 |
 to |
 |
 |
| Artist: | "SIZE 14" |
| Title: | "SIZE 14" |
| Label: | Freeworld Recordings (Formerly Volcano) |
| Available: | Most Major Music Stores |
| Reviewed By: | G. Horstman |
| Rating: |  |
| Los Angeles based "Size 14" already has a potential hit on
their hands from their self-titled debut album, in the form of "Claire
Danes Poster." The first single from the album, it's already been used
as background music for Claire Danes' "Rock The Vote" ad, broadcast
nationwide on MTV, most prominently during the MTV Music Awards. The video
of "Clair Danes Poster" is already in heavy rotation on M2, and
I believe I've seen it on "120 Minutes" or "After Hours"
on MTV as well. Not bad for the first shot out of the starting gate! I can
understand the appeal of this song, with it's mixture of catchy rock instrumentals,
big guitar riffs, great melody and teen angst lyric: "I'm going to
pick up some beer, stay at home and stare at my Claire Danes poster. . ."
And that's just the first song on the album! "We're kind of a guilty pleasure," laughs Linus, leader of the group. "After years of listening to lo-fi indie rock, I think a lot of people are finally starting to admit they like big sounds. I'm unapologetically into pop music with big hooks and choruses." Linus and his band mates - Kevin Danczak-guitar, Robt Ptak - recently departed bass player (yes, the have a new one - Ray Santangelo) and Dave Armstrong - drums, seem to have cooked up a mixture on this album that entertains with both the music and the lyrics. They also had an unlikely accomplice in recording this album - Daryl Dragon (the Captain of Captain & Tenille) plays keyboards on 5 of the 14 tracks on the album. "He was kind of shy at first," say Linus, "but he was really cool to work with - definitely the pop master." Linus admits he writes semi-autobiographical songs. "All my life, especially in music, I've tried to flaunt my flaws. Whatever those flaws may be, I'll bring them to the forefront, joke about them and use humour to cope with them. To be honest, I'm sort of a normal, dorky guy who was the geeky metal-head in high school. Music has been my creative oasis from all of that stuff." For a little past history here, Linus (a.k.a. Kevin Dotson) grew up on the island of Satellite Beach, near Florida's Cape Canaveral, and began playing in local glam/metal bands at age 15. He was named Linus shortly after moving to L.A. in 1994 at age 21. "I was going through my Beatles phase at the time and wearing lots of striped shirts. One of my friends said I looked like I was dressing from the 'Peanuts' collection. He introduced me to everyone as Linus. Now hardly anyone in L.A. knows my real name." While working a telemarketing day job, Linus linked up with Robt Ptak (formerly from Oklahoma) through an ad in L.A.'s notorious "Recycler" classified newspaper. Drummer Dave Armstrong also responded to Ptak's ad, and headed west from Pittsburgh, leaving behind a plum radio DJ job. Linus' L.A. roomie, Kevin Danczak (formerly from Nebraska) joined the crew to complete "Size 14." (Gee, is anybody in L.A. NOT formerly from somewhere else?) Based in Hollywood, the group was soon standing the local crowds on their ear, with their energetic, irreverent live shows. "We just try to be ourselves," explains Linus, "a bunch of guys in skate gear goofing around, having a good time and daring the audience to let down their defenses and get involved." Vulnerability underscores every facet of Size 14 - even the band's name. Linus named the group after his shoe size. "I'm self-conscious about the size of my feet." Well, Linus may be self-conscious about the size of his feet, but there's nothing to be self-conscious about on this album - which Linus wrote all the music and lyrics for. As he explained to me, "Usually I come up with some kind of catch phrase or some point I'm trying to make in a song I'm writing about, then I write just a little melody for that specific line, and then I write the chorus, then I write the rest of the song around the two. I pretty much arrange the whole thing and I bring it in to the band and they add their two-cents worth and we do our thing. As far as the lyrics, they all come from honesty. You exaggerate them a little bit because you want to make the song interesting, but I would say all of my lyrics and all of the songs' content come from an honest place. That's pretty much how I think and how my friends are and how our whole little crew is." I asked Linus about this whole "geekdom" type of pop/punk going around, but he explained that "Size 14" isn't doing that. "We're doing things that other bands aren't doing, because a couple years ago there was the whole nerd-rock thing which is what I think you're talking about, but that was more lo-fi. What we're doing is almost like big rock. Kind of like back to where it was in the 80's, like metal almost. But we're taking that and juxtaposing it with the 'nerdy' point-of-view. In a lot of ways I think that everyone that plays music was a nerd in some respect, because usually people that immersed themselves in music probably didn't have a lot of other things going on early in their life, so they probably were outcasts in a way. Usually anyone who's artistic or has any sort of artistic talent is usually a little bit of an outsider in a high school context, or general society context, so in that respect, that's what you