I was simply “blown away”! I told him about the new Airplane album and we both agreed that “there was something there” in the title FAT - something that his control of the human form would best help illustrate.

We truly hit it off, and at the end of the interview, I hired him on the spot. However, as he was a new father and wanted to spend time with his family, he accepted my offer with just two stipulations: first; he would only work from 9:00 to 5:00, and second; he wouldn’t work on weekends. I remember telling him that if he could contribute at the level that his work implied, that would work for me. We shook hands on it, fastened our safety belts and never looked back!

As I worked over the weekend putting together the presentation for the next week’s meeting with The Airplane, I couldn’t stop thinking about Drew and the level of talent and value he would add to our efforts. Because I had been so hoping that I would be able to replace Joe with someone quickly, I had to stop what I was doing, several times, just to be sure that I hadn’t been dreaming – and I hadn’t!

All of my concerns went right out the window when Drew showed up Monday morning at 9 am sharp. He said that he had been thinking about our discussion on Friday and had an idea for a drawing. Over the weekend, he had done a charcoal sketch, on sepia tone paper, of two figures in a landscape framed in an Art Deco-style border. When he showed me the sketch it wasn’t exactly the direction that I was going in – I was seeing more of a up-scale Maxfield Parrish-style effort – but I felt good enough about his drawing to add it to my presentation.

As it turned out, adding Drew’s sketch was a good thing, which I didn’t discover till I was about to present our ideas to Grace, Jorma and Paul. The group had changed the title to Baron Von Toll Booth & The Chrome Nun and forgot to tell us! It didn’t hurt that they had some of the best smoke there ever was to assist in their forgetfulness! So there I was wasted, meeting with The Airplane, and finding out that the title had changed on what I was about to present.

It’s these moments “where the rubber hits the road” that adrenalin and creativity must be at their highest levels. In that same breath, they all turn to me and with that “C’mon, blow us away” look in their eyes and said “so show us what you have!” Considering what had just gone down, I started presenting the concepts with a slightly different spin than originally planed. When Grace saw Drew’s sketch she absolutely loved it, and suggested putting it into the Parrish-style concept I had also presented. Right then and there, we combined Drew’s figures into a neo-classical landscape and this great exchange of ideas led to an even better album cover.

On the final piece, we lost the heavy Deco border and used a more traditional border with a “fine art” museum type placard and quality. The cover concept and direction were done. All that was left was to do it, and Drew did it! His final painting was done in oils and colored pencils on canvas. He made the figures even more anatomically revealing than his original sketch, by painting them without skin and added a leopard to the composition. The group loved it! The entire painting took him two days to paint.

This was the first time that Drew and I had worked together, and it was destined to not be our last. Neither of us realized the magnitude of what laid ahead for us. There was a comfort level and professional respect that we found with each other that can only be described as “finding that missing piece that would accent and strengthen a weakness without taking over your soul.” I honestly felt that now, together with Drew, our agency could do anything… and for me that feeling was everything!

Less than 60 days later, I found myself on my way to Beverly Hills at the request of Ozzy Osbourne and Black Sabbath. I remember the 3-minute ride from their front gate, leading up to this huge 3-story “Gone With The Wind”-style mansion. I parked and walked up to this massive front door with a huge turn-bell in its middle surrounded by leaded glass. I gave the bell a good turn and while I waited for a response I tried to imagine how crazy it was going to be meeting Ozzy?

Within a few seconds the door was answered by this 6’-5” dude that looked just like Riff-Raff from The Rocky Horror Picture Show. Before I could open my mouth he said, in the deepest baritone voice, “you are expected, so please follow me.” The inside of this house was beautifully furnished – very upscale and conservative – with piped-in classical music throughout. Not at all what I imagined – where were the bats and headless chickens? But that was about to change – quickly. We finally came to two of the biggest doors ever made and as Riff-Raff opened them, the sound that blew out between the doors was so strong it almost knocked me over.

