VZ Magazine

What do you think of when you hear the name Foxy Shazam? I imagine a magic trick, or maybe a flashy dance move or perhaps a radical explicative. Foxy Shazam are all of these things as rock and roll incarnate. They are here to remind the world what rock and roll is: a loud boisterous rumpus of emotions.

These guys are clearly inspired by AC/DC, Queen and The Darkness. If you’ve seen live footage it is clear their lead singer Eric Sean Nally is striving to be the reincarnation of Freddie Mercury. The myth is that he’ll eat lit cigarettes whole onstage. He howls like a maniac, putting his entire life into his high-pitched squelch. He’s got a voice and knows what to do with his vocal chords: GO LOUD. In fact, everything about this band is loud. The guitars are loud. The drums are loud. Foxy Shazam is like a Michael Bay movie but for music. They fly in fast cars, guns blazing and heads screeching.

Their newest album, Church of Rock & Roll, brings it. They’re not trying to convince you of anything or to be political or to teach a lesson. The Church of Rock & Roll is all about digging in and embracing rock. A lot of it is nonsensical. The lead single’s chorus shouts, “That’s the biggest black ass I’ve ever seen, I LIKE IT I LIKE IT” but through its nonsense a listener can’t help but sing along.

Church of Rock & Roll could be described as a history lesson. It is trudging on a same track traveled before. Theatrical triumph “The Streets” echoes sentiments of positive entrapment in an attempt to garner a streetwise credibility. We’ve heard this song before, written by different artists but declaring the same vibe. And while “I Wanna Be Yours” and “Last Chance At Love” are sentimental and dubiously catchy, they’re rock anthems of yesteryear, still worthwhile but not-so original. The most genuine song on the album is “Forever Today” as a promise from Nally to his son who doesn’t understand the demands of the rock n’ roll lifestyle.

I wonder if Foxy Shazam is real. In many ways Shazam is just a conglomeration of the history of rock n’ roll. They’re not bringing anything brand new to the genre but bringing it back to life. Foxy is a good enough revival. A spectacle and a rumpus and a purely good time.

Ben Kweller has made a career out of the easy going Power-Pop. With his puffy cheeks and kind eyes his songs resonated with innocence and all around feel-goodery. Coming up with a catchy sing-along seems easy coming from Kweller. Throughout his five solo albums he always seems to find the right spot, crafting the punch line and the clever lyric. Still, Kweller is the kind of talented musicians who strives to be like the classics of Beatles, Kinks and Neil Young but cannot get past the nerd-rock lifestyle of Weezer and Ben Folds.

Go Fly A Kite could be viewed as a return to form for Kweller when comparing it to his 2009 releaseChanging Horses. On Changing Horses he moved from New York back to his home state of Texas and adapted Americana/Country-Rock into his music. It was a welcoming experiment, something that divided his fans but brought him to new musical grounds. On Go Fly A Kite he brings what he learned from country music back around to his roots of Power-Pop producing timely breakup songs like “Jealous Girl” and “Gossip” that could catch on radio stations.

The songs are full of catchy chords and repetitive pianos; he seems to alternate between instruments depending on what the song calls for. “You Can Count On Me” is wonderfully catchy, mostly due to Kweller’s playful strumming. It is impressive how the dynamic between his song structures stays strong while skimming through genres. “Full Circle” is a harmony filled dance while “Free” is a country-rock romp complete playful yelps and a tangy lisp.

The problem is these are the same Ben Kweller songs his fans have come to expect. Despite hitting 30 and adding techniques to his toolbox he doesn’t demonstrate much maturity. The best song on the album is the opening track “Mean To Me” because it is a rock-n-roll haze fueled by distorted guitar and enraging feelings. Starting the album this way is shocking and exciting. It gave Kweller and edge and perhaps a new relevancy. Unfortunately “Mean To Me” is the biggest risk he takes and he ultimately settles down into safe territory.

Fans of Kweller and Power-Pop will like Go Fly A Kite. It is a likeable album. I just wish Kweller were more daring.

La Voyage Dans La Lune is French filmmaker Georges Méliès’ classic film, translated in English to A Trip To The Moon. Released in 1902, not only was it ahead of its time, it is also considered the first science fiction film. Méliès used innovative filmmaking techniques to visualize man taking a trip to the moon decades before man actually took a trip to the moon. Originally Méliès made two versions of La Voyage Dans La Lune, a black and white print and a hand printed color version. The color version was believed to be lost for more than a century until it was found in Barcelona in 1993. Since then it has been restored; damage to the films required all 14,000 frames to be renewed and remastered. With the rerelease, electronic music duo Air was recruited to do the soundtrack.

