Pop Culture and More! tm
109,309 page views as of May 30, 2017 @ 9:42 am
additional reviews on my Boston Free Radio review page http://onlineradioreviews.blogspot.com/
TOP 10 songs on the Pop Explosion Radio Chart
1)Kenny's Tune (Instrumental) Kenny Selcer
2)California Country Girl - Feed the Kitty
3)Newport Beach - Positive Negative Man
4)Don't You Believe Me Baby - Elsewhere
5)Waiting For a Change (Edit) - Lilly Black
6)Dandy Ian Hunter https://www.youtube.com/watch?v=SqA5aDBk2Zc
7)Bare Bones Kat and Josh
8)Elevation - John E. Funk and the Skunks
9)Positivity Sway Casey
10)Brandy You're A Fine Girl b/w;
Fox On The Run -
Guardians Galaxy Soundtrack
2)The Who LIVE AT THE ISLE OF WIGHT
LOCAL MUSIC AND MORE
4)Lilly Black MY OWN HERO
Artist: Lilly Black
Title: My Own Hero
Tracks: 5 + 2 radio edits
Opening track "Waiting for a Change" off of Lilly Black's My Own Hero CD is a gliding, rocking, sliding-on-the-groove bright pop tune with the energy of the New York Dolls meeting the pop majesty of the Go Go's. Liam Barry's drums bolster the undercurrent opening the door to track 2, "Rag Doll." These first two songs contain explicit lyrics and are repeated at the end of the CD in the form of "radio edits," but I've yet to hear the naughty words so... "Rag Doll" is a delightful change of pace from the first opus, Lilly Senna's appealing vocals over a dense Mike Barry production from Babyland Studio. Poignant yet harsh lyrics and Bobby Linscott's consistent and imploring guitar work add to the mystery. "You're Probably Right," like the preceding songs, has a pure 60s vibe brought up to date in 2017, impressive upon the first listening. The CD itself jam-packed with information, photos and an intriguing color scheme, yet it's the music from this solid band that speaks the loudest. Five songs plus two radio edits makes for a short and sweet listening experience. When we critics and radio programmers get 15 song discs galore it's like listening to double vinyl albums from the old days, quite a bit to absorb. Fact is, the longer the CD, the more time it takes to review and sometimes they get lost in the shuffle. "Leave Me Alone" is not the notable songs by Lou Reed and helen Reddy (or is it Helen Reed and Lou Reddy, I can't remember anymore...)a thumping beat with a solo vocal chant and Phoebe Clark's keys augmenting this nicely, but never getting in the way a la Greg Hawnes of the Cars. "Leave Me Alone" comes with exquisite guitar work by Linscott as does the final track, "My Own Hero," which takes things down a quasi-Gothic notch with a careful, incessant snare drum bang and the aforementioned electrically activated simmering-almost-fuzz guitar under this hard ballad. Love it all. Five stars...and absolute knockout. All songs over two and a half minutes and under three thirty so you get that short bust of energy and can repeat or play another on this well-planned compact disc. (Joe Viglione)
5)Guardians of the Galaxy Quest 2
Fox On The Run - from Soundtrack
live version that is NOT in film but on soundtrack
ROLLING STONE REVIEW OF SOUNDTRACK
Brandy, You're A Fine Girl
Film Review CNBC
Joe Vig Film Review 5/3/17
The long awaited sequel to 1999's Galaxy Quest is finally here...not really, but director Dean Parisot's over-the-top-humorous take-off on Star Trek is reincarnated inside director James Gunn's 2017 extension of where he started off in 2014 with Guardians of the Galaxy 1. Yours truly walked into the theater during the opening credits to this new 3D blockbuster, some beast fighting the anti-heroes with the first thing crossing my mind being color, color, color. If you are looking for a virtual reality ride inside Peter Fonda's 1967 LSD experience known as The Trip, this is probably it. If you're too young to remember The Trip, IMDB describes Fonda's TV commercial director as experiencing "visions of sex, death, strobe lights, flowers, dancing girls, witches, hooded riders, a torture chamber, and a dwarf." You'll get all this and more in Guardians of the Galaxy Quest II, with the dwarf times two of baby Groot (voice of Vin Diesel who doesn't sound like Diesel this time around,) and Bradley Cooper's Rocket (raccoon) ...who is still cute, even when it's not Bradley in flesh and blood, a sure sign of good acting. It is psychedelic celestial lunacy of the highest degree, a very exciting roller coaster ride with some additional