WK36 - Bibio - Ambivalence Avenue (9.5)

Released - 6/22/09

Label - Warp Records

BLURB - This album is all over the place...like an 8 year old's ideal ice cream sundae. But with Bibio it's not M&M's and Gummi Bears, but an eclectic and diverse portioning of gentile acoustic, chopped up computer loops, indie rock and Haight-Ashbury psychadellica. Having these genres all present for a single song could likely cause a musical civil war, however Bibio finds a way to weave in and out of these nomenclatures throughout the entire record. At certain points of the record you really feel like it is 1968 and you're listening to a folk group on a street corner in San Francisco. At other points you're right back in 2009 with computer generated drum patterns and cut-up vocals battling an unsettling slew of sound effects. What a weird, no..., great mix.

Rating - 9.5 out of 10

FULL STORY - I'll start with the more retro and nostalgic parts of this album. It's actual really tangible and transports the listener back to an era when a black coffee, cigarette and an artsy beret were all the rage. Things were simpler then and so was the music - but in more of a practical sense. There weren't as many barriers to music and lyrics. For the most part if you were a songwriter and wished to convey some type of message, emotion or thought, all you needed was a pen and a guitar. Nowadays too much thought and production goes into song making, which definitely affects the sincerity, honesty and creativity of the music. I think Bibio recaptures this older, poetic simplicity through several tracks on 'Ambivalence Avenue.' There are common themes of friendship and togetherness bonded through waves of carefree and unrestrained honesty. The vocals on the title track are presented as a group, almost uniting the cause, and they are surrounded by what can only be viewed as their supporters masked as flutes, violins, pianos and guitars. Bibio's lyrics match his peaceful musical entourage:

"Then we saw from the upper deck, watching ourselves as if seeing our future. Greeted by strangers who seemed to be good friends and welcomed us through their shiny red door."

'Lovers' Carvings' (#10 song of 2009) greets us with another warm and familiar feel, as if it's 20 years ago and the family is eating at the dinner table, then collectively and instantaneously, they decide to dance. As the song begins there is a lone, electric guitar softly finger-picking a ballad that wanders and strays, but never goes to far off the beaten path. In itself it's pretty beautiful. As implied above...good music to eat a meal with your family to. Then the cowbell starts. Then the guitar picks up. Things get a little more upbeat. Before you know it everyone is standing at the table and clapping to the beat. How did this happen? There is some weird, incredibly unifying force to this song that I can't quite pinpoint. It just screams family, friends and memories. The lyrics are actually somewhat dark, but their force and delivery ultimately brighten them up to a pristine and hopeful glow:

"Lovers names carved in walls - overlap and start to merge. Some of them underneath. Maybe they appear in graveyards. Maybe they fade away, weathered and overgrown...time has told. Meaningful, hidden words suddenly appear from the murk. Maybe they're telling us that the end never was. Never Will. The words have gone but the meaning will never disappear from the wall."

As I said, this record really is a Jekyll and Hyde of sorts. Some other nostalgic highlights include the somber tale of a couple parting in 'The Palm of Your Wave' and the ephemerally-stringed 'All the Flowers.' Enter Hyde. Despite showing his obvious skills in honest, yet beautiful songwriting and lyrical arrangements, Bibio also knows his way around a computer. He wants us to know this.

Complete with no lyrics and chopped up vocal samples, Bibio floors me with his digital prowess on 'Fire Ants.' I can only describe it as a production similar to that of Flying Lotus, but with a dash more pop appeal. It's incredibly smooth and laid back, yet properly upbeat during certain portion of the track. Why Kanye West or Common haven't found this, reworked it, and threw out a hit is still making me scratch my head. Incredible beat.

'Sugarette' is a nice, slow building electronic number that kind of meanders along with both curiosity and indifference. It's simplicity makes me think. But the main reason I like this song is that it serves as the perfect transition from the dark and mysterious ending of 'Haikuesquesque' to the melancholy turned bright guitar introduction of 'Lovers' Carvings.' If ever a song served a purpose, it is this. 'Sugarette' acts like a musical adhesive and propels the listener along, almost in storyboard fashion. I don't know why I really like this strategy, but I do. I feel involved. I feel like I have to listen to one before I listen to the next, and that I'm better because of it.