When we entered the room I was amazed. It was just like being in the front row at the Forum. The band was in a full dress rehearsal, with the smoke, lighting and sound all at full blast… it felt unbelievable! I have always felt that Black Sabbath was arguably the most-influential heavy metal band of all time, and this private Black Sabbath concert certainly validated that assumption for me. It was loud, colorful and amazing.

It turned out that they had rented the mansion because of its soundproof, full-size ballroom, which they had converted into a concert venue. They were preparing for a tour to support their new album Sabbath Bloody Sabbath and wanted us to do the cover of the album. When I asked how they had found us, it turned out that both Ozzie and Geezer (Butler) were huge Alice Cooper fans and loved the covers that we had done for him. I spent the day hanging, talking and listening to the new tracks while they explained what they were conveying with the songs. The really cool part for me was getting a chance to meet and party with all the bands that I loved. Rock n’ Roll Life can be so great…

I based the Sabbath concept on two turn-of-the-century illustrations that I received at my confirmation in the 5th grade. The first was a “good man” and the second an “evil man”, each captured at the split-second of their death. Drew then created two 30”x40” illustrations in colored pencil and acrylic that blew everyone’s socks off, including mine!

Here’s a bit of insider info: Some fans might know that the man in bed on the front and back covers is Drew and that he is all three demons pictured as well. Now here’s something that just a handful of people know: the woman on the front cover left is Ingrid Haenke, who beautifully-illustrated the Toys In The Attic cover for Aerosmith. The woman on the right is my beautiful wife Bonnie. Also, one additional note – I had designed an incredible logo (see left-hand image, below) that, to my dismay, was replaced with a crappy one (below, right) – at the last minute – by the band.

By 1975, Pacific Eye & Ear had not only become known for its break-through concepts and design but had built a solid reputation for creating ”Fine Art.” We had added three other key artists to the art department. At the beginning of April, I was contacted by The Bee Gees manager and Robert Stigwood, whom I worked with on the first Jesus Christ Superstar stage tour.

Robert and I had worked really well together in the past, so calling me was, as he put it, “a real no brainier!” He was deeply involved with the “Brothers Gibb” and he went on explaining why their new album Main Course was going to be so critical, as it was going to be their entry into the “hot” new Disco movement of the 70’s.

Robert always said the Jesus Christ Superstar logo was one of his all-time favorites. He was also a huge fan of Drew and Pacific Eye & Ear. He wanted me to create a new unique “own-able” logo for the Bee Gees – using their name – that would represent the Disco era for the band. Then, working with Drew, we’d marry my logo it to a memorable album cover. I created a really cool lettering logo – one of my best ever. Both the logo, together with Drew’s illustration of “Beauty in a Coke Spoon” quickly became iconic symbols, synonymous with the Disco craze.

Alice Cooper’s Welcome To My Nightmare in 1975 was to be the last package that Drew and I did together, and it was our most famous collaboration. Working with Alice and Shep was always a great experience, and this time was no exception. I love them both, and Shep is the best manager and human being in the business. We spent a lot of time together discussing the messages behind the music and listened to some of the rough tracks. Then I met with Joe Gannon – who produced all of Alice’s tours – and he conveyed his needs and concerns. Finally, I got with Drew and that’s when we created the “nightmare Ring Master” concept. With his sketches and my lettering it all came to life, and the rest is “Rock N’ Roll” history.

Welcome To My Nightmare has been ranked by Rolling Stone Magazine as one of the top 100 album covers of all time (Editor’s Note – Ernie had four covers in the top 100!). This is, in my opinion, by far the best Drew Struzan illustration ever done, and it is my personal favorite. It is the quintessential example of the Struzan style that first got him noticed in the movie poster business.

