The Darkness Returns To Show Everybody a Good Time

One of the more addictive rock romps of the 2000s was The Darkness's "I Believe In a Thing Called Love". It played up the campy side of heavy metal so beautifully that it was easy to forget the song kicked ass and then left you sprawled on the floor in awe. It's a thrill knowing that 2012 marks the band's return with "Hot Cakes". That title is ideal since "Everybody Have a Good Time", one of its tracks, is sticky sweet pleasure. Justin Hawkins returns to the mike to vamp it up no end with his salute to knocking off all the fightin' and makin' with the rock 'n' roll already. Brother Dan has his digits firmly on the throttle. His chord flexing feels like a seasoned masseur working the knots out of my spine. Ed Graham busts down the fourth wall between band and listener with some skin smacking that makes living it up 'til the wee hours of the morn come across like a devout mission that must be served. As for the chorus harmonies they're delectable. The Darkness is sure to keep all the other hard rock bands out there from committing the top sin of hard rock which is taking oneself too seriously. Who cares if the song is about as deep as angel food cake. Time to fly away to the gates of hard rock heaven.

The Dirty Heads Invite You To Their Cabin

Southern Cal's The Dirty Heads are just the hombres you want by your side for an unabashed chill out session. "Cabin By The Sea" is lousy with such overtures. The title track shows off their laid back reggae groove. Dustin "Duddy B' Bushnell lays down guitar licks suitable for popping col' beers with the posse. You can smell the surf without being anywhere near water. "Best Of Us" receives the benefit of breezy pacing to initiate the magic of this story about a girl who drinks with the best of the boys and can shake her body as good as them too. What an inhibition loosener. Props to percussionist Jon Olazabal for keeping the reggae aura fully stoked. This genre of music would be lacking its octane without quality timekeeping. Bob Marley would be very proud of son Kymani for the earnest expression of manly desires that make up the root of "Your Love". Not to mention his virtuousity adds street appeal. With "Hipster" it's the jazzy horn opening that sends the song skyward through the Caribbean sensibilties. All in all The Dirty Heads have carved a neat niche for themselves. You won't have much problem embracing their enlightened rastafarian soup which contains copious doses of ska and hip hop as well. "Cabin By The Sea" is just what summer 2012 needed. Time to let your hair down.

Maroon 5's Overexposure Shows Off Just The Right Moves

You gotta sympathize a bit with Maroon 5 tonsil flasher Adam Levine. Where matters of the heart are concerned he's one conflicted dude. He wants to leave her but can't. His mind tells him she's no good for him but her body is convincing him to stick around. Such concerns take center stage throughout his band newest offering, "Overexposure". "Payphone" has already made serious Billboard chart impact by showcasing Adam's somewhat legendary cynicism about the likelihood of smooth flowing love. Wiz Khalifa slices and dices the point that she doesn't know what's she's giving up. "The Man Who Never Lied" magnifies the dilemma of a man who in fact never lied until he had to come to grips with staying with a woman who hurt him even though he very much wants to bolt Reason? He couldn't hurt her the same way. There's an undeniable crescendo building due in no small measure to Matt Flynn's showdown inducing efforts behind the kit. Adam's the ringmaster for this circus of unrest. "Beautiful Goodbye" is a fragile creation but by no means unworthy of repeated listenings. James Valentine applies a delicate touch with his guitar. Levine's lyrics will melt hearts in seconds. Many's the man who could identify with how perfect his woman looks when crying. That's a juxtaposition of feeling that Adam has down to a science. If you need something that coos "dance floor" then look no further than "Doin' Dirt". Temp keyboardist PJ Morton liberally shakes his pixie dust all over this ballsy treat. Sometimes even naked songs come across better than bells and whistles overload. "Sad" narrows the heartstring focus down to PJ's keys and Adam kicking himself for making the wrong moves along romantic pathways. Another mouth watering attraction is "One More Night" which I swear comes complete with a reggae embossed flavor that's sure to win converts to the Maroon 5 camp and reinforce the devotions of the already converted. This band's previous set "Hands All Over" was an embarrassment of riches that left me exhausted after its 60 minutes plus voyage completed. While "Overexposed" isn't quite that grandiose in presentation but is still an admirable addition to Maroon 5's body of work. Expect a nice rocket ride back to the top of the heap for this California quintet.