'Dwrcan' is a really futuristic and ambitious choice for the final song on the album. The track starts out kind of funky with some creative, electronic percussion effects and a rigid bass line. Some other minute things are going on as well, with little keyboard riffs and digital effects accenting each other. Halfway through the song it sounds like a bomb goes off and the tone of the music changes drastically. Everything becomes chaotic and is filled with tension. With 90 seconds left the track leaves only atmospheric drones. End of the world? Feels like it.

This is going to be one of those albums I really like, but will inevitably find myself being tossed in to the minority. 'Ambivalence Avenue' is a veritable ying yang of music and ideas. Conceptually, it's brilliant. The tracks with warm instrumentation and thoughtful lyrics, the ying, are all beautifully done and inadvertently force us to reminisce about friends and the good old times. Conversely, the yang, is filled with dark and experimental electronic jaunts, which propel us into the future where we're met with the thought of a possible apocalypse. These combative styles, concepts and moods really make this record for me. I want to get inside Bibio's head.

Tracks

1.) Ambivalence Avenue

2.) Jealous of Roses

3.) All the Flowers

4.) Fire Ant

5.) Haikuesque (When She Laughs)

6.) Sugarette

7.) Lovers' Carvings

8.) Abrasion

9.) S'Vive

10.) The Palm of Your Wave

11.) Cry! Baby!

12.) Dwrcan

WK34 - Neon Indian - Psychic Chasms (10)

Released - 10/13/09

Label - Lefse Records

BLURB - Of all the albums I’ve reviewed on this blog, ‘Psychic Chasms’ will be the best of the year. This is for sure. Pretty easy decision too. Had it not been for Animal Collective releasing ‘Merriweather Post Pavilion,’ this would be my overall number one record of the year. Neon Indian is a one man wrecking crew, endlessly bludgeoning all of us with lo-fi synth pop in the most nostalgic of fashions. How so? Well, every song sounds like Wham’s rendition of ‘Last Christmas.’ But underneath all of these warm and fuzzy musical layers are themes that truly suggest he is anything but warm and fuzzy. Neon Indian offers up both introspective and highly interpretive lyrics that have a darker, thought provoking feel, leaving everyone in it's wake unable to stop listening. It’s simply that good

Rating - 10 out of 10

FULL STORY - Being the big music geek I am, I spend far too much time on iTunes looking at what people, who have bought albums that I bought, are buying. Follow? This led me to Neon Indian’s ‘Psychic Chasms.’ Essentially I use iTunes like it is one gigantic, widely traded mix tape. I brought it into work and sent it around to a few friends, whom either instantly loved it or hated it. A lot of the music I listen to has that quality. Long story short, this album ends up being one of the major discussion points at my company holiday party...well, that and Jersey Shore. Turns out I’m not the only person digging the indian and I end up scoring a couple tickets to see him at Mercury Lounge the next week. Sweet.

There’s something about seeing a brand new up and coming act live, whom you’ve just started following. You’re kind of unsure what you’re going to get and that show ends up being crucial. It’s the make or break point. It’s where you either decide to buy in, or move on. Neon Indian at the Mercury Lounge was one of those shows that makes you go all in. Everything from the energy to the emotion and sincerity of his performance was as addictive as I would guess meth is? Maybe more.

I think Neon Indian really appeals to me on a more personal level than other albums I’ve heard this year. For starters, I’ve really gone off the deep end as far these low fidelity, ambient-indie acts. There’s just something creative and different about it that I can’t get enough of. The whole Animal Collective, Panda Bear, Atlas Sound, Oberhofer scene...that’s my scene. What also draws me into these acts is the overwhelming homemade quality their sound has. The majority of these groups are just one person, or a small collection of very close friends. You can really get the sense of unbridled unity, motivation and friendship - pouring out of every track. There is a combination of seriousness, excitement and passion that is just more tangible and real than the majority of music that is out there. It’s also nice to use these artists as a measuring stick of sorts to myself, because I know all of these albums are being made in someone’s basement or apartment. This whole genre is filled with people like me, that listen to the same music, read about the same music and create, to some extent, the same music. Kind of like I’m indirectly friends with all of them. This common thread and affinity for music makes it extremely easy to root for them. Makes me pretty jealous too.

