Debuts - Love American Style, Third Eye Blind
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Rating Scale: to
Artist: "LOVE AMERICAN STYLE"
Title: "UNDO"
Label: Oxygen Records
Available: Most Major Music Stores
Reviewed By: Colette Engel
Rating:


If you're looking for something new the next time you hit the record store, pick up "Love American Style's" debut, "Undo." The band is made up of founder, Rob Montejo, who plays lead guitar and does all the vocals, as well as writing all the songs and music, Steven Haley, also on guitar, Steve Wagner on bass, and Bob Furlong rounding things out on drums. The band hails from the Wilmington, Delaware area. and are already enjoying a good deal of success in that area with major radio play on the local station, Y-100, a stadium show in Philadelphia, and also the honor of being selected as one of the featured artists for WDRE-FM's annual CD sampler.

Rob enjoyed a modicum of success in his previous band, "Smashing Orange," but quickly became disillusioned with the major label scene. SO was top 10 on the UK's independent charts but despite an amazing start in the U.S., things were looking bleak for the band here at home. It was then that Rob returned home and got together with Bob and Steven to form "Love American Style." With the new band Rob was "writing tunes that reflected someone older, wiser, but regenerated and looking for trouble."

"Undo," is a blend of good music and interesting lyrics. This band has a strong energy and the album shows it right from the start with an instrumental interlude called "Hail the Flounder" that leads right into "Undo." The title track, "Undo." sets the pace with a good strong beat and great vocals to back it all up. "Undo the memories you love/ You make it sound as if you have a place to go." The song grabbed me the first time I heard it. Montejo has a strong voice and the music is exciting and unique with an underlying bass line running through the song that really brings it all together.

"Easy" has a kind of "lounge" quality to it - at least that's what it brought to my mind. The vocals in this song have a tinny sound that suits the mood of the music and mixes together nicely with it, creating a laid-back sound. It's a great song. Next is "Not About to Lose It," the band's first single. This song has more of an edge to it then the previous two songs. The instrumentals are fun to listen to, and you can hear each layer distinctly as each band member plays his part. It's easy to see why this song is a hit.

"Ticket" starts off with a kind of strolling bass line and steady drumbeat before being joined by the other guitars. This song is a bit slower-paced than the previous song and gives you a chance to catch your breath a little. "Divider" speeds up the pace again. The guitars are insistent in this song, and the drums join up with them to really smash home that rhythm and punctuate the lyrics.

"I Know You Know" is my favorite song on the album. It has a wonderful melodic sound to it. The lyrics are short with only one verse and a chorus that are repeated. "No I'm not blind though I might say things so very unkind. . .Don't you leave me." This song is wonderful and I had to put it on "repeat" so that I could hear it again. Then I had to read through the lyrics so that I could sing along with it.

"Whipping Cinders" slows things down once again. I found myself concentrating on the guitars in this song more than anything else. They create a mood here of peacefulness. I found myself relaxing into it and letting it kind of wash over me until the end where it builds up more strongly and the music comes rushing in all at once. It has a powerful sound. "Radio Smile" is a very happy and hopeful sounding song. "Everyday, I wake up happy to know who I am/ The sun is humming/ Can you hear me?/ Laughing like your favorite song." I really enjoyed this song. It's a lot of fun.

"Be In Your Body" is one of my least favorite tracks on this album. The music is more slow-paced in this one. There are some very interesting guitar sounds at the end of it but it just isn't one that I enjoyed. "Anodyne" is the one acoustic track on the album. The title of the song had me head to my dictionary as one-word titles sometimes seem to do. It means painkilling, or something which kills pain. The lyrics suggest this a little, "Anodyne/ Quiet speed/ Send relief . . ." It's a really good song that put a lot of images in my mind. The acoustic guitar is perfect for this song. It takes none of the focus away from the lyrics as instrumentals sometimes do.

"The Sky Will Be Milk" is the last song on the album. It's a strong finish to a fabulous record. This is one of the songs that I'd really love to hear live. As good as it sounds here on the album, I'd wager a bet that it's twice as powerful-sounding when heard live.

I recommend that you pick up this album. It's a great new band and I hope this record is only the beginning for them. After talking with Rob Montejo, I'd also highly recommend that you see them live if you get the chance. He sounds like he puts everything he's got into his music, and the album shows this both lyrically and musically. I know I'm going to be watching for more of "Love American Style."

INTERVIEW WITH ROB MONTEJO
10/23/97
By
Colette Engel



  • AMZ: There isn't a lot of information about the band out there. Can you tell me a little bit more about the yourselves? I see that you're from Delaware. Is everyone in the band from Delaware?

  • RM: Yeah. Pretty much. There are three of us in the band from Delaware and one guy from just outside of Delaware.

  • AMZ: I only have three people listed in the band. You, Steve Haley, and Bob Furlong. Who's the fourth member?

