At some point, the "Music We Like" archive is going to include a negative album review. Based on memories of listening to the album as a youth and my subsequent evolution of musical preferences, I was prepared to make Screen Kiss that first less-than-enjoyable inclusion. Later Oo Oo Wa and the (everyone but Callahan) Mink release are some of my favorite Dayton music creations, but this album was different - it was described as "retro pop" even when released. I picked it up again without great enthusiasm. Just document the landscape in which you grew up, Mike. This is so far removed from what one would expect from a small independent release in the early 1990s. There is a definite 80s light pop feel on almost every track - synthesizers, smooth singing, and clean/clear instrumentation. Easy listening this is. But, let me pull back from the negative imagery I'm creating. In 2011 and with 33 years behind me, I like this album. Nick Eddy is on a very short list of vocalists that I hold in the highest esteem. And, the atmosphere created by the entire ensemble is clearly the work of people who got into character (new romantics?) and put the time into perfecting their vision. The songs are distinct and different but, in my mind, most do not jump out and grab the listener individually. I like the beginning tracks ("Godliness" and "Say It's a Deal") but are they really better than the ending tracks or a pair of songs in the middle of the album? Yea, I wake up humming "my dad saw stars in the daytime" (from "Stars in the Daytime"), but, when I pop this album into my cd player, I don't go to that song. This is an album for album-listening... ...except for two songs. The singles, if you will. "Rocketship" is one of my all-time favorites. Soft instrumentation and gentle lyrics are contrasted masterfully with a harder edged guitar and a bolder chorus. A glimpse of the future evolution of Oo Oo Wa. In this case, a silly set of lyrics that work as a superb love song, and the highlight of the album. That is, unless you're looking for a simple and wonderful creation that also doesn't quite blend into the album. "See Paris" is a gem that combines an excellent acoustic guitar with a just right backing (cello sound, piano, soft percussion). Eddy nails the lead vocals, which act as guide to the listener who is lead through the streets... or maybe just a memory. Minus these two essential songs, Screen Kiss is far from excellent. It is, however, something a little unexpected. Independent soft pop. Go figure.

The Oxymoron's Dancing on Billy's Grave should be considered one of the "important" albums to come out of Dayton in the early 1990s. Though not garnering national attention like Guided By Voice's Bee Thousand or The Breeder's Last Splash or having a distinct sound like Brainiac or even Cage, the Oxymorons were a great local band that could have existed anytime and anywhere since the late 1970s. Their sound is somewhat traditional in the punk/power-pop vein with a steady attack of guitars, bass, and drums, as opposed to the "alternative"/grunge bands of the era with alternating quiet and noise. With their final album, Dancing on Billy's Grave, the Oxymorons had the swagger and craftsmanship of a group to be reckoned with. Heck, they took shots at the independent press' wonder kid at the time "Billy" Corgan. ("Smashing Sour Grapes") Dancing on Billy's Grave is built on one quality song after another. On a 19-song album there are only a few throwaways. The band had three songwriters. The lyrics are "smart" with many turned phrases and play on words (listen to 'Taoist Lumberjack'). The band offers Gen X credibility by including audio clips from the movie Heathers. And, "Yes I P.C." has one of the best bitter chorus to sing along with that a listener will ever find. Don't hold my hand / It's too heavy on my heart I am not sure if this was the desired intention, but an underlining theme develops on Dancing on Billy's Grave. Death is everywhere on this album. This can be seen in the albums title, the opening track ("Day of Reckoning"), and in the lyrics of two of the band's greatest moments: "Unearthing your Grave" and "First time today". Death is the past (in the form of relationships) and the struggle is to move on. If I had a Top 10 List of Dayton songs, "Unearthing Your Grave" would be near the top. Ben Schelker's opening wailing blends into a tight and fast number, building to a multi-part chorus (the whole song could be the chorus). Without the lyric sheet, you cannot quite make out what is being said, but you can feel the loud, raw emotion. What more could one want from a song? The recording quality of the whole album is very live-in-the-studio. On many of the songs, Nick Atkinson's drums are in the forefront. Patric Jones' vocals can be heard in the background of the acoustic flavored 'First Time Today'. As the song builds to its crescendo, the electric guitars have completely overtaken the singer. I am sure a record label producer could have cleaned up the sound and the Oxymorons could have sounded like Filter, but Dancing on Billy's Grave is what it is. There is a band just like the Oxymorons in your town. If they put together the best of their material, they might be lucky enough to record their own Dancing on Billy's Grave to sell at shows and local record shops on consignment. I am not trying to belittle the Oxymoron's achievements, but I can see why this album did not lead to instant national success. At the same time, Dancing on Billy's Grave will always be one of my favorite albums.