outside humor by throwing Howard the Duck into the mix and, as tempting as it gets for comic book fans, two appearances of the almighty Watchers - mysterious and beloved characters from the Fantastic Four, which are not put into the mix without good reason. You see, 20th Century Fox has the rights to the FF, and - purportedly - all the characters within that FF universe or whatever one wants to call it, the Watchers being prime candidates for that. And with 20th Century saying its working on a 4th Fantastic Four film after three ...ahem...strange attempts, well, one wonders what kind of deal was struck when Spiderman (Sony) popped up in an Avenger's flick. Will Disney/Marvel do another swap, or will they just buy the franchise back? Guardians of the Galaxy 2 proves that Marvel/Disney is able to take a lost comic book title and make it a household name. Daffy Duck, Donald Duck, Howard the Duck, you know what's coming next, and the totally out of control chaos gets so convoluted - in a fun way - that people outside of the comic book fandom - and some inside it - will find many moments in this film hard to follow. This fast and furious water slide has no thought of etiquette (even Kurt Russell gets off color and blue, after Brad Cooper initiates the bride blush,) fractures the law of physics and casts its fate to the wind with nothing intelligently resembling some kind of peaceful order. It is the insanity, the lack of logic, that allows the "anything goes" attitude to totally suspend belief and give the audience a chance to get with the program.
Though this was a critic's screening on Tuesday, May 2, there were winners of radio station WROR 105.7 ticket giveaways and you could feel with their laughter, and applause, that director Gunn nails it for the audience he wants...which is going to be huge and global.
The soundtrack keys this film and its predecessor just as the oldies collections in the Big Chill and Dirty Dancing made the music the advertisement for what would come on the big screen, sometimes overshadowing it. Not here, the music, as deranged as the selections are, become part of the dance, and get new imprints on memories for new generations. Eliot Laurie's brilliant "Brandy (You're A Fine Girl)" by his the Looking Glass is sensational, but Kurt Russell's bizarre description of the song, and calling it the greatest song ever written, or something along those lines, is...well...as stated...bizarre. It's nice that Laurie's "Brandy," along with Jay and the Americans' writers Bobby Hart, Tommy Boyce's estate and Wes Farrell (if he's still alive) will be getting huge paychecks for the appearance of their music in this film, but watching the 1964 hit "Come A Little Bit Closer" act in a slaughter scene is the humor that director Tim Burton failed to get in 2012's lackluster Dark Shadows. The music and the film merge here as good as Jerry Goldsmith's phenomenal sounds in the original 1968 Planet of the Apes, though Goldsmith's genius was to have it subliminal, the undercurrent to the action, 49 years later Marvel/Disney/Director Gunn make the classic rock and oldies essential characters more than components, while all hell, literally, breaks loose.
Kurt Russell takes the image of the Matrix villain Deus Ex Machina ...as well as the similar villain in Dr. Strange, Dormammu, (side note, the Matrix is coming back...http://www.nme.com/news/film/new-matrix-film-not-remake-reboot-2020232 ) Russell's character, Ego, the living planet that first emerged in Thor #132 in 1966, is at least owned by Marvel/Disney. If there's no organization in the thrill ride that is Galaxy Quest of the Guardians, 2, at least there is in the reality of the business world.
There will be a debate as to which Guardians is better, 1 or 2, but that's as arbitrary as it is academic. The film is just an extension which will carry over to Guardians III, which will (spoiler alert, as if it matters) have the same evil gold-skinned space queen as in this film. It's not a series, it's not a set of sequels, it's truly becoming its own continuum.
6)Kenny Selcer I SIMPLIFY
Review: Artist: Kenny Selcer
CD I Simplify
On Kenny Selcer’s long-awaited ambitious effort, I Simplify, New England’s veteran acoustic / Americana minstrel has put together an album that fuses Rolling Stones Exile on Main Street nuances with Grateful Dead guitar/keyboard interplay.