  • RM: Ok. I guess we've sort of acquired another person to add to the live shows. How can I explain this? I think we needed one more person to sort of flesh things out.

  • AMZ: What is his name and what does he play?

  • RM: Steve Wagner. He actually plays bass and Steve Haley now plays guitar. A little bit of a flipflop there.

  • AMZ: So how long have you guys been together now as "Love American Style" and how did the three of you get together?

  • RM: We've been together about a year now. Let's see, I got together with Bob - he was a friend of a guy that used to be in another band that I used to be in. He had been interested in playing drums with me when I was in my old band so I called him up and we started playing together and we just kind of "clicked." Bob and I are the foundation of the band. Then we got Steve Haley - he somehow got a hold of me. . . (pause)

  • AMZ: Kind of a friend of a friend thing?

  • RM: Yeah. I hate to be so vague. . .

  • AMZ: Hey, that's ok. I understand how that kind of thing happens. I see on the album that you write all of the songs. Is that just the lyrics or the lyrics and the music too?

  • RM: I write both.

  • AMZ: Do you write the lyrics first and then the music? Or the music first? Does it just come to you and you have to race off and write it down right away?

  • RM: Not really. I would say that for the most part, I sit down and write the music and then with the lyrics, I just sit down and start working on them, basically, after I have the music pretty well down. I usually have parts of it in my head - how I want it to sound, some key lines or whatever, something to work from. And it usually happens kind of like that.

  • AMZ: What do you think that your next single will be, or haven't you thought that far ahead yet?

  • RM: I think "Undo" would make a good single. I think maybe it should have been our first single but the record company kind of thought differently.

  • AMZ: Did they think that "Not About to Lose It" had a harder edge to it that would appeal to people? I noticed that some of the other songs had a sort of "softer" sound to them.

  • RM: Maybe, but, I think . . .we had recorded it as a demo and the radio stations around here started playing it and so they thought that if it did this well at this level that maybe we could take it up to another level. Kind of the easy way to go about it, I guess.

  • AMZ: So what can fans expect to see at your live shows?

  • RM: Well, we're a good live band, really strong, and I think it comes across live a lot more powerfully.

  • AMZ: Do you do everything electric when you play live?

  • RM: Yes.

  • AMZ: It sounds like there are some acoustic songs on the album.

  • RM: There is one acoustic song on the album, "Anodyne," that actually I had recorded initially on the four-track. I liked the way it sounded, and it's on the record that way, but we do it electric when we play it live.

  • AMZ: What about videos? Have you done any yet, or do you have plans for one?

  • RM: We don't have any videos yet, but we're all into doing videos.

  • AMZ: What bands do you like to listen to when you're not doing your own music?

  • RM: I like to listen to "My Bloody Valentine," I like "Radiohead". . .(pause) I don't know. I always have this figured out in my head but when I'm asked the question - well, I have tons of CDs and I like to listen to music of all kinds.

  • AMZ: How do you label yourself?

  • RM: The easiest way to label myself is alternative.

  • AMZ: How satisfied are you with that label, though?

  • RM: It's alright, I mean it's really generic. What can you do? It's easier for me to say, "alternative" and then people go "ok, it's one of those new bands." Instead of saying rock and roll, or it differentiates us from like, blues or something.

  • AMZ: Where do you find inspiration for your songs? Where do you get your ideas?

  • RM: I might hear something, like an oldies song or something. Or I might hear something new that's really cool, I don't know how to explain it really but when it does happen I usually sit down and write alot of songs all at once. Maybe like 5 or 6 and then I'll go blank for a while.

  • AMZ: What about "Anodyne?" When I saw that word I had to run off to my dictionary and look up the meaning. Is the meaning of the word tied into the meaning within the song?

  • RM: Yeah, yeah, because I came across that word one day and it inspired me to write a whole song. That's a good example because sometimes it's just a word that triggers things and gives me the idea for a song.

  • AMZ: What do you like to do in your spare time?

  • RM: I like to garden a lot.

  • AMZ: Flowers? Or vegetables?

  • RM: More like woody plants - hydrangeas, that type of thing. I don't know if you know anything about gardening.

  • AMZ: Not much really. I have a cactus that hasn't died yet. (laughs) So you do you live out in the country then?

  • RM: Not really. Where I live is kind of unique in that it's its own little town, like an oasis. The community that I live in initially started back in 1901 as an arts and crafts kind of utopian society.

  • AMZ: It sounds like a nice place to live.

  • RM: Yeah, it's pretty cool. A lot of artists, writers, a lot of creative people.

  • AMZ: Do you like to read in your spare time?

  • RM: Yeah, I enjoy I guess what you'd call early turn of the century literature. I like a lot of German authors like Hesse. Psychological stuff like Kafka. I like Kafka a lot.