Linkin Park Breathes Some Amazing Life Into Its New Set

Linkin Park's Chester Bennington dazzles with his vocal versatility. He's easily one of the reasons why the rap/rock hybrid took off. He's at his best when the new "Living Things" allows him to demonstrate one doesn't need "Yow! My scalp is on fire!!" hysterics to flex his powerful muscle. Exhibit A is "Powerless". He carefully draws out his notes to achieve maximum effect. He's drawing you into the world of promises issued, problems unrealized simply by remembering not to abandon subtlety, which is a common danger for a lot of hard rock bands. His band mates, particularly keyboardist Joe Hahn, bathe him in this sure-footedness he then gains confidence from. Of course, the dyed in the wool devotees are going to appreciate Mike Shinoda's rap interplay with Bennington on "Lost In The Echo" Mike raps about learning to love your timeworn warts while Chester provides the melodic lift needed for this rock storm to acquire its menace. Another understated yet no less powerful gem is "Roads Untravelled". Chester urges us not to spend much cosmic energy regretting what we didn't do along the way. He's also there waiting to sit next to you if you just wanna yak a bit. This stunner is worthy of pause for reflection. It marvelously flows together. The only song I wonder about is "Victimized",which only serves the purpose of allowing Chester to try and get some of those anger issues out on the table. If anything it's drummer Rob Bourdon's chance to cut loose. It doesn't even hit the two-minute mark so that's not a huge quibble from my end. In the final analysis "Living Things" represents equal parts lush philosophical confessions and masculine rock riffs with a splash of quirky experimentation (see "Skin to Bone") thrown in keep both band and audience from growing too snug in the comfort zone. It's a pleasure to have Linkin Park back. I don't see this release signaling the end to their chart hot streak.

The Tallest Man on Earth Leaves Behind Impressive Acoustics

Kristian Matsson, who goes by the stage name The Tallest Man on Earth, seems to have a cosmic connection with his guitar. He's the rider attempting with varying degrees of success to subdue his runaway horse. Why should he when you consider the panorama of mood he's unleashed with "There's No Leaving Me Now". It's a real pleasure to listen to cuts such as "Leading Me Now" and reflect on how much joy he must have cutting loose. "Bright Lanterns" recalls the finest storytelling unfolding around a weenie roast campfire. "To Just Grow Away" is intellectual catnip for people who have felt the bittersweet sing of growing apart during the course of a relationship. Listening to good guitar playing at an optimum level is equivalent to watching an actress like Meryl Streep lose herself in a role. You take delight in not knowing where the means of expression starts and the individual begins. This is one talented Swede who deserves to be sitting even taller in the saddle after foisting this 10 track beauty on the listening public.

Regina Spektor Adeptly Paddles "All The Rowboats"

Ever wonder what it's like to be a caged masterpiece in an art museum? Me neither, but it's wonderful of Regina Spektor to offer us an aural picture from "What We Saw From The Cheap Seats". You can hear the frantic tone of this piece echoed through her lightning speed at the piano. The caged artwork runs for the door but the prison warden will have none of it. Myriad images of death reveal how pained the trapped treasures feel. This song would be great if it had some sort of cutting edge animation video to go with it. As it stands we'll have to be happy with Regina bringing oil paintings to life through the power of her incredible vocal range. Pity for the glass entombed violins comes naturally here. You root for the artwork to be let out into the world. That I would even come close to uttering something that whimsical is a credit to the versatility Regina brings to the table. No cookie cutter love songs for her. She dazzles with her intelligence. "All The Rowboats" is a sea worthy sparkler that merits more than a passing glance. Funny...I feel the same sentiments towards the museum "denizens".

A Toast To Lit's Shit-Kicking Hedonism

Drunken escapades set to music never seem to go out of style. Lit completely embraces this truism with "Same Shit Different Drink", culled from the upcoming "The View From The Bottom". The relatable world of drinking your balls off and then finding yourself married to some mystery female the next day is examined with mischievous glee. Zero points for subtlety but the full hundred for raucous depiction of debauchery. If you own an alcohol-motivated tramp stamp, or know a friend or three who do, you'll be nodding your head in agreement. The synergy between drummer Nathan Walker's beer pub bashing and singer A. Jay Popoff's unapologetic confession of ninety-proof history repeating itself forge this number into the party stoker it will likely go on to be. Go ahead and knock this guilty pleasure back.