Those Stones’ nuances are subtle, an undercurrent on the opening track, “I Know It’s Not Too Late,” Selcer’s philosophical observations rife with intentional simple word structure a la Bernie Taupin in Elton John’s classic “Daniel,” taking the “rain in Spain” cliché rhymes and using them to good effect. “It’s All Around You” was in release a few months before the album (an electronic, internet single, of sorts) and it is beautifully constructed with Steve Peabody’s drums giving the reggae flavored love song its march along beat. The production is exquisite, Selcer the former owner of a recording studio in Boston back in the 1980s and live sound engineer who has worked with too many name artists to list here, places instrumentation and voice perfectly. Each song is over four minutes, so the fourteen tracks make for a lengthy listening experience, about seventy minutes or so.
Kenny Selcer - all guitars, bass, keyboards, mandolin, all vocals, percussion, drum programming.
Mike Migliozzi - drums on 1, 3, 4, 7, 9,12,14
Andy Solberg - bass on 1, 3, 4, 7, 9,12
Chris Billias - keyboards on 1, 3, 4, 9, 12,14
Manolo Mairena - congas, percussion on 1, 3, 4, 9, 12,
Steve Gilligan - bass on 14
Roland Ochsenbein - piano on 7
Steve Peabody - drums on 2, 11
Rob Rudin - help on drum programming on 5
all music/lyrics ©2001-2016 Kenny Selcer, BMI
Click Here to Download!http://www.kennyselcer.com/i-simplify.html
The four and a half minute “Evelyn” is a standout and has Selcer on mandolin and most instruments a la Emmit Rhodes and Paul McCartney, Rob Rudin helping out with some of the drum programming. For the Americana Pop that the song is, there’s a flavor of blues in the singing and lyric.
The title track at 5:39 is the longest, an epic with the rhythmic beats accented, a heavy reggae boost with Selcer choosing multiple light guitar licks and backing vocals to boost the vibe. Mixed by Matt Hayes at Wellspring Sound in 2016 with the studio owner, Eric Kilburn, handling the mastering, the love and care put into this project is clear, as exhibited in the Celtic instrumental “Kenny’s Tune,” a truly inventive mix of sounds that is compelling bringing to mind when voiceless pop songs would rule the airwaves, Paul Mauriat’s “Love is Blue,” the timeless “Cast Your Fate to the Wind” by Sounds Orchestral, the airy, catchy, splendid sounds before Edgar Winter’s “Frankenstein” developed the hard rock instrumental as a hit record. Final track “Stay Awhile” features Stompers/Fox Pass bassist Steve Gilligan, with keyboards from Chris Billias and Mike Migliozzi on drums. The use of a band brings another flavor to a mostly self-performed album though players Roland Ochsenbein on piano, conga/percussionist Manolo Mairena and bassist Andy Solberg add their talents throughout, this is mostly a self-performed project with Kenny Selcer bringing to life some of his BMI administered catalog featuring music and words that span fifteen years, from 2001 to 2016. (Jo
7)FEED THE KITTY
8) John E. Funk and the Skunks
9) Ralph Nader, ANIMAL ENVY (book)
JV about to read this, review to follow
Ralph Nader's newest work of the imagination, Animal Envy, is a fable about the kinds of intelligences that are all around us in other animals. What would animals tell us—about themselves, about us—if there were a common language among all animal species? A bracingly simple idea, one that has been used before in books like George Orwell's Animal Farm and E. B. White's Charlotte's Web among others, but never like this. In Animal Envy, Ralph Nader proposes, quite plausibly, that a programmer has created a "digital translation" app whereby animals of different species, from insects to whales, can speak to one another, and through a "hyper-advanced converter" these animals can then also speak, both collectively and individually, to humans. It is decided that there will be a global assembly. It will be called "The Great Talkout." Humans are persuaded to reserve 100 hours of network coverage so The Great Talkout may begin and will be viewed by humans everywhere, in all human languages, as well as all animal languages.
The narrative that ensues is deeply felt and powerfully informed. Just as he did when he wrote Only the Super-Rich Can Save Us, Nader shows here that his visionary genius knows no limits.
10)Kat and Josh Bare Bones (single)
"Call it science, call it magic It's a chemical reaction" Kat Quinn sings on this perfectly crafted three minute single explaining the un-explainable while the unwritten speaks loud and clear - a subtle noting of the unbelievers. Be it comparing the process "involving effervescence and the giving off of heat" whether on the kitchen table or in a laboratory, "they" don't understand the combination known as "me and you." Kat puts the blues inside this pure pop in a most clever way while the instrumentation reflects the math involved. Very nicely done.