  • AMZ: I guess you'd find inspiration for songs in that too.

  • RM: Absolutely.

  • AMZ: So, what could you tell me that you really would like your fans to know about you?

  • RM: That I really care about what I'm doing and I really mean it.

  • AMZ: It was great to get to talk to you.

  • RM: I appreciate your interest.

  • AMZ: Well, we're going to get you out there in our magazine. Do you have any shows coming up anywhere soon?

  • RM: Yeah. We have a show coming up on November 11th, at Brownie's in New York City.

  • AMZ: Ok then. Again, it was really great to have the chance to talk to you. I appreciate you taking the time out for us and if you ever get to my neck of the woods I'd love to get the chance to see the band live.

  • RM: Thank you.


    • Artist: "THIRD EYE BLIND"
    Title: "THIRD EYE BLIND"
    Label: Elektra
    Available: Any Major Music Store
    Reviewed By: Dave Merrill
    Rating:

    In 1993 vocalist, Stephan Jenkins left behind all the bands he'd been playing with to go off on his own, and began making demo tapes from his low-rent studio. His next task was to put together a band. He wanted people that didn't fit with the usual California club scene. The process took a long time, with many false starts. First, he convinced ex- Fungo Mungo bass player, Arion Salazar to join the band. Guitarist, Kevin Cadogan introduced himself to Jenkins after a Third Eye Blind show. A friend of Cadogan's later introduced them to drummer Brad Hargreaves. The four were born and grew up in the San Francisco Bay Area.

    Jenkins' plan was that they do everything on their own, from the music itself to production. They passed up a label bidding war to sign with Elektra because Elektra was willing to let them do everything their own way. Jenkins produced "Third Eye Blind's" debut album with Eric Valentine, who had been working with the band since their early demos. This artistic control really shows on the album. From the album's cover, through all of the songs, to the images on the CD itself, there is a definite thread that holds everything together. Jenkins' lyrics are incredible, hard-hitting. He can say as much in one song as other lyricists take whole albums to say. His vocals are far ranging. He seems to have three different voices, soft, loud and screaming, depending on the needs of the song The music itself takes as many twists. There isn't a bad or even a mediocre song on this album. They range from good to great. This is art, not the usual studio album attempt to grab the airwaves at the cost of a cohesive album.

    "Losing a Whole Year" starts out with soft guitar, but it soon goes right into a musical assault. It's about a relationship that got old. Jenkins sings of how the relationship started, "And I remember you and me used to spend/ The whole goddamned day in bed/ Losing a whole year." The relationship takes a turn, "And if it's not the defense then you're on the attack/ When you start talking I hear the Prozac. . ." The whole story is here for us to put together. Jenkins has a wonderful way of phrasing things.

    "Narcolepsy" begins with soft guitar riffs. Jenkins uses his soft deeper voice here. It's pleasant and smooth at first and then slides into a manic state with screaming guitars. "I try to keep awake/ I try to swim beneath/ But still I find this narcolepsy slides/ Into another nightmare. . ." The person in the song fears sleep. The music reflects that fear beautifully. It's a wonderful song.

    Next up is the hit single, "Semi- Charmed Life." It opens with a strong drum roll, loud guitar, and the now familiar "doo doo doo" vocal of the song. As Jenkins says, the song is about drugs, specifically speed and sex. There's a whole sequence of this song that was cut from the single. A vivid image from that part of the song makes it obvious what it's about. "You're the priestess I must confess/ Those little red panties/ They pass the test/ Slide up around the belly/ Face down on the mattress." For a while after the album was released, a few stations in my area were playing the uncut version. That didn't last very long. But even the lyrics that remain are very blatant. "She's got her own motivation she comes round and she goes down on me/ And I make her smile/ It's like a drug for you/ Do ever what you want to do/ Coming over you. . ." Jenkins just sings it fast enough that you don't notice it the first few times around. This is a great song. It has a lot of energy, not the least of it sexual.

    Jenkins sings high and loud over a soft guitar at the beginning of "Jumper." The song picks up and gets louder and faster. It's refreshing to hear a song about suicide that's about trying to stop a friend from jumping. So often suicide songs are about being suicidal and wanting to jump. "I wish you would step back from that ledge my friend/ You could cut ties from all the lies/ That you've been living in. . ."

    The second single from this album, "Graduate," is a real hard rocker. I don't think it's about graduating from school. The lyric is beautifully phrased, but it's a bit hard to fathom. I think it's about graduating from people's old opinions of you. "Can I graduate/ To the bastard talking down to me/ Your whipping boy calamity. . ." The song doesn't let up from beginning to end.

