There's already been a lot written comparing Owen McCarthy to a young David Bowie and the Everyother's sound to the Thin White Duke's Mick Ronson era glam band. I ain't buying it. I saw that band ... and I know where
they got it from.

The Everyother's self-titled debut showcases this group for what they are - a rock band in the classic sense of the term. They've taken basic blues patterns, grabbed 'em by the scruff of the neck, dragged 'em through the gutters of New York City and come up with a thoroughly modern version of old-fashioned rock 'n roll. McCarthy, both live and on this recording
does exude an aura of Bowie's austere, sometimes ambiguous, sexuality. But, what rock star worth his loose hips hasn't? Besides, it's the music that really comes through on this disc. Lead off track "Can't Get Around It" is the obvious hit with its overall quirky Strokes' feel and clipped street-wise lyric. Joel B. Cannon's guitar blazes throughout with a sound so live you can almost hear those overheated tubes crackling in his amp. While the drums of John Melville and the bass of Ben Toro are subtly powerful, providing the drive behind these rhythm based songs without overwhelming them. The funky shuffle beat of "Ticket Home" is a prime example of this rhythm sections' ability to carry a tune. Other stand-outs are "Go Down Soon" which is just this side of a soul-shouter and "Break That Bottle" featuring Cannon's bluesy fretwork and McCarthy's dramatically mannered vocals. Those are highlights, but there are few, if any, dead spots to this album. So by the time it gets to the final cuts, the moodily soulful "English Cigarettes" and the eerie but uplifting "Dead Star"  you are quite satisfied, but still hopeful there might be some hidden tracks yet to come.
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COPPERMINE - Seven One Eight (Paved Earth)
There’s something almost comfortingly familiar about Coppermine’s recent disc
Seven One Eight. It’s not that the six-song set isn’t stimulating, far from it. It’s just that I can readily see an inspired program director so easily slipping almost any of the cuts from this release (I hesitate calling it an EP because it comes in at just under 35 minutes) in with Puddle Of Mud, 3 Doors Down or even Creed. Singer/guitarist Jonathan Buck and Coppermine write involved and dynamic compositions. Perhaps this has something to do with Buck’s background. Coppermine evolved from Buck’s avant jazz ensemble 21st Century which he led as a trumpet player and this group is made up of stellar musicians – Yotam Ginzburg on guitar, Teddy Williams on bass and drummer Jonathan Riley. Here and there you can hear a taste of that avant-garde influence, most dramatically on the outro to “Reason 9/11.” The single demo “On And On” was my introduction to Coppermine, and here among the other equally strong cuts its insistent chorus and melody line sound just as forceful and it ties in smoothly with the rest of the set. With Seven One Eight Coppermine is dialed in to the right code.
How cool is this? A seven-inch single of one of The Inevitable Breakups' hottest songs. Even the paper label on the black vinyl record looks vintage with its retro RCO (Really Cool Originals) logo reminiscent of the Sun label. And damn if this thing doesn't sound like a 45. In deference to turntable-challenged devotees, they've also released a CD version, but even that has that wonderfully wobbly 45 rpm sound. And about that ... uhm ... provocative picture sleeve - listen to the songs and you'll understand. And this is kind of a set piece with the flip side track "All I Want." Two sides of the same thang. While "Stephanie" is a testosterone-charged rocker of the sort Buddy Holly and the Crickets might deliver on a sweat-soaked night down at the roadhouse in Lubbock of 1957 (and front guy Daniel Stampfel
is a New Yorker via Texas), "All I Want" displays the sensitive side of things with a solo Stampfel and his acoustic guitar. Last time out, the Richard Lloyd co-produced No Wonder You're So Beautiful showcased the Inevitable Breakups ability to deliver catchy power-pop compositions with apparent ease. And while that EP was indeed impressive, this latest release captures the raw energy that is so much at the heart of  the groups' live shows.

Quick Cuts
Concert photos and commentary Jeff Rey
© 2004 NEON, blue door productions
All rights reserved
Photo - Jeff Rey
The Everyothers' Owen McCarthy - an aura of austere sexuality
The Inevatable Breakups Left - Daniel Stampfel and M. Daniel Peña
Below - Evan Silverman
February/March 2004
Jonathan Buck of Coppermine - Dialed into the right code
DIABOLIX - Guilty But Insane (PunkTV)
The Boston-based Diabolix were a self-proclaimed punk metal band of the early 90s. Spawned out of the early punk bands of Micky Metts and Angelo Aversa – the Phantoms and the Organ Dönörs – Diabolix had front person Micky laying down her guitar and picking up a bass. Meanwhile her longtime partner Angelo came out from behind the drum kit and took center stage at the mic. The were joined by lead guitarist John Vito and drummer Marky Mayhem for a crash and burn version of the previous groups. The aesthetic may have remained the same, but what we’re really talking here is Heavy Metal with a definite edge. The duo have recently released the 10-song CD
Guilty But Insane of a live performance from that period on their PunkTV label. It features the doom and gloom vocals and searing guitar expected from metal, but also the crunching free-wheeling spirit that is often lacking in the genre. Think Judas Priest meets Alice Cooper with a bit of Nick Cave and the Bad Seeds thrown in. These are muscular songs with the title track perhaps the strongest cut. More releases are expected from the group, along with re-issues from Metts’ and Aversa’s other bands. At one point, a very intense Diabolix promotional wall clock was the soul keeper of time in my apartment. I think I’ll dig around in my closets and dust it off.
DIABOLIX - Edgy metal from veteran punk rockers Micky Metts and Angelo (Vice) Aversa, with Marky Mayhem on drums and lead guitarist John Vito