Kat Quinn and Josh Riccio
Artist: Period Comma
CD: The Greatest Hit
12)Jon Butcher TWO ROADS EAST
13)Sway Casey Walden
The enigmatic cover art to the maxi-E.P. Walden by Sway Casey reflects the inner mind and magically indistinct music the East Coast pop/rap/hip-hop artist unveils. Starting with “Contentment” Sway is gliding on sweet keyboards “waiting for the sun to come up, waiting for you to be mine,” in a happy-go-lucky medium that shifts into the second track, “Moonbeams” - featuring Mossh. Two minutes and forty-five seconds seemingly channeling Ralph Waldo Emerson’s Transcendentalism, the guitar line merging with the keys a la The Doors’ Morrison Hotel tune, “The Spy.”
CD Baby https://store.cdbaby.com/cd/swaycasey3
Producer Akira https://twitter.com/akiraworldwide
CD: … Destroyer Death Squadron
With what sounds like an old theramin (it is!) from Lothar and the Hand People, straight out of The Outer Limits, a minute and five seconds of "Shazam" opens this creative ten song effort from Rusty Mullet. The debut album from this quartet emerged May 5, 2017 and it gets right down to business, track 2 "Gurrl" has a trippy, jangly open that deconstructs into pure melodrama grunge. The vibe and attitude consistent and compelling. It descends even further into the amazing "Toaster Soda" with a mesmerizing guitar riff and flavors of 60s group the Peanut Butter Conspiracy before it enters Black Sabbath territory. With material written by vocalist, rhythm guitarist Atiba J. McLaren (vocals, rhythm/lead guitar)
15)Steve Dennis Demo
Don't know if "Dubhe" refers to the Imperial Black India Pale Ale, but the four minute sixteen song has a groove and strong melody that needs no re-recording. The music Dennis captures has an allure where the magic is isolated without a full band or choir or massive production, the tunes innocently show themselves to be complete in this simple setting. Both "Your Garden" and "Reboot" as carefree and to the point as 1960s folk/pop star Norma Tanega. "Reboot" especially works from the perspective of a singer/songwriter giving his point of view and reflections. "The King" stays with the guitar and vocal approach with the singer's style shining through - it's his delivery that brings the message forward in almost four and half minutes. "Any Time Now" keeps things short and sweet, sketched out with an uptempo, happy-go-lucky feel...with some reservations.
16)FOUR POINT RESTRAINTS
Artist: Four Point Restraints
Vocalist / guitarist Evan Dadowski and lead guitar Will Barry write the material for Four Point Restraints and the maxi-EP Malice brings together a nice mix of rock and country with solid playing, enthusiasm and heart. In four minutes and fourteen seconds “The Last of Me” gallops along with a dynamic, spaghetti western flair as if out of television’s Rawhide or director Sergio Leone’s legendary For a Few Dollars More. The backing vocals add immense spirit to this opening track, Cat Verlicco’s bass keeping up the intensity with Tim McCarthy’s drums. “Barroom Kyrie” follows with Kurt Weil style, Barry’s harmonica giving the period piece a go-between nod for the splashy chorus of “have mercy on me.” Sterling production by WMFO’s Joel Simches at Watch City Studios, the song construction is studied and smart. “Partner in Crime” is one of three titles under the four minute mark, and it picks up where “The Last of Me” started.