What is the quintessential quick listening experience? Obviously, that's going to vary for everyone, but for me I think it has to be something that doesn't exist in a single emotional state or single place in time. Maybe it's that short recording that leaves you with something you always need. Inconcerated Live is a promotional release (from what I can tell) from the Replacements composed of 5 live recordings and one album track from Don't Tell a Soul ("Achin' To Be"). The copy I possess has a radio station's call letters printed directly on the disk. This may not be the easiest item to find. Perhaps I'm not supposed to have this. I would really like to be able to say I'm a huge Replacements fan, but my personal collection is a little limited. And, my familiarity with their older stuff is minimal. I really like Let It Be, but, I also really like Don't Tell a Soul. With this background in mind, some 'Mats fans might have a different view. But, in my opinion, it would be hard to dabble better in the world of the Replacements then this little promotion. Leading with "Talent Show" and ending with "Achin' To Be", it's pretty clear this is Don't Tell a Soul-era advertising. The magic, however, is between these two. "Answering Machine" has a wonderful, sparse beginning with expressive and clear singing by Paul Westerberg that really conveys the beauty of this piece. "Anywhere's Better Than Here" is full of life and has these wonderful audience moments at the chorus. "Another Girl, Another Planet" is an excellent cover of a song originally recorded by The Only Ones. And, "Here Comes a Regular" is an awesome live version of one of the great songs, in which audience participation, lyrical variations, and impassioned singing combine to create a very special experience. It is clear that the people in that room love that song. I listen to Inconcerated Live when I want something on which I can't quite put my finger. By the time "Here Comes a Regular" finishes, I feel alive and emotional. A perfect quick listen.

It is tempting to toss Me Rock You So Hard into the hard rock/punk rock bin and just be done with it. And, for the most part, this Akron, Ohio band seems okay with that (heck, their website title refers to themselves as a "hard punk rock band"). So, going with that classification, the album is a well produced, energetic affair that is easy to start and surprisingly easy to finish in the same sitting. Laden with infectious, hard rocking guitars and a potent rhythm section, nearly every track has the potential to grab you on that particular day when a specific riff or drumbeat just feels right... The album's lead-in Sounds of Earth does a fantastic job of using the English greeting from the Voyager spacecraft and feeds right into the albums first excellent track and its extremely strong guitar lead, People Watching People; these tracks belong together on every listen. Two songs later, Games showcases some of the strongest "punk" vocals on the album. Having started out so positively, here's a caveat that probably should have started this review: this reviewer isn't typically drawn to "hard rock" or "punk." He's not into the Akron music scene. And, he would be lying to you if he suggested he was emotionally connected to many of the lyrics on this album. So, you may be wondering how such a person would decide that overall this is a good and worthwhile album to recommend. It's very simple: this reviewer was completely sucked in by the tenth track on the album, Next Years New Years Eve, the first time (and every time since) he heard it. This song crosses into other rock genres and isn't quite like the songs that surround it on the album. Starting with an understated guitar and simple vocals that put the singer out in front of the music unlike anything else on the album, the piece builds up a potent energy that carries it through its full four minutes... ...and it inspires one to reconsider everything else on the album that they may not have fully "heard" on first listen. And, on that second (then third, then fourth...) listen, it turns out that Me Rock You So Hard is worth that recommendation.

Morgan Taylor was in both Oo Oo Wa and Mink. These bands were part of the Dayton music scene in the late 80s and 90s. For individuals who believed they were following the Dayton music scene at that time, picking up a Morgan Taylor cd in 2003 could just be an extension of that indie enthusiasm, a way to support a lesser known artist as he travels through life. But, Dream in Green is a great album, in a totally different vein than such a fan might expect. Morgan Taylor has composed a fantastic collection of mature music: some merger of rock, pop, and "what came before" in Taylor's life. Definitely not a "rocker," the eleven songs are varied and interesting musically and are lyrically captivating. The writing demonstrates whimsy and humor and, in many cases, an exciting oddity a first time listener does not expect (A Lemon being a good example both in tone and words). Beautiful songs like Underwater Stars, Blue Sirens, and Quite Easily Lost are lovely arrangements that are enjoyable on each listen. And, the sequence of Blue Sirens, Raincoat, What If #24, and Quite Easily Lost is one of those four song gems that music fans embrace and can cite years after a last listen (think: the first four songs on the Violent Femmes' debut album). Raincoat, in particular, is an excellent expression of love (or maybe that first moment) accompanied by a well-chosen guitar and distinctive percussion. Interestingly, though not particularly weak, the first and last songs on the album do not fit with the mood Taylor created on the other 9 tracks. One may find themselves skipping these tracks on many occasions, almost instinctively. Whether one makes their way to Dream in Green from Morgan Taylor's past (Dayton scene), from his other projects (Gustafer Yellowgold), or from a recommendation; this is an easy album to like.