would consider a nerd - an outsider. I would think a lot of musicians past and present are from that background. There was a time when musicians were very dishonest, and tried to make themselves out to be this 'larger than life' thing, which I enjoyed from a fan stand-point, but I think a lot of people are finding that hard to live up to. They want to be honest about who they are, and I find that more people can relate to that anyway." Since I'm already in interview mode, I'll just finish up with the last few things I talked to Linus about, and then FINALLY, get on with the CD review. Since I'm as curious as any fan about what band members do when they're not doing the band thing, I asked what "Size 14" does in their spare time. "I'm actually kinda boring," explained Linus. "I like to go hiking. I live in Hollywood right in front of Glenyon (sp?) Canyon which is a big hill, and that's kinda nice. The rest of the guys like to go bike riding and pretty much all outdoorsy kind of stuff, because when we're on tour we're in bars and stuff so we don't really feel like going out to clubs. But every once in a while we like to go out and drink lots of beer and get crazy just like everyone else! (laughs)" I also asked Linus if there was anything he wanted people reading this article to know about the band, and here's his reply. "Our basic philosophy is have a good time and don't take yourself too seriously. We like to have fun and that's pretty much what our music's about - having fun and not getting into that whole deep, negative life that a lot of people seem to get into. We're just a fun, entertaining band, and buy our record!" Sounds pretty good to me! And now the moment you've been waiting for, the actual album review. I've already talked about the opening track, "Claire Dane's Poster," and I really expect to see this single moving up the charts. The second single that Linus mentioned, due out late this month or early next year, is "Superbabe 2000." It starts off "She's a punk-rock Sharon Stone. . ." and is one of the few mellow tunes on the album. Harmonies are more obvious, the synth keyboard sounds provided by Daryl Dragon enhance a nice melody and bridge, and there are a few other little added attractions that give the song a little zip. "Sleeping In The Wet Spot," uses the tactic of question and answer lyrics to defend putting up with a girlfriend who's not what you'd call "ideal." Some tricky guitar bridges and a super-pop beat make this a rather interesting song as well. "Shane" is a faster tempo number with an unusual beat, and some strange lyrics. It's not a bad song, but there are several better on the album. The opening guitar riffs on "Rollin' In the 5-1-0" intro a true pop/rock song about cruising in an old Datsun 510. Backing vocals, a great downbeat, really fun lyrics, and even some car sounds put this number in the running for one of the best songs on the album. And it really is about Linus' beat up old Datsun. Next up is a song with some of the coolest lyrics on the album. "People Get Really Drunk In Las Vegas," is about getting dumped and taking off on a Greyhound bus for Vegas to forget. "And the Liquor's always free/ As long as you pretend you're gambling. . .How do you think it feels/ Throwing up on the Roulette Wheel. . ." Some really weird sounding keyboards start off "Death Metal Steve," another semi-mellow number with big guitar riffs and a rock beat. This is a story of star-crossed lovers having a long-distance romance. A nice instrumental bridge fills in before the final verse, and a surprise burst of hardcore metal called "Napalm Death" make this quite a song. Again the lyrics take over in "Let's Rob A Bank." It's got a pretty standard rock beat and melody line, but the lyrics talk about a down and out pair who say " 'Cause I've got a real straight shot/ You've got a pretty good car/ So pick a point on the map/ Doesn't matter which one/ We'll be rich when the job gets done/ You hold the bag/ And I'll hold the gun/ Fill up the tank/ Let's Rob A Bank." Yet another song about a not very happy couple is "Earthquake." Wanting to damage to the girlfriend, but not brave enough to do it, he's looking for a "natural disaster like an Earthquake." "Nothin would please me more than to see you. . .pushed on the floor. . . I hope there's an Earthquake/ And the roof falls on your head." A kind of cute song, "Formula Guy," is about a guy who wants everything to be the status quo. No surprises, nothing fancy, wants all the movies to end the right way, etc. "Prototype" starts out with an almost discordant metal sound, then moves into the rock & roll of most of the rest of the album. A few vocal effects and discordant notes liven up this rather ordinary tune. The last song (not track) on the album is "I Touched Her Ass." More of a punky rock & roll sound to this song about a guy hanging out in a bar and a good looking girl comes by and his hand brushes her rear. But the girl says it's no accident and makes a move on him. Combined with the sound, the lyrics, the almost Beatles sound clapping in certain parts, then a Carousel sound to part of the verse followed by some "travelin' music" and an invitation to come into her apartment has to fulfill every guys dream! The LAST track on the album is an almost three minute diatribe spoken to an answering machine. I guess if that's you're thing it's okay, but I've heard it done elsewhere better, and personally think the space could have been put to better use with music. But when musicians are being creative, it is their choice what they think should and shouldn't be on their album, and I fully support their right to choose. Overall, this is a pretty darn good debut album, and I think this band can only get better. I rated it a little lower because after a while the musical portions of the album always ended up with the same basic beat and melody line, although there were several small ventures into different styles and sounds. I also really didn't like that answering machine track. But if you're looking for some modern rock & roll with some really innovative style and super lyrics, you really should check this album out. I think "Size 14" has a winner here! |