“The Plague” changes pace, nearly seven minutes that descend into a revved up Doors dirge like “The End,” only Dadowski gets more borderline personality disorder than Jim Morrison here, the country flavors dissipating over the edge. It’s one of the more provocative titles on the half a dozen titles here, and it works on many levels. The 3:27 “Heading East” gets back to the wild old west, thumping with a loose abandon while closer, “The Writing’s on the Wall” is exactly that eccentric quasi-schizophrenia referenced in the liner notes. It’s radio friendly with its melodic pop/grunge engagement. (Joe Viglione)
26)The Peanut Butter Conspiracy
For Children Of All Ages
TURN ON A FRIEND - PEANUT BUTTER CONSPIRACY
AllMusic Review by Joe Viglione [-]
27)The Peanut Butter Conspiracy Is Spreading
AllMusic Review by Joe Viglione [-]If you want to know why producer Gary Usher is revered in some circles, play The Peanut Butter Conspiracy Is Spreading next to the pretty much self-produced For Children of All Ages. A name as trendy as the Jefferson Airplane -- and a sound that is absolutely the Airplane -- meets the Mamas & the Papas; the '60s guitars sound smart; the 1967 liner notes by Lawrence Dietz tell you nothing about the group; and the front cover looks like something Peter Fonda and Dennis Hopper encountered during Easy Rider. "It's a Happening Thing," like much of this record, tries too hard. Decades after it was recorded, there is charm in a band like the PBC (which rhymes with PCP) being such an authentic figment of someone's countercultural imagination. Sandi Robison is stunning on "Then Came Love," and the production by Gary Usher really is impressive -- it makes the record something special. But if the intro to "Twice Is Life" sounds like the Monkees (and it does), The Peanut Butter Conspiracy ends up sounding like an FM version of Spanky & Our Gang. Spanky McFarlane's hits are what made her so hip, and the PBC's lack of hits makes for an interesting trip back to the days of flower power, and not much else. "You Took Too Much" has gorgeous harmonies, a sing-songy guitar riff, and lyrics bogged down by blatant references to the hippy-dippy mindset of a record company trying to cash in. "Second Hand Man" could be Peter, Paul & Mary on mescaline. That's not a knock; the song actually works in its audacity. A very hip oldies station could play this and attract listeners. It's just hard to take songs like "Why Did I Get So High" seriously when artists like Marty Balin and Grace Slick were freaking out their record label and doing this for real. But credit must be given when it is due -- the Peanut Butter Conspiracy was everything the Ultimate Spinach aspired to be, and this record has merit and is very listenable despite the flaws.
28)The Washington Squares
29)Feed the Kitty Westbound & Down
3)Walk With Me (3:00)
4)One More Week (2:49)
5)Makin' My Way (3:52)
7)Human Race (2:21)
11)I'm to Blame (2:23)
30)Classic Groove live at the Cantab Lounge
When drummer Rich Marshall called out to “All you hamburgers and cheeseburgers” it was quoting the late Little Joe Cook of “Peanuts” fame, the legendary r & b singer who ruled at the Cantab. On Saturday, April 29 three members of Little Joe’s band, bassist Lee Lunday, guitarist Candy Delgado and Marshall with Daemian Allen on keys, Steve Tajian on saxophone and Susan Jeffrey on vocals rocked the packed room called on of the best “dive bars” in America. Taking Gnarls Barkley’s classic “Crazy” and putting a woman’s voice on it works effectively, this veteran blues and rhythm band with a pulsating presence that had the twenty-something audience captivated for the entire evening. It’s what separates the Cantab from other nightclubs, a college crowd that wants its bluesy pop, found on a Cambridge sidewalk that the city named Little Joe Cook Square. Members of the band host an open mic on Sunday nights, but Classic Groove only performs once a month. Aretha Franklin’s “Chain of Fools” was rocking, while “I Love the Nightlife,” the 1978 Alicia Bridges hit, evolved from its disco roots to smart dance r & b. When that concluded a set the band decided to give the audience the instrumental encore of “Unchained Melody” with the leader of this Waltham based group, Steven Charles Tashjian, front and center with the saxophone playing the vocal melody. Their set list is stunning, from Motown to Grand Funk and the Doors, and one wonders if the flock of young club goers are aware of the heritage the players from Little Joe’s band bring to the party. Like having Mitch Mitchell and Noel Redding or Janis Joplin’s Full Tilt Boogie band on a Saturday night bringing the sounds that endure from the power and the glory of the Little Joe Cook days. (Joe Viglione)
31) Kat Quinn Waiting to Exhale
Review: Exhale Kat Quinn
AllMusic Review by Joe Viglione [-]
34) Josh Small-Richmond
35)Mike Morrissey Haley Katrin Dionysia
36)Melissa Weikhart / The Chicken Slacks
Review of April 27, 2017 at THE CANTAB
and CLUB BOHEMIA
MELISSA WEIKARTThe Cantab, Cambridge, MA
The diva’s voice reaches amazing heights over Matt Okun’s liquid guitar strums with bass, drums and keys. They all generating a symphonic, airy bit of mystery, embracing Weikart’s lyric in a pleasant and entertaining way. Engaging renditions of her “Our Room,” White Dress,” “New Normal” and “Broken Records” gives way to Weikart sitting down at Tuch’s piano to perform solo. “Unconventional, but it’s happening” she notes as they were able to get the stand-up microphone at the right height for “Humans.” The solo material, in particular, seems perfect for a new Twilight Zone, odd piano sounds and a vocal sound that go contrary to the notes she pluckes off of the keyboard, quite difficult to pull off. The audience, all the tables and chairs filled, but still intimate, keeps quiet during the solo portion. Pure artistry at play and a very welcome change of pace for our cellar full of noise in the cavern under Massachusetts Ave.