The Angels Smile Upon Rush Fans

Rush's Geddy Lee has always been searching for the truth. On the band's latest, the celestial inquiry called "Clockwork Angels", much of that bubbly wondering comes to a boil. "Headlong Flight" has already gone to album rock radio. Alex Lifeson's maniacal guitar chops assume a full-on heavy metal menace. This alone shows Rush should never mess with a working formula. Alex clearly gets a huge moment to shine. "BU2B" tells you all you need to know about Geddy's quest for answers. The fury is impossible to tamp down. With Lee serving as messenger it's hard not to at least hear his points out. Such muscular intelligent rock. "Wish Them Well" covers lyric terrain not all that dissimilar to "Roll The Bones". In both songs we're reminded of how navigating the world is a risky proposition. The former is a no less powerful offering that eases up on the throttle while keeping potential listeners using their craniums at the same time. The title track is best described as a swirling vortex of technical mastery. Rush's legion of supporters will digest this CD with unbridled gusto. They should in any case. You'd be hard pressed to sniff out a dud in this bunch. Almost 45 years into its existence Rush still deserves mention as king of the hard rock roost

The Japandroids Host a Celebration of Raw Rock Adrenaline

Raw as a tailgate party brisket, Vancouver's Japandroids emerge for their third release, "Celebration Rock". Brian King and David Prowse make some furious noise, especially on "Evil's Sway" where David's drumming calls to mind the artistry of Animal from The Muppet Show. He's driven but fully in control of his instrument. This song's chorus demonstrates the twosome's ability to revel in rock's giddy devil may care persona. These two aren't making music for the corporate mob. Slower, yet no less captivating, is "Continuous Thunder". It hammers at your brain refusing to be denied your undivided attention. Not only that it provides cute "what if" scenarios such as "What if I had all the answers and you had the body you wanted". Throughout the CD the duo's volcanic energy is cranked up to ten, volume control tossed out the window. "Celebration Rock" is, in fact, reason to party if your tastes gravitate towards music without overdubbed studio gloss. One hopes Japandroids have a blisteringly enviable road ahead. This third step doesn't lack horsepower.

Want Sexy New Beats? Just Whistle.

Chalk up another hit song from "Wild Ones". Not exactly subtle with the sexual entendre. Flo still comes to the party ready to represent with a beefy dance selection made for late night grooving. The presence of whistling makes for a vividly sweet trip to erotic parts unknown. Hot on the heels of "Good Feeling" "Wild Ones" is just endearing enough to keep celebrations everywhere going full throttle just a bit longer. Flo's feisty wordplay shows no sign of letting up.

The Walkmen Are Sadly Earthbound on "Heaven"

I can appreciate stripped down guitar playing and throwback backdrops as much as the next guy. Trouble is there don't appear to be many song ideas that feel like they've come to full flower on "Heaven". The pattern over and over again boils down to a guitar that shifts chords two or three times which only serves to enhance the already repetitive chorus. "Can't Be Beat" employs a delicate acoustic guitar. The title track supplies more oomph but this, and most other cuts could've been better had the soundscapes been allowed to breathe free. It isn't until the palpably fragile "Southern Heart" that Hamilton Leithauser's voice gels with the guitar that's helping to buoy it. Applause goes out to "The Witch". That's because it's the lone cut where I was left with a lasting impression that didn't flame out less than five minutes after I listened to the CD. Chalk that up to the spine-tingling organ. If Love could even come close to sounding like an ominous creature here's an example. The New York minimalism shows but that's also part of my sticking point. It's a little too gritty to sound like a polished product is being presented. Polished grittiness could be interpreted as a type of oxymoron but studio smarts could make this possible. In the end "Heaven" is too earthbound, chained to a prison inhabited by the seeds of what might have been.

Kylie's Timebomb Ticks In a Familiar Vein

Kylie Minogue can lay claim to one of the most sweat-drenched dance confections of the newish millennium, "Can't Get You Out Of My Head". Unfortunately she is swerving down an artificial sounding path with "Timebomb". I'm not arguing that this still insanely gorgeous woman won't have the peak intensity party crowds wrapped around her finger with this. I just think it dips a little too heavily from both Britney's and Madonna's playbooks. She's obviously been following the trends a shade too closely. There's a throbbing rhythm that's been part of the other two divas catalogs one more than one occasion. It's as if Kylie really took a shiny to the sexy ingenue sound she made a mark on in 2001 and decided she'd get uber contemporary with whatever hip shaking concoction she trotted out next. Here's hoping she proves me wrong in the not too distant future.