When we started working together Drew hadn’t developed any specific look yet and that’s why his early works were so varied in style and medium. It was his thirst for versatility and maximum control of a new medium that drove him, and it was contagious for us as well. He would do one assignment in oils on canvas, the next with brush and Doc Martin dyes or India ink. Then, the next piece would be a watercolor, and then he would jump on Carl Ramsey’s airbrush and, after a few tips from Carl, master that tool it as well.

Always stretching the limits and the medium, Drew was consistently experimenting with different styles and building muscle, then creating variations on those styles. There was always a creative exchange and ultimate respect between us. The really interesting spin to all of this is that Drew’s distinctive signature style – which ultimately changed the world of movie poster art – is the direct sibling of the style that he developed and refined while at Pacific Eye & Ear.

For artists and designers, the biggest lure about doing album covers was that the bands wanted creativity and uniqueness, which gave us complete permission to “get loose,” listen to their music and come up with lots of cool, different concepts – whatever we wanted to do, and the crazier the better!

I must say that Drew’s contributions of his talent and energy to Pacific Eye & Ear was a true learning experience for us all. That being said, the growing and learning exchange worked both ways. I feel that what Drew ultimately learned from me was that being a really great illustrator was only one part of a much bigger solution. The other key ingredients were concept, design and a better understanding of how product packaging (and other ways his art would be used) might affect the visual impact of his final pieces But, most importantly, he learned how to take direction and work with a Creative Director.

As an artist, I have always believed that, to survive and thrive, artists must continually have variety in their projects. For me, producing consistently great creative results meant taking on a variety of projects, across both album cover and non-album cover business categories. There is something about juggling different assignments and working under pressure that brings a fresh perspective, clarity of mind and focus to everything that you do.

Together, Drew and I pushed the bar higher and higher – never satisfied with what we had just done, but always focused on how we could make the next one even better. Even though our work together was a short-lived 3 ½ years, we created 25 album covers. Some were iconic and some not as much, but they were all really “Fine Art.” It is how we, along with a hand full of others, through our art – just like the music itself – left images for the world that will live on forever.

We created roughly 60 projects together and I can say that, without any equivocation, I never got tired of watching him work, and have never seen or worked with anyone like him since. He was fast, accurate and confident. Honestly, I don’t ever remember him making a mistake on any piece he did… ever!

For me, Pacific Eye & Ear was like the child I never had. It was an intensely tangible creation that quickly took on a life of its own. The original plan was to always promote the company over us as individuals, and now that really made more sense than ever.

I will be honest – I loved Pacific Eye & Ear so much that it quickly became all-consuming – it was an almost-worse-than-having-another- lover kind of commitment. I thank God every day that I had a wife in Bonnie who understood my passion and stood by my side every step of the way. Without her strength and love, I know that I could not have come close to achieving what I did, and I strongly feel that my body of work clearly speaks to that.

I am certainly thrilled at the exposure that this and other stories have allowed me and I am humbled greatly by the interaction from you the readers. It is both overwhelming and inspirational. My sincere Thanks to you all for enjoying my stories as much as I did telling them.

About the artist – Ernie Cefalu -

Ernie Cefalu is the owner and Senior Creative Director of HornBook Ink. the original cyber-agency with an arsenal of 25 world-class creative professionals.

Recently, Ernie was Senior Creative Director and Co-Owner of Y & M Associates in Los Angeles, an agency known for its breakthrough business solutions fueled by keen strategic focus and unparalleled creative design. He sat at the helm of this cutting edge boutique and his eye, and hand, touched and guided every client’s assignment. He remains a leader in this industry.

Ernie started his career on Madison Avenue in the late 1960’s. He was hired at Norman Levitt Advertising and his award-winning work for Decca Records (including designs for the Jesus Christ Superstar album) quickly established his creative genius and created demand for his talents.

Ernie’s drive and passion for excellence led him to a new chapter in 1970 when he joined forces with Craig Braun, Inc. in New York. Knowing the importance of first impressions, he wanted to make a mark on his first assignments. The results have become rock icons – the tongue logo for The Rolling Stones and the rule-breaking Sticky Fingers album.