    "Third Eye Blind" follows the loudness of "Graduate" with the softness of "How's It Going To Be?" a contemplative song about breaking up with a girl. All of us have gone through what he talks about in this song. What makes the song unique is the honesty about the feelings in the situation. Jenkins holds nothing back. I wanted to quote the whole song here to show how beautifully written it is. Most of the songs on the album are like that. I find myself editing down as I go, because I can't just reproduce every line. He sings, "How it's going to be/ When you don't know me/ How's it going to be/ When you're sure I'm not there/ How's it going to be/ When there's no one there to talk to/ Between you and me/ 'Cause I don't care. . ." It's a beautiful song that always reminds me of someone when I hear it. The song on the album has more words to it that are in the liner notes.

    "Thanks a Lot" is another hard rocker. It careens along with screaming guitars. The lyrics are tough to understand. One image is completely clear. "I'm the one for you/ 'cause I know all the dirty things you like to do. . ." I have a feeling this is another song about drugs and sex. What comes through the most here for me is Jenkins' ability to phrase things. He makes a song that's impenetrable interesting.

    Jenkins sings high again on "Burning Man." It starts off pretty soft and is punctuated here and there by loud guitar. It's about sex, enjoying life, and drugs. The opening passage says it all, "The rise and fall of my sloppy love/ The smatterings, and spatterings/ They'll get you. . ."

    "Good For You" is a song about the struggle between wanting to be there for someone, while trying to get what you need yourself. Sometimes the two don't work well together. Finding the balance will make a relationship work. It starts out soft and calm. Jenkins sings low through these sections of the song. Then the song gets crazy. "Cause I feel you cross my mind in disarray/ Intoxicated ricochet/ There's nothing wrong/ Just don't take too long. . ." "London" is another hard rocking song. It's loud and uncompromising. The relationship explored here is a sick one. He has to fight other guys for her to notice him. When he goes to London she ignores him anyway, "I don't want to go to London/ 'Cause you're not there/ Even when I see you/ You're somewhere else in London."

    "I Want You" is mostly a Jenkins song. He supplies vocals, guitars, drums, percussion and keyboard arrangements. His co-producer, Eric Valentine, does guitar, keyboards, and programming. Essentially this is a solo effort for Jenkins, not really "Third Eye Blind." It's an excellent moody song about a new relationship. It begins with electronic drum. Soon an overlay of soft guitar and Jenkins voice comes in. The keyboard soon joins them. It's a wonderfully melodic song. The images Jenkins creates are full and beautiful. I'm having trouble pulling a key line, because they're all important to the song and its effect. "I said to live in this way is not for the meek/ But you talk real soft and kiss me on the cheek/ And like a jazz DJ you talk me into sleep. . ./ I want you. . ."

    The next song is about carrying around an old relationship with you "In The Background." It's apparent that the man in the song is responsible for sending his girl to the hospital. It's a sad and touching song. Jenkins expresses the feelings of the relationship wonderfully. It's soft through most of the song, but gets very loud in places. Jenkins sings low as the song opens softly, "Everything is quiet/ Since you're not around/ And I live in the numbness now/ In the backkground. . ."

    Beautiful soft guitar work marks the beginning of "Motorcycle Drive By" as Jenkins sings low. This is perhaps the most moving song on the album. It's about an unrequited love. The man in the story visits his friend in New York and finds himself sleeping on the couch. He realizes, then, that he'll never have her. He has to get over her. Again, I want to quote the whole song, so you can see how beautiful it is. "I go home to the coast. . ./ I paddle out on the water/ Taste the salt and taste the pain/ I'm not thinking of you again/ Summer dies and swells rise/ The sun goes down in my eyes/ See this rolling wave/ Darkly coming to take me/ Home/ And I've never been so alone/ And I've never been so alive."

    The last song, "God of Wine," with words are as well written as "Motorcycle Drive By." The song starts the same way, with soft guitar and Jenkins singing low. He sings, "Every thought that I repent/ There's another chip you haven't spent/ And you're cashing them all in/ Where do we begin to get clean again/ Can we get clean again. . ." It's about a relationship that doesn't work, apparently because of addiction to alcohol. I'm having trouble chopping this song up for a quotation too. "The God of wine comes crashing through the headlights of a car/ That took you farther than you thought you'd ever want to go/ We can't get back again/ Can't get back again/ She takes a drink and then she waits/ The alcohol that permeates/ And soon the cells give way/ That cancels out the day. . ." He laments that he can't help this girl, that he has to leave her.

    This is a beautifully produced album, from beginning to end. Jenkins and "Third Eye Blind" are very conscious to have the music go with the lyrics as in "How's It Going To Be," or to have the music contrast with the message as with "Semi-Charmed Life," where the music is upbeat and happy and the lyrics are about a downward slide into drugs and sex. Most of the songs are about relationships and the feelings connected to them. Jenkins honesty about the feelings is what makes the songs work so well. He's a gifted writer, beyond what I usually see in rock music. The music is polished. The writing is sheer poetry. You won't find a better debut album than this one.

    END