 |
 |
| Artist: | Brendan Lynch |
| Title: | "Brendan Lynch" |
| Label: | Java Records |
| Available: | Most Major Music Stores |
| Reviewed By: | Robert Lewis |
| Rating: | |
His name is Brendan Lynch and he's living the American Dream -- from a Hollywood perspective anyway. In the very recent past he has gone from part-time songwriter and club performer to standing on the bleeding edge of the big time in the music biz. The turning point in his career came as he was 'discovered' by film producer Glen Ballard. The ensuing collaboration between Lynch and Ballard has recently been released and boy, this is one to watch! To put it plain and simple, this disc kicks into high gear with the very first track and doesn't let up for a second until the last. From the first time I cued it up, I couldn't stop listening. It has come to the point where I find the melodies buzzing around in my head, taunting me to spin the disc again and not letting me go until I do. That's some kind of power from a debut artist! Who is this guy anyway? According to his promoters he was born and raised in Los Angeles, cutting his teeth on bands like The Blasters and Tom Waits. Until recently he worked odd day jobs to make ends meet. I think it may be safe to say that the day job chapter Brendan's life is behind him now, because if his first album is any indication, he's got a red-hot career staring him in the face and nothing but time to make it all come together. Lynch's lyrics are a refreshing change from what I'm used to hearing anymore. His irreverent and politically incorrect -- which in and of itself is nothing new -- is the glue that binds his lyrical depth and obvious intelligence into a tidy little package that shoots to kill and never misses its target. From the unsympathetic "Stop Your Crying" ("you're not the only one to taste the barrel of a gun . . . so just stop your crying now!") to "Ride" ("It might have been the Percocet that got her wet and brought her to a kneeler"), Lynch's lyrics often cover the darker side of life. He doesn't sugar coat it and he doesn't make it bigger than what it is -- quite simply, the words are real. Whether it's a hard edge acid rocker or a soft and heartfelt ballad, there are no compromises here -- no sellouts. Musically, I can't quite put my finger on Brendan Lynch's sound. I hear a lot of influences. "Fighting Gravity", which depicts a quick glimpse into the mind of a man as he throws himself out a window, sounds like it something out of "Ziggy Stardust". "Sugathrilla" and a couple other tracks remind me of Beck. But to put away the canned comparisons, Lynch has already created a sound all his own. He already seems to have a penchant for hooky pop melodies overlaid by rock and hip hop beats that take residence deep inside you and refuse to let go. The use of subtle vocal and musical treatments make his sound just quirky and off-kilter enough to set the hook extra-deep, but not so much as to be pretentious and gimmicky. Brendan and producer/collaborator Glen Ballard do just about everything on this album -- they both know what they're doing musically and it shows. Lynch generally gravitates toward the strings playing guitar and bass, while Ballard seems to be most comfortable tickling the keys, but they interchange instruments and just do a great job at laying down rock-solid tracks that just about defy criticism from where I sit. While the whole disc is Gold material, both lyrically and musically, I find myself gravitating toward the first half more than the last for some reason. "Stop Your Crying" is just such kick-ass song, I could play it over and over again and still want more. The slightly muffled drum beat and calculated guitar work are a perfect backdrop to the acerbic lyrics that just beg to be sung along to. "Get Over Yourself" should be the anthem for everybody who has ever gotten just high enough on themselves to forget who they really are. This song is damn-near-genius and that's something you don't come across every day -- especially on a debut album! Am I gushing? Yeah, probably. Perfection is something many strive for, but almost none attain. I think Brendan Lynch has come pretty damned close to hitting the nail square on the head the first time out of the gate! While I often throw review materials on a shelf after I finish with them, never to spin them up again, this is one that will remain in the 'rotation' for a long time to come. If you're looking for REAL Rock-n-Roll with some intelligent musicianship and lyrics for a change, "Brendan Lynch" is definitely one you don't want to miss! |
Back to Contents