Three months later, Ernie opened a satellite office for the agency in California where he would be the head Art Director. The hits kept coming for Ernie..Led Zeppelin III, Alice Cooper’s School’s Out, Cheech & Chong’s Big Bambu, and Captain Beyond, among others..

In 1972, Ernie was at the top of his game and knew it was time to leave and start his own agency. He opened the legendary “Pacific Eye and Ear” agency where, over the next 13 years, he created another 183 album covers for rock legends such as The Doors, Aerosmith, The Bee Gees, The Guess Who, Black Sabbath, Jefferson Airplane, Grand Funk Railroad, and Iron Butterfly. Pacific Eye and Ear was now on the map forever – easily recognized as one of the top three album design companies in the country.

In the late 80’s, as work in the music business was slowing, Ernie knew it was time to reinvent himself. He would “go mainstream” where traditional advertising was expected, but he would offer clients a very different kind of service and product. If they were half as bored as he was with status quo in advertising, packaging design, consumer promotions, and merchandising materials in stores, he knew he would have an exciting, thriving business. He felt he was really in touch with people – he understood how they thought, how they felt and how they acted. Ernie felt different businesses require different solutions…but they all need an attitude, a heart and a soul. Ernie could provide that connection.

In 1989, Ernie added an unlikely account to his client roster – Nestlé USA. Over the next decade, his work helped over 20 brands in Nestlé’s five divisions post double-digit sales growth. As word of mouth grew, he added Sara Lee, Wolfgang Puck, Sizzler, La Brea Bakery, Jerbeau Chocolates, Adams and Brooks and many more food companies to his client base. At InBev USA, he worked on all the national promotions for Beck’s, Bass, Stella Artois, Labatt and Koknee Beer Brands. He soon cut across industries and added clients including K-Mart, Disney, Universal, Game Works, Valvoline, Nature Made, The National Hot Rod Association, Mopar, Baskin Robbins Ice Cream and Matell/NASCAR, among others.

Today, he is retained by four Fortune 100 companies as their in-house Creative Director, with Cott Beverage (the #1 non-name brand beverage company in the World), HSBC Financial, Chang Beer (Southeast Asia’s #1 Beer), Coca Cola and Energy Club being the most recent additions to Ernie’s client roster, and with the 2009 release of Burton Cummings’ new album, this brings the total number of albums designed to date to 209. He has received three Grammy™ nominations for his work, 10 Music Hall Of Fame awards, four awards of excellence from the Los Angeles Art Directors Club, and has been presented with 25 gold and platinum albums by some of the bands whose album covers he had designed.

He is a dynamic speaker who captivates and electrifies audiences as he travels the country. If you ask him to reflect on his illustrious career his response is always the same…”Career? What do you mean, I’m just warming up. Wait till you see what’s next”.

To see more of Ernie’s work – and to purchase an original work from his collection, please visit his web site at

http://www.originalalbumcoverart.com

About UnCovered -

Our ongoing series of interviews will give you, the music and art fan, a look at “The Making Of” the illustrations, photographs and designs of many of the most-recognized and influential images that have served to package and promote your all-time-favorite recordings.

In each UnCovered feature, we’ll meet the artists, designers and photographers who produced these works of art and learn what motivated them, what processes they used, how they collaborated (or fought) with the musical acts, their management, their labels, etc. – all of the things that influenced the final product you saw then and still see today.

We hope that you enjoy these looks behind the scenes of the music-related art business and that you’ll share your stories with us and fellow fans about what role these works of art – and the music they covered – played in your lives.

All images featured in this UnCovered story are Copyright 1970 – 2010, Ernie Cefalu – All rights reserved. Except as noted, all other text Copyright 2009 – Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) – All rights reserved.