This is the part where I review the album and tell you what I liked about it. I break down the songs and encourage you to have your own go-round and decide for yourself. The only thing is, I’m at a loss of words. For those that know me, you might think this impossible. I can talk everybody’s ears off about music and I enjoy doing it. Get a couple drinks in me, and you won’t be able to get rid of me. It’s bad. But with ‘Psychic Chasms,’ I feel it’s so transcendent and unique that no line of contrived dialogue I put out will be able to explain exactly what this record sounds like or means to me. I’ve had several failed paragraphs already. In looking for some motivation I blindly perused some reviews and stumbled upon one that I could only wish that I had written. It nails every description and comparison I’ve been trying to force out of my brain. I am by no way making any claims to the authorship of the article, but I would like to recognize the source, as he did a stellar job. So please check out Citizen Dick (citizendick.org) for more great work. Here are my thoughts, brilliantly transcribed by a person named ‘Kevin.’

“I may be a bit obsessive-compulsive, but I have to believe people digest albums like I do. I tend to become a fanboy immediately with albums that jolt me from the starting gun, relentlessly focusing on three tracks that grab my attention first. Next, I eventually grow tired of the three standout tracks and move onto another section of three songs that I originally thought mundane and less noteworthy. Usually this results in a battle of sorts. I love those original tracks that drew me to the band’s sound, but inevitably wind up pushing them backwards in the playing rotation. Inexplicably, however, there always seems to be three tracks on every album that fail to make it into my pleasure-filled musical database. Try hard I may, but it’s an extremely rare occasion that an entire record is not just enjoyable to me from top to bottom, but noteworthy. Neon Indian’s Psychic Chasms is a debut that took a little time to wrap my brain around fully, but the fruits of ear-labor have never failed me yet. It’s an album rich with energy and a hard to pinpoint coolness that’s achieved through a varietal and shifting blitz of sound. Not a track is worthless, and in fact, if you listen to records like I do, the progression will leave no slag and the enjoyment tightens with each subsequent listen.

In my review of Deastro’s Moondagger earlier this year, much of the review focused on the reminiscent aura that certain electronically based outfits have been dishing out recently. For a self-professed alt-folk fanatic, it’s a pretty awkward admission that Alan Palomo (Neon Indian) creates the kind of music that knocks me straight out my LA Gear’s and into a completely fulfilling nostalgic mode. The central conundrum regarding electro-throwback music is that I have literally no way to merely describe a deeply rooted vibe. Typically, reviewing albums involves at least some shred of musical understanding. Although Psychic Chasms takes me far, far away from my comfort zone, I can’t stop playing it. The initial run through begins slamming “(AM)” at the listener, starting with a cylindrical synthesizer screechy sound that melts into the background as a nasty badass 80’s bouncy rhythm kicks in. Softly delivered vocals juxtapose the hard hitting grooves and busybody Danelectro attack. It’s this album opener that reeks of quirky mid 1980’s summers at the roller rink, super-rope licorices and, believe it or not, mid-period Prince material. Slick guitars and pinched out and looping sounds are splattered through each track. The retro hooks are encapsulated by spookily morphed and slowed down synth riffs that warble alongside nearly every song.

Perhaps it’s a trite over-generalization to assume Neon Indian is swinging for nostalgic fences here, as Palomo is extremely adept at spiraling sound mixtures. At times, the stacks of dominant sounds all layered on top of one another are quite brilliant. The midway arc of three songs, “Mind, Drips,” “Psychic Chasms,” and “Local Joke” point to wider and expansive takes on pop predecessors. At the heart of all three is a simplistic drum machine, aptly keeping time while each track spins and rises in sound-intensity. It’s easy enough to peg this as an album with repeat value for ambiance alone, but deeper listens unveil ripping keyboard arrangements, frenetic blips and flurries of wavering riffs. “Ephemeral Artery” links up a straining synthesizer behind everything, and like a car in an automated washer, it’s difficult to tell whether the songs moving forward or I’m moving in reverse. Super intriguing.

For me, however, what nails this album down is it’s drenching mid 80’s aura. “(If I Knew, I’d Tell You)” is forty-eight seconds of fuzzy and shaky brilliance that hearkens back to the most memorable early 80’s porn. If that’s a weak observation, our readership will have to accept my apologies, because my mind wanders constantly to those awkward instances of my youth, poorly dubbed Ginger Lynn fully included. To summate the value of this album, it’s important to first enter with a specific direction in mind. Like a choose-your-own-adventure book, this record consistently pulses from start to finish, and depending on listener preference, it can dive into nostalgia or enrich in a modern sense equally as well.”