One Twisted Apple

Fiona Apple's first single from her generously long album title, "The Idler Wheel is wiser than the Driver of the Screw and Whipping Cords will serve you more than Ropes will ever do"  goes by the seemingly tumult resistant name "Every Single Night". It's a warped music box journey into the center of her fractured mind/soul. At least that was my first impression, a woman deeply at war with herself and having the stones to try and chronicle that through a recording. She does what she does, and it's someone else's fault if she's not who she's supposed to be. The militant chorus which pops up behind her from time to time only underscores that difficulties Fiona has navigating her own psychological battlefield. At least she's bringing us to the frontlines to watch her slug it out. Her career hasn't been the smoothest row to hoe but give her the nod for coming back to the plate for another swing. Am not sure if contemporary hits stations or even the somewhat more adventurous alt-rock outlets will back a song that's such an enigma. Her tenacity is praiseworthy. That's there's more of a naked feel to the atmospherics might be to her detriment. Like it or not "Criminal" got her a taste of the bright lights. Her core fans will follow her no matter what she adds to her catalog of work. I can't make a strong enough argument that "Every Single Night" will necessarily boost her numbers at the voting booth.

Lita's Back With a Runaway Rocker

Metalheads of the '80s rejoice. The always ballsy Lita Ford returns this month with "Living Like a Runaway". First up from the collection is "Branded", a frothy kiss-off to a guy who only knows surface level love. She demonstrates the fangs that made "Kiss Me Deadly" such a refreshingly honest bolt out of the blue. Her guitar is once again cranked up to eleven on the intensity scale. Listen hard enough and you can envision the unimpressed sneer. Mrs. Ford's never struck me as a woman with a high tolerance for other people's phoniness. "Branded" is far from one of those phoned-in ditties trotted out to capitalize on any nostalgia-baked hair metal age fanatics. That's a high compliment during this portion of the post millennial age where the possible final chapters for some of the supposedly indestructible '80s heyday rock bands (Quiet Riot, anyone?) may be in the process of bleeding out their last drops of ink. Time will tell if the iPod-loading public wants to come along for the entire ride but she's off to a promising start.

Mayer's Made a Masterpiece

For anyone who thought John Mayer's 2009 effort "Battle Studies" amounted to a hiccup in the accomplished blues rocker's catalog, "Born and Raised" is more than good enough to assuage their fears of a continued slide in quality. On more than one occasion he demonstrates that a well-placed harmonica is the bluesman's best friend. The title track gets elevated from being a pretty good song to a great one on the basis of how shrewdly John employs this instrument. It returns in "Whisky, Whisky, Whisky", which addresses the get drunk, sober up by morning, repeat tomorrow lifestyle that veteran alcohol users and abusers likely have down pat is entrancing. John's unflinchingly honest voice only makes the anguish more real. "A Fool To Love You" is downright sexy, followed by downright gritty, bluesy, sassy, and ultimately sweaty. Once again the harmonica ups the vividness of a night spent in a smoke-filled bar making dumbstruck eyes at that chick who just rocked your immediate future world with her naughty cocktail dress. Not bad for a song that's a mere 2 minutes, 24 seconds long. "If I Ever Get Around To Living" serves up a cornucopia of limitless harmony. This rush towards a dreamer's state of mind which takes a sharp turn towards reality is sensational songcraft that deserves mention amongst John's all-time best work. "Queen of California" belongs on the car stereo of anyone hurtling towards a West Coast, sun-dappled way of life. John's versed in the language of several instruments, among them the guitar, piano, and yes, the highly touted harmonica. In a perfect world music lovers would say they've grown spoiled listening to the artistry of John Mayer, that there are scads of male performers just as good if not better at this kind of blues rock schtick. Alas this is not true, but on the upside John Mayer's back to keep the flag flying proudly throughout this, and what many of us hope are many other years full of intense evenings to come. When he sings, all of the universe's surrounding chaos seems to melt away. His listeners are the only ones he's casting his notes towards. No matter what the season intimacy between audience and performer is always in style.