In Part 2 you’ll find:
Top 10 Songs of ‘09 – Barbara Pavone
Top 10 UK Acts of ‘09 – Intense Nick
Top 17 Albums & Top 5 Reissues of ‘09 – Scott Homewood

Top 5 Albums & Top Reissue of ‘09 – Gérard Girard
Top 10 Albums of the Decade – Matheson Kamin
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Top 10 Songs of ‘09 – Barbara Pavone

Seeing as the others have done a fantastic job at highlighting many of the stellar acts and albums of the year (and decade), I’ve decided to take a different route and bring you the top songs of ’09 instead. Many of these tracks, the albums they come from, and the artists behind them are probably unknown to you now, which is an outright shame. I hope you’ll take a listen to at least some of my top picks and if you do, I guarantee you’ll walk away with at least one new favorite artist/band. I would never lie to you, now would I?

10. Hearts of Black Science: Gold & Dust
Good music catches your attention, but only great music can move you on a deeper level. This Swedish duo’s latest offering certainly accomplishes the latter with its haunting melodies and beautifully delivered lyrics (and if that sounds cheesy, too bad!)

9. Jarmean?: Bad Penny
What would happen if punk and vaudeville had a baby? Answer: The wonderful sounds of Jarmean? This British five-piece makes me want to throw on a top hat and take a stroll through the streets of early 20^th C. London. Strange? Maybe. Fantastically refreshing? Most definitely.

8. Kings of Leon: Sex on Fire
This band has been met with as many haters as lovers in ’09, but just the raw, powerful vocals alone are enough to make this song a standout. You can hate all you want, but it’s still a sexy, rockin’ tune nonetheless.

7. The Ascot Royals: Zap Zap
I can’t resist these rockin’ riffs and beat, I just can’t. The urge to get up and dance is simply too strong and don’t get me started on the necessity to sing along (as loud as possible, of course).

6. Kizzy Star: Out of Control
It’s like they read my mind and combined four of my favorite things into one stellar song: melancholic lyrics (“She’s gonna knock me out, take my life, rip my soul”), a catchy chorus, undertones of The Killers and (well, this has nothing to do with the song really, but…) they’re Scottish!

5. Emery Street: Dead Man’s Hand
This was a tough choice since I have several favorite tracks on this band’s debut album (No Regrets / No Apologies), but the prominent horns and lyrics that fuse anger and sweetness made this the winner. But really, you need the entire album – now.

4. The Leather Arms Experiment: Frantic (Live Acoustic & Rock versions)
Usually, when a band releases two polar opposite versions of a song you’re bound to favor one. But this is no usual band and they don’t follow convention. The acoustic version is beautifully melancholic and although the prog-rock take is in its pre-production stage it’s still, for lack of a better word, magic. These guys have “it” and I challenge you to listen without being enthralled. Go on, try.

3. Surefire Machine: One Way Ticket
I’m slightly cheating here since this is a release from late ’08, but I’ve been stuck on it since and it couldn’t be left out. Not since Alice Cooper’s I’m Your Gun have I heard (and absolutely loved) such a good ol’ fashioned dirty, sexy song that just screams rock. “I run it clean, I run it fast…Baby, baby please, you get me on my knees…” Two words: Yeah baby.

2. Lady Gaga: Bad Romance
Ok, so Gaga may not be rock but she’s an innovative, talented songstress (and I may just have to fight you if you disagree) that’s injecting excitement back into the art (and spectacle) of music. Bad Romance is the pinnacle of Gaga’s genius this year and, frankly, I could listen to it all day. ”I’m a freak bitch baby!”

1. Wolfmother: California Queen
An excellent opener to an excellent album by the Aussie band who’s been gaining hype like wildfire (Andrew’s hair alone deserves recognition!) Falsettos haven’t sounded this good since, well, ever and they’ve got what U2 had in their early days: a sound that is instantly recognizable and unrivaled. I’m calling it now: they’ll have a sold-out arena tour before you know it (and if not, I’m going to be very upset!)