Tracks

1.) (AM)

2.) Deadbeat Summer

3.) Laughing Gas

4.) (If I Knew, I'd Tell You)

5.) Terminally Chill

6.) 6669 (I Don't Know If I Know You)

7.) Should Have Taken Acid With You

8.) Mind, Drips

9.) Psychic Chasms

10.) Local Joke

11.) 7000 (Reprise)

12.) Ephemeral Artery

WK30 - Wolfmother - Cosmic Egg (8)

Released - 10/23/09

Label - Modular Recordings

BLURB - For whatever reason, everyone is killing, 'Cosmic Egg.' Granted, the band established themselves as one of the preeminent rock acts after releasing their critically acclaimed, self-titled debut over three years ago - so I guess everyone has gigantic expectations for this album. Wolfmother's second release is exactly what it should be, especially considering that 2/3 of the band left, over 'creative differences' this past year. With the new lineup comes a slightly newer and more refined sound. This record has less of a 'classic' feel and takes more musical risks. While 'Cosmic Egg' is not everything it could be, it still stands up to the Wolfmother brand and is a progressive next step for the band.

Rating - 8 out of 10

FULL STORY - Alright...second straight blog entry coming from a bus. This needs to end. There's something to be said when the only free time I have, comes on a bus. Oh well.

I'm a huge fan of jinxes. In 2008 when the Phillies (by the way I'm a huge Phillies fan) beat the Rays in to the World Series, I picked the Rays in a genius reverse-jinx-scheme. This year, trying to further my insanity, I went for the reverse-reverse-jinx, by actually thinking the 'Phils could handle the Yankees...but it was too much. Philadelphia was crushed.

So here's where I'm going with this jinx talk. The publishing company I work for actually administers the copyrights for Wolfmother's debut disc, but a few months ago, the group's agreement ended and they relocated to another publisher. I was furious on many different levels. Part of me wants Wolfmother to kind of flop now. Or at least stumble a bit. Another part wants the (now) quartet to flourish, as they are genuinely one of the great acts out there. What to do?

There was a point when I was just starting to dive into the Wolfmother repertoire and a synchronization license for the band's material to be used in South Park came across my desk. Heaven. One of my favorite bands, getting placed in one of my favorite shows, with my company reaping the benefits. One year later, the band breaks up and gets new members, releases a new album and leaves my company. Objectivity may be at a premium here, but let's see what can be drummed up. I'm torn, but I'll lean Wolfmother.

The first track 'California Queen' is a fuzzy, dizzying whirlwind of an opener. There is a hypnotizing, albeit monotonous, two note riff that constitutes much of this song. All of the Wolfmother staples appear to be here...the fast tempo, heavy distortion and Stockdale's voice, which he is borrowing from Robert Plant. So we're three for three...should be a great song, no? For whatever reason, there is an absolutely terrible, poorly placed 'B' section that sucks all of the momentum out of the song. It's slow and awkard, giving what we all thought was an uptempo track at the beginning, a Jekyll and Hyde identity complex.

'New Moon Rising' is the single and has been used quite a bit in the film and televison world. The riff friendly track sounds exactly like a Wolfmother single should sound like. Stockdale nails the vocals and the drums, for some reason, sound even harder than normal on this song. This song kind of reminds me of 'Dimension' from their first disc.

The third track 'White Feather' shows the most growth and progression for Wolfmother. 'White Feather,' while one of the slower tracks, has a nicely understated blues tone, channeling a Rolling Stones-esque feel, from their prime. There is a screeching, in-your-face guitar solo during the bridge that will makes you want to go out and buy a wah pedal. It's that good. The whole song, is that good. You can hear the drum beat play with the rhythm guitar during the verses, offering a clever back-and-forth jarring of sounds. Sounding not of this era, but maybe the late 60's, 'White Feather' will end up be a classic Wolfmother tune.

The epic journey that is 'In the Castle' is the best and most creative song on 'Cosmic Egg.' I'm really inclined to make a 'Stairway to Heaven' comparison but I can't. It's too soon. People wouldn't see my point. But here's what I will say...On this piece, Stockdale really shifts a lot of the attention to the lyrics, creating a mythical tale about entering into the 'Kingdom of the Sun.' Stockdale has always used weird imagery with his lyrics, as if nobody told him it was almost 2010. He often uses classical connotations to help shape our interpretation of how he sees his songs. I would need more than two hands to count how many Wolfmother cuts reference castles, gypsies, horses, thieves or other odd folklore. Well, he is from Australia....is that enough reason? For what it's worth and as weird as it is, I think it works, and it's consistent. This gives their Wolfmother a 'Led Zepplin,' larger than life feel. It's unfair to make this comparison, but it's too obvious not to.