In many ways Air is the perfect band for this endeavor; they’re from France, specialize in trippy cosmic electronica and have an obsession with outer space. The only marginalizing factor is whether or not their modernized electronics are going to fit alongside Méliès’ masterpiece. By enlisting relevant musicians with unique sounds the film-restorers are hoping to capture the interest with a new generation.

At this point I haven’t seen the restored film so I cannot say what the interaction is between the 1902 film and modern electronica but it is a very atmospheric and cosmic album from Air. Many of the songs are reminiscent of traveling through space. The track “Seven Stars” counts down like a rocket ship taking off, announcing an upbeat march shooting through Earth’s gravity, and with vocalist Victoria Legrand of Beach House it becomes such an encapsulating experience. “Sonic Armanda” blends the anxiousness of space travel in a systemic blender by mixing an insanity craving buzzing with a catchy whistle and a blusterous bass drum pounding; it’s a track reminiscent to the end of 2001 A Space Odyssey summarizing beauty, annoyance, confusion and panic. “Moon Fever” contemplates the deepest questions of the nothingness; who are you when you’re lost in space? “Comic Trip” and “Lava” are a perfect destination as the last two full length tracks; “Cosmic Trip” speeds you across the universe with the stars zipping by your face while “Lava” reminds you of the peacefulness of space and despite everything it is going to be a beautiful trip.

Air’s soundtrack is a cosmic trek. From start to finish it tells an ambient story of space travel and the destination of the unknown. Still, there is something missing. It falls into the natural faults of any original soundtrack; it is missing the movie.  As an album it is too short. As an accompaniment piece it is out of context. Fans of Air’s psychedelic spine chilling electronica will like this album but needless to say its not the best spot to discover Air or La Voyage Dans La Lune.

McCartney is a legend. He is clearly one of the greatest pop musicians of all time. It is impressive at the very least that he is making new music at his age. He doesn’t have anything to prove but he’s Paul McCartney and will probably be making music until the day he dies.

Going into his new album a listener has to know what to expect. If you’re expecting The Beatles, The Wings or anything similar to his 2007 solo release Memory Almost Full you’re going to be caught off guard. This album is mostly covers of hits from the Great American Songbook, classic tunes made popular in the 1930s-1950s. McCartney has said his inspiration was to recreate songs his father used to play on the piano; he wanted to recreate the moments of his family gathered around and singing together.

It's kind of an indulgent idea, but, like I said, he is Paul McCartney and can do whatever he likes with his career.

As an album it sounds great. He recruited Grammy award winning producer Tommy LiPuma to pinpoint the exact old time feel McCartney was looking for. These songs sound like they could have been recorded in the 30s with the only clarifying differentiation being McCartney’s signature vocals. Legendary jazz musician Diana Krall and her band played most of the music on the album. They kept the tone sublime and downbeat. The bass is loose but eloquently heavy, driving most of the songs. The drums are tapped lightly with brushes making a piddle paddle similar to rain hitting the fresh snow.

This is smooth jazz. It is peaceful and intimate. It beckons the accompaniment of a lounge and a glass of red wine.

The best song is McCartney’s original “My Valentine”. While it was produced with the same style as the rest of the album it has a purely encapsulating loving-feeling about it. The guitar part is utterly beautiful, played by another great, Mr. Eric Clapton. The only other original features Stevie Wonder. Clearly Sir McCartney isn’t taking any chances here but at least he sets himself up for success.

Kisses On The Bottom is an album up to you. Do you want to accompany McCartney down memory lane? If you’re not familiar with the Great American Songbook it might be a fun ride. Sometimes when an artist you care about reaches out of his comfort zone and into another genre, even if you’re unfamiliar with the genre, it can worthy to follow him. In this case you might learn something about 1930s hits and you’ll be lead by the charming voice of Paul McCartney.

If this doesn’t sound interesting it is an easily avoidable album. Kisses On The Bottom isn’t going to blow any minds. This is a personally indulgent album McCartney recorded for himself and maybe as a Valentine’s gift for his new bride.