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Top 10 UK Acts of ‘09 – Intense Nick

So, it’s that time of year again. The time that gives me a chance to highlight some of the best bands from the past year that I (sadly) did not have time to cover as well as they deserved. It’s worth mentioning that this list is not in order, even though it may appear to be, and that I will not be placing bands that I have already covered on this list as that would be repetitive (and the last thing I wish to do is bore you all!)
* Bands with a ‘*’ offer free song downloads at www.inrockout.com Remember: Although the songs are “free,” donations are always appreciated *

The Fores*: Hailing from Leicestershire, The Fores have a great sound that is very rock n’ roll and that never fails to raise my spirits, whether they need it or not. Basically, The Fores are just fabulous.

Alter Vertigo*: A great act from the Midlands who kick out a great form of electro/ambient/grunge rock.

Volcanoes: Simply put, fantastic alternative indie rock.

The Unknown: Rocking ambiance like no other!

Method Own*: Wonderful grunge sound coming out of Bridgewater – they’re well worth checking out.

50 Caliber*: A kick-ass metal band from London; they’re self-styled and brilliant.

Houka Monks*: A wonderful new band that’s still forming in many ways. Their style of indie rock/pop got them second place at the recent Hollyoaks showcase music competition in the UK (which they were secretly glad not to win as they have so much going on at present!)

The Joe Public: Definitely deserving of the Top 10 of 2009, they have come so far during the last year and boy, are they good. They were hand-picked by Micheal Eavis to play at the Glastonbury festival last year and their most recent EP, Skin, is brilliant.

Third Bullet: Another shining light of British rock, their debut album, Revelations, is an absolute stonker. The two opening tracks are real pieces of “rottweiler rock n’ roll” and this band need looking into, believe me.

Officer Kicks: A great band from London with an awesome stage set that I am fortunate enough to have witnessed. Their sound is top-notch cockney, kick-ass rock n’ roll.

Beyond Redemption*: Deserving of a mention as they are a riotous, young metal/thrash band from Kidderminster with a sound that is oh so good.

This is a Top 10 so that will have to do for now. Oh, apart from Doris Brendel. Sorry, Top 10 is now Top 11. Oh well, just look at it like a Spinal Tap volume control! Wishing you all a great 2010, lets make it ROCK ROCK ROCK!

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Top 17 Albums & Top 5 Reissues of ‘09 – Scott Homewood

For this year’s list I’ve numbered the top albums, but on any given day I think any of them could be number one. As for the reissues, I’ll leave them up to you to rank.

17. Rosanne Cash: The List
16. Wilco: Wilco (The Album)
15. Reigning Sound: Love and Curses
14. Monsters of Folk: Monsters Of Folk
13. Tom Waits: Glitter and Doom Live
12. Avett Brothers: I and Love and You
11. John Scofield: Piety Street
10. Levon Helm: Electric Dirt
9. Eels: Hombre Lobo
8. Frank Turner: Poetry of the Deed
7. Dan Auerbach: Keep It Hid
6. Tripwires: House To House
5. Califone: All My Friends Are Funeral Singers
4. Them Crooked Vultures: Them Crooked Vultures
3. Phoenix: Wolfgang Amadeus Phoenix
2. Vulture Whale: Vulture Whale II
1. Dennis Diken and Bell Sound: Late Music

~ Reissues~
The Beatles: Stereo Box Set
Big Star: Keep an Eye on the Sky
DEVO: The Ultra DEVO-LUX Ltd. Edition
Buddy Holly: Memorial Collection
Stone Roses: The Stone Roses: 20th Anniversary Edition

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Top 5 Albums & Top Reissue of ‘09 – Gérard Girard

- Tommy Keene: In the Late Bright
- Cheap Star: Walk Like an Elephant
- R.E.M.: Live At The Olympia
- Parallax Project: I Hate Girls
- Brendan Benson: My Old Familiar Friend

Reissue – Big Star: Keep an Eye on the Sky

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Top 10 Albums of the Decade – Matheson Kamin

We have just said goodbye to a decade and started a new one and so it’s fun to reminisce about the music that helped make that time special. As we take the time to remember the albums and artists that helped shape our listening pleasure over the last ten years, I bring you a list of the ones that made the 2000s special for me. But instead of writing something about each and every one of these releases, I’ll just let the music speak for itself.