Back to 'In the Castle.' This song does a great job at switching tempo and velocity, while always maintaining forward momentum. When you need to hear Stockdale, the music's temperament is steady and thought provoking. When there is a shift with the feel of the vocals, the guitars and bass kick into distortion, emphasizing whatever line Stockdale is screaming. By the end of the song there is so much energy and fury stored up, that it spills up into one of the best outros I've heard in a while. You're definitely glad you stuck around for this nearly six minute track.

Much of this record sounds very similar to the four tracks described above, and there really aren't any true stand outs. A lot of times I judge a record on how it sounds as a whole, played front to back. With Wolfmother I find I use the opposite strategy. As a fan of their music, I really look for that smash, epic, rocking, other-wordly, track. That's their M.O. There were about five essential hits on their first record - there is maybe one on 'Cosmic Egg.'

Creatively and maturity wise, the album as a whole is better than their debut. There is more variety and risk. It's not difficult to hear tangible examples of their growth and evolution, as a band. There is much more tone and color to their music. They are going in the right direction, but 'Cosmic Egg' is definitely a 'two steps forward, one step back' sophomore attempt. Be that as it may - it will still rock you hard. Probably harder than you thought it could.

Tracks

1.) California Queen

2.) New Moon Rising

3.) White Feather

4.) Sundial

5.) In the Morning

6.) 10,000 Feet

7.) Cosmic Egg

8.) Far Away

9.) Pilgrim

10.) In the Castle

11.) Phoenix

12.) Violence of the Sun

WK20 - Mayer Hawthorne - A Strange Arrangement (8)

Released - 9/1/09

Label - Stones Throw Records

BLURB - A very nice debut here from the previously unknown Mayer Hawthorne. This soulful crooner showcases his voice and swagger over twelve tracks of rich R&B and motown grooves. Consider this record to be fusion of Robin Thicke and Amy Winehouse, minus the crack. 'A Strange Arrangement' is definitely a feel good record and very easy to listen to. The production of this album is complete with horns, strings, pianos and filled with 60's Detroit style songwriting. The one knock on him would have to be his voice. When Hawthorne attempts to reach his higher registers through falsetto it comes off a bit nasally, as evident on, 'Just Not Gonna Work Out.' But other than that, this record is very well done, and a pleasant surprise for music listeners everywhere.

Rating - 8 out of 10

FULL STORY - This record opens with numerous, layered vocal tracks preluding the title track, 'A Strange Arrangement.' The flow and the rhythm of this song screams eighth grade slow dance music, but with lyrics suggesting anything but puppy love. The slow pace of the opening tracks may discourage listeners from giving Hawthorne a fair shake, but excellence is just around the corner.

'Just Ain't Gonna Work Out' shows us a solid drum beat and some muted piano chords can go a long way. The potential for this song to be amazing is slightly diminished as the verses find themselves locked in Hawthorne's falsetto, which sounds unnatural and forced. Everything is there for the track to be a success: a solid chorus, some catchy hooks and subtle piano work, but again his voicing over the verses detracts a bit from the song.

After a mediocre opening three tracks, this record really hits its stride and becomes amazing. On 'Maybe So, Maybe No' Hawthorne lets loose and nails the vocals. A collection of big band horns and jazz guitar send this song back to the 60's. 'Your Easy Lovin' Ain't Pleasin' Nothin' is not only the longest title on the album, but it's also the musical standout. After hearing this you'll want to dig out your long poodle skirt, go dancing and buy a malt. Everything on this track is on point. In addition to great songwriting, an incredible bass line and an upbeat tempo, the track also throws in a powerful saxophone solo. You'll definitely want to clap along to this one.

'Make Her Mine' is another great track. Hawthorne uses some clever wordplay that stays relevant in today's music but sounds classic at the same time.

"I may not drive a new mercedes, but I'll chauffeur my girl to the edge of the world. I may not wear a golden watch, but I'll be right on time for a woman so fine."

These lyrics have a very simplified cheesiness to them, but Hawthorne's delivery makes them sound inarguably, cool.

With an opening comparable to Diana Ross' 'Baby Love,' 'One Track Mind' again reaches into the vintage motown vault. While the music is great, the lyrics are sub par. The whole track revolves around a girl that spends all of Hawthorne's money. Real original. But yet again, his delivery and the 'feel' of the song makes it not only listenable, but enjoyable.