Upstairs Chicken Slacks are downright frighteningly good with a more than average rowdy crowd stomping to pure rhythm and blues. This writer gets to see the Slacks almost every week, but this night, April 27, is more intense than usual. The club is filling to capacity and the room and floor are shaking…and there’s a line of more people outside. I snap one video that captures the craziness, but had to get out of Dodge as it is just too many people for me at midnight. (Joe Viglione)
37)Loose Salute with Mick Lawless
in THE NOISE MAY 1
LOOSE SALUTE with MICK LAWLESS
38)Scott Damgaard Leaving Hyannis
39)The Brigands in The Noise
40)Fred Gillen Jr. WHAT SHE SAID
Over the dozen tracks – which I’ve played in my car repeatedly – the vision is clear – a political statement on life in 2016/2017 with. My computer skipped up to “Baltimore Burns,” track 9, and it actually works quite well after “Return of the Buffalo” in retrospect. It is one of only three of the dozen compositions which are in the four-minute mark, the other nine three minutes plus, Gillen Jr. smartly giving his commentary within a pop structure that makes for a more dramatic impact. “She Loved” is folk/acoustic with country leanings, going back to where country radio was in the 1960s and 70s, including a line about her like for John Denver and Johnny Cash. “Julia,” co-written – as is track 3, “Future Americans,” with the equally talented Matt Turk (the pair also perform live as “Gillen and Turk,” ) is a change of pace, undercurrents of CSNY’s “Ohio” mixed with Robin Gibb’s popular classic solo outing, “Juliet.” Elegantly packaged in a six-panel cardboard, eco-friendly case, Gillen has taken a turn here from previous recordings to read – almost like spoken word over smartly crafted instrumentation. That’s expressed carefully in “Some Call it Karma, Some Call it Grace,” always with a chorus to underline the thoughts being expressed. “Where Are You Tonight Fallen Angel” concludes this next chapter in Fred Gillen Jr’s impressive journey calling out for a damaged someone, remembering the better aspect of a special friend who’s lost their way. A great conclusion to a thought-provoking disc that is worth your time exploring more than a few spins.
Worth noting from the P.R.: What She Said (2017) Full-length, solo, studio album #10, released on the 20th anniversary of album #1. 8 new Fred Gillen Jr original songs, and 4 co-writes with Abbie Gardner, Steve Kirkman, and Matt Turk.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He has written thousands of reviews and biographies for AllMovie.com, Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal, and a variety of other media outlets. Joe also produces and hosts Visual Radio, a seventeen year old variety show on cable TV which has interviewed Jodie Foster, director/screenwriter David Koepp, Michael Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried, Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad, Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix Cavaliere of The Rascals, political commentator Bill Press and hundreds of other personalities.
Extraordinary Songwriter Showcase with
Eric Lee tonight at the Cantab Lounge http://cantablounge.blogspot.com/ https://www.facebook.com/events/1790871011241255/
Heralded in Jersey Beat by famed rock critic Robert Barry Francos ("The songs are full of love and tenderness... an easy listen on many levels, including a joyful melody line and a to-the-point lyrics structure... it's a style that is very listener friendly. Like cocoa and a blanket on a chilly evening"), journalist Joe Viglione would go on record to note, in both the All Media Guide and on AllMusic.com, "In a world of high-end explosions and music with nothing to say, these new Echoes communicate their feelings well over a stripped down framework that Nuggets fans will eat up."
2007 would see the release of "NOW HEAR THIS" and show the band not only expanding its repertoire, but skills as both performers and recording artists. Again taking note, AllMusic.com's Joe Viglione wrote: "Two years after the 'Listen Up' release, [The Echoes] return with 15 more selections that continue the charming journey they set out on--picture Half Japanese with more structure and a better attempt at going commercial. The six-minute-plus 'I Couldn't Stand' is truly modern-day underground rock;" with SoldOutTour.com toting the fact "'I Couldn't Stand' has a great hook" in its appraisal of the act's second full-length offering.
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