- Mushroomhead: XX
- Vertical Horizon: Go
- The Alternate Routes: Good and Reckless and True
- Red Wanting Blue: Pride: The Cold Lover
- Robin Stone: My Heart
- Vulpine: Channels
- Vary Lumar: Waiting Room
- Last Amanda: Last Amanda
- True Nature: Fells Like Centuries
- Pine: Pine

So, we here at RRR decided to jump on the bandwagon (after all, we like to give the people what they want!) and bring you the best of the best from the music of ’09, with a twist. Rather than asking staff to fight it out and put together one sole comprehensive list, we decided we’d let everyone sift through the gems (as well as all those painful albums that made you cringe and think “What in the world were they on?”) and put together their own individual Tops.

But before we begin I’d like to wish everyone a Happy New Year (even though I’m a bit late) and thank you all for making RRR a regular part of your musical intake. (Please don’t leave us in 2010, we love you!)

In Part 1 you’ll find:
1) Top 10 Albums – Stefany Mohebban
2) Top 10 Albums – Bill Sullivan
3) Top 10 Albums (Rock & Metal) – Jon Asher
4) Top 20 Albums (Power Pop) – Aaron Kupferberg

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Top 10 Albums – Stefany Mohebban

10. Japandroids: Post Nothing
Don’t be fooled by the kitschy name, this duo has successfully created a sound that is alternative, punk and very much their own. They’re one of the most refreshing bands to have emerged in the last five years.

9. Sufjan Stevens: The BQE
I’m simply blown away by the juxtaposition of such ethereal music and the thought of the Brooklyn/Queens expressway.  Oh yeah, and the boy can sing.

8. Sonic Youth: The Eternal
With a song titled Anti-Orgasm, how could I have left this out of my list? And it’s the perfect album for a road trip.

7. The Mars Volta: Octahedron
Once again, The Mars Volta have managed to put out an album with a sound that is so unique to them, I’ve never heard it duplicated anywhere else. They aren’t afraid to do their thing and it really comes through on this latest release.

6. Yeah Yeah Yeahs: It’s Blitz!
This list needed a little dance, and a little fun, and who better than these guys to provide us with that glorious ‘80s energy we all have a soft spot for in our hearts?

5. Dinosaur Jr.: Farm
It’s nice to hear that a band is still making alternative rock music with no pretension and no fluff. These guys have been recording since the ’80s and have not lost their talent to provide good gritty rock.

4. Alice in Chains: Black Gives Way to Blue
Never thought you’d hear from these boys again, did ya? But Jerry Cantrell, the backbone of the original band, has put out an excellent album that retains the spirit of the infamous grunge band, with a fresher, cleaner feeling. Oh yeah, and don’t expect lyrics about heroin withdrawals.

3. Built to Spill: There is no Enemy
Finally! A little pep in these boys’ steps makes their latest album still feel just as indie rock as ever, but with an added layer that had been missing in their last couple of albums.

2. Mastodon: Crack the Skye
They make metal sound oh-so-beautiful with this concept album about Rasputin and alternate universes, written after the death of the drummer’s sister.

1. Them Crooked Vultures: Them Crooked Vultures
A refreshing mix of true rock and roll, funk and groove. If anyone can do it, it’s these brilliant men.