As a whole this album is pretty good. Nothing more. But there are about five tracks that are absolute home runs, and have a timeless quality to them, which is very rare. It's a very nice debut, but I'd a like to see some better vocals and some songs that are longer than three minutes. That said, this is still worthy of purchasing.

Tracks

1.) Prelude

2.) A Strange Arrangement

3.) Just Ain't Gonna Work Out

4.) Maybe So, Maybe No

5.) Your Easy Lovin' Ain't Pleasin' Nothin'

6.) I Wish It Would Rain

7.) Maker Her Mine

8.) One Track Mind

9.) The Ills

10.) Shiny & New

11.) Let Me Know

12.) Green Eyed Love

WK4 - Black Joe Lewis & the Honeybears - Tell 'Em What Your Name Is! (9.5)

Released - 3/17/09

Label - UMG Recordings

BLURB - I stumbled across this the other day while looking at some noteworthy releases of 2009. I listened to one song and thought there was a mistake, because this sounds like it is straight out of the '60's or '70's. Old school blues, R&B and soul just pour out of this thing in every direction. The record as a whole is amazingly clever and refreshing. The only downside to Black Joe Lewis & the Honeybears though, is I can't really see any staying power. I think they could catch on and be a nice little story, but they are never going to rise to any sort of prominence or major fame. I don't really care about that though...this shit is awesome.

Rating - 9.5 out of 10

FULL STORY - Sometimes music is meant to be interpreted, translated and analyzed by the listener. Artists are often criticized for having a 'nice' release, but lacking any depth or layers to the recording. And while it is considered somewhat sophisticated to produce an album that really forces the listener to think, hear and observe the inner workings of the recording - sometimes I just want good music at face value. 'Tell 'Em What Your Name Is!' is so pure and original, it really makes me want to stop listening to Animal Collective. This record really doesn't need any elaborate review or explanation for being great, it just is.

The music on this album is easy to enjoy and filled with great blues riffs, tempo changes and peppered with flashes of motown and funk. I've never really been a big blues guy, I get bored with hearing the same I-IV-V progression and long-winded guitar solos. I get it. To me this has been done ad nauseam and is all too predictable. What's so unique about this record is it is 100% blues without the typical blues chord changes and solos. There is really only one song (Bobby Boshay) that portrays a resemblance to the standard blues number. However, this tune is full of energy and the solos are short and to the point, without becoming monotonous. I, like most people, have a short attention span and Black Joe Lewis really works to keep the listener involved. With the exception of jazz, I prefer music that has a higher ratio of 'riffs' to 'solos.' It's just easier on the ears. The riffs on this record alone on guitar and bass would be catchy, but there is also a full horn section and great keyboard work accompanying them. When this instrumentation gets locked in, it's almost impossible not to dance or at the very least, tap your foot to. To match this energy, the album is filled with amazing choruses that never wear out their welcome.

The other great part of this record is the lyrics. There isn't anything left to the imagination. It's like Joe Lewis is casually talking to the listener for about 35 minutes with a rhythm section. Topics range from being broke, to getting drunk, to forgetting the names of girlfriends. I also have a sneaking suspicion that the band went into the studio with no lyrics and just kind of 'winged it.' There seems to be several, what appear to be, impromptu dialogues and shouts going back and forth from Lewis and the Honeybears. Perhaps, the best track on the album (in my opinion) is 'Get Yo Shit.' Every aspect of this record that I just detailed is present on this number. The verses are varying, spoken conversations between Lewis, his girlfriend(s) and the Austin Police Department, all over a soulful, retro bass line. After each subsequent verse the entire band revs up and a chorus is belted out relating to that particular verse. Even though it clocks in at a mere 2:49, 'Get Yo Shit' captures the essence and raw nature of the band.

It's worth mentioning that despite being a noteworthy release, 'Tell 'Em What Your Name Is!' has received some less than glamorous reviews. Several writers have written the Honeybears off as a gimmick, trying too hard to imitate their soul and blues influences. In response to that I would just have to say, take Black Joe Lewis & the Honeybears for what they are. The second you try to analyze and break down this band, you take away any objectivity that you entered room with. Don't think too hard about this one...crack open a PBR and enjoy it.

Tracks

1.) Gunpowder

2.) Sugarfoot

3.) I'm Broke

4.) Big Booty Woman

5.) Boogie

6.) Master Sold My Baby

7.) Get Yo Shit

8.) Humpin'

9.) Bobby Boshay

10.) Please Pt. 2