In my history of being on the edge of technology (NOT the "cutting" edge, mind you), the Super Audio Compact Disc (SACD) is my current fascination. Though not even aware of the technology until it's moment in time was in decline, I nonetheless have spent the past 6 years or so compiling a modest collection of classic rock and pop albums to enjoy in 5.1 channel glory. I love the technology. Unfortunately, I have had mixed feelings about the content I've found. I really like Fleetwood Mac's Rumors and Genesis' Selling England by the Pound; not such an immediate fan of the Allman Brothers' Eat a Peach; and I have more Elton John albums than I would ever have imagined. No serious complaints. But, as in all aspects of my life, I am always on the lookout for something a little off the beaten path... Steven Vidaic's Hearts Look Twice is a first solo album by the keyboardist for Citizen Cope. Having no knowledge of Citizen Cope, I walked into this experience having only read a brief review on an SACD website and the description on Vidaic's website: "In the tradition of 60's and 70's rock albums, Hearts Look Twice was recorded with the band playing live in a room together, capturing a sound no longer common to record making." Sounded promising. Hearts Look Twice is a very satisfying rock album, with a steady stream of mid-tempo tracks. The rhythm and instrumentation is as one might expect of an artist channeling the recording style of the 60's and 70's, all the way down to a regular use of piano and organ support throughout. Without some other shining beacon, it's the kind of music that might get lost in your musical memory... "yeah, I remember thinking that was a cool album." Fortunately, the shining beacon is the songwriting, and, possibly even more importantly, the sense of ownership that Vidaic pins to almost every song on the album. Whether autobiographical, personal, or whimsical, these are HIS songs. Watch them grow, evolve, and thrive. Ah, it must be satisfying to put one's own name on a project. From the guitar lead of "Tula's Song" that welcomes you to the style of Hearts Look Twice through the excellent and humorous finale ("Sabotage") that has fun with pessimism and expectations, there is a lot to like on this album. "Taste The Ghost" casts doubt and uncertainty on religion. "New Side Of You" wonders about change, in seasons... in people. And, "Turning On Me" is paranoia in song form, showing off the wit and talent of the songwriter. The first reaction a new listener may have to this album could be one of detachment. The overall tone is laid back, so don't expect to be riled to action. These pieces are more observational. I felt a little indifferent after the first listen, but I was still curious enough to come back. The best music on Hearts Look Twice is not necessarily in the vein of that classic single that grabs you immediately. Give "Taste the Ghost," "New Side Of You," "Turning On Me," "Back to the Sea," and "Sabotage" a second listen. Pretty soon, you may (like me) have a hard time remembering when Steven Vidaic wasn't one of your favorites. Oh yeah... if you're into Super Audio CDs, this is a great immersive experience that uses the surround speakers effectively, if not blatantly. Plus, how often do you get to buy a *new* album (2012) in this format?

What would two guys passing tracks back and forth from Denver to Dayton sound like? Wicked Immigrant tries to answer that question. White Nuns on Red Wines is a collection of slow-folksy-acoustic guitar-led songs that are well crafted with lyrics possibly from role-playing aficionados. (I have no idea if John Wenzel and Chris Jones play D & D). Typical songs discuss (symbolically?) medical mysteries and supernatural villains. "Veranda Myth" is the perfect example of the White Nuns on Red Wine sound. Villagers deal with the repercussions of a monster with a sad cello in the background. But, my favorite track is "Fake Virgins Arrested!", whose title may incorrectly lead listeners to a Guided By Voices comparison. Wenzel's usual somber vocals have a angrier edge and the song structure is pure folk-pop. Wicked Immigrant will not be heard on FM radio, but White Nun on Red Wine is fine example of a niche that can only be met by home-recordings.

For me, Pete Wylie's Sinful was a $0.10 purchase from a McCrory's in the Sherwood Shopping Center. Part of a veritable pile of bargain "finds," this cassette was part of a purchase that probably doubled my music collection sometime around the turn of 1990. Sharing the limelight with the likes of Ranking Roger's Radical Departure, this particular album was interesting to me as a kid, something that sounded like something bigger. Sinful is the 1987 solo release by the leader of Wah! (in its various incarnations). Having never heard any Wah!, I am unable to draw comparisons. However, this album can stand on its own. A slice of the 80s, with bombastic percussion and guitars, Sinful is stadium rock for the gentle set. And, I mean that in a good way. The songs are slogans of love and hope and caring. The cynical or staunchly alternative listener will shrug this off as an artifact. But, those who can escape their stereotypes and just enjoy some big rock and roll may just find a gem. The title track was a hit in the UK and a catchy lead to the album. Note the use of synthesizers and backing vocals; feel the energy and enthusiasm - they'll be there for the entire journey. "Shoulder to Shoulder," "Break Out the Banners (of Love)," and "If I Love You" are the medium volume rockers that lay the foundation that culminate in the "We Can Rule the World" and "All the Love" climax on tracks 7 & 8. This is a guilty pleasure listening experience. Turn it up and feel it. And, in the midst, enjoy one of my favorite songs. Period. "FourElevenFortyFour" is very much in line with the rest of the music on this album. It fits. But, it's the composition that makes you feel that there's something deeper going on with Pete Wylie's lyrics. Leading with the almost silly sounding: "My love is a rainbow and my love is falling grey rain...", this is a great love song and a lament. I think. The title has historical reference to gambling, sex, and penis size, but these don't seem to be Wylie's topic. He is (or was) in love and the object of his love is gone. In the past, I debated the meaning of the title and who was the recipient of his caring. It's beyond my feeble mind. Regardless, it's a diamond among gems. Enjoy.