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Top 10 Albums  – Bill Sullivan

I’ve never been all that great at prioritizing things so this list of the ten records (excluding EPs and compilations) that I found myself going back to again and again in ’09 did not come naturally. To make things slightly easier, the albums have been categorized by simple and non-judgmental alphabetical order!
* Click on an album title for a full-length review *

- Lisa Bianco: Post-Data
Bianco is a budding NYC musician who sounds a lot like Nina Gordon (Veruca Salt). Post-Data is a solid collection of charming pop-rock numbers that sink in more and more with every listen.

- Bleu: A Watched Pot
Bleu’s lost “third album” is the charm for me. Some argued it was too slow, but the melodies are just gorgeous and his vocals better than ever.

- The Elms: The Great American Midrange
The Elms make a triumphant return with this one, restoring my confidence that they are one of the most underrated melodic rock bands in America’s heartland.

- Bobby Emmett: Learning Love
A retro power pop dream come true with plenty of ’70s timbre imbuing these tasty pop confections.

- July for Kings: Monochrome
Another grossly underrated rock band that got lost in the mix of major label irresponsibility. After a long break they’re back with a vengeance and an endless assortment of melodies. JFK sounds like Brian Vander Ark (Verve Pipe) fronting an edgier Matchbox Twenty.

- Andy Lehman and The Night Moves: Lowcountry
The unique voice will grab you first, then the intriguing chord progressions, and then the story will hit you. Lowcountry is an intelligent concept album depicting a lover’s triangle gone wrong, but each song stands on its own as a beautifully crafted pop rocker.

- Lloyd Dobler Effect: Lloyd Dobler Effect
This self-titled record is an exceptionally strong set of songs from a band which mixes rock muscle with heartfelt vocals. Not to mention they’ve got one of the coolest band names around!

- Starcode: A Fine Line
A band of brothers, Starcode is kind of like The Rembrandts, but with a kick. Not a bad tune in the bunch.

- Strangefinger: Into the Blue
Another outstanding power pop record released this year by SideBMusic. Fans longing for a Jellyfish reunion can bide their time with this gem from Freddie Lemke a.k.a. Strangefinger.

- Scott Warren: Quick Fix Bandage
A solo release from the Signal Hill Transmission member, Quick Fix Bandage is indeed perfect for healing and/or meditation. All of the tracks are generally mellow and boast an organic sound, which channels the best of Rhett Miller and Matt Nathanson.

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Top 10 Albums (Rock & Metal) – Jon Asher

10. We Came As Romans: To Plant A Seed
9. The In & Outs: Ascending Back and Forth
8. Hatebreed: Hatebreed
7. We The Undersigned: Bleed The Constant
6. The Human Abstract: Midheaven (Ok, so it’s not exactly from ‘09 … )
5. Funk Vigilante: Civil Disobedience
4. Emery Street: No Regrets, No Apologies
3. Mastodon: Crack The Skye
2. Baroness: Blue Record
1. Crippled Black Phoenix: 200 Tons of Bad Luck

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Top 20 Albums (Power Pop) – Aaron Kupferberg
* Click on an album title to read the full review *

- Roger Joseph Manning Jr.: Catnip Dynamite
- Roger Klug: More Help For Your Nerves
- Lamar Holley: Confessions of a College Student
- Michael Carpenter: Redemption #39
- The Campbell Stokes Sunshine Recorder: Makes Your Ears Smile
- The Webstirs: So Long
- Jeff Litman: Postscript
- Curtains For You: What A Lovely Surprise To Wake Up Here
- L’Avventura: Your Star Was Shining
- The Simple Carnival: Girls Aliens Food
- The Shazam: Meteor
- Dennis Diken with Bell Sound: Late Music
- Jeff Larson: Heart Of The Valley
- Bleu: A Watched Pot
- The Secret Powers and The Electric Family Choir: Self-titled
- Chris Richards and The Subtractions: Sad Sounds of Summer
- Thowback Suburbia: Self-titled
- The Wigs: File Under: Pop Vocal
- Valley Lodge: Semester at Sea
- The Resonars: That Evil Drone

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* Get set for Part 2 on Wednesday, January 13th *