Album Review

The Golden Dogs
Big Eye Little Eye

Flatly put The Golden Dogs new album Big Eye Little Eye (released on Yep Roc Records) is in the number one position so far for "Best Album of The Year" in my opinion. Hailing from the dark wilderness of Canada, the band delivers a sound that can best be described as sixties Pop meets the "true" indie sound of today.
At a cursory listen, the bands seems to have a deceptively simple sound, stripped of elaborate guitar leads and acrobatic vocals, the band has just enough Glam rock influence to make the music fun to drive to. But further listening reveals that this unique sound is a result of four different musical parts arranged to create a thickly woven sound. As a result the music has a complexity that yields new discoveries upon each listen.
I'll conclude this review by stating that The Golden Dogs new album is on my I-pod where it receives a heavy rotation of listening, which is the best compliment I can give a musician.

Posted by
Matthew Byrd

Album Review

The Moaners
Blackwing Yaobusha

I know the blues when I hear it. And though I’m from the South, that point of geographic origin really has nothing to do with it, because as cool as it would be if this were still the case, no one, anywhere, really sits around on their porch giving their frustrations a musical outlet.
I say all this to say that I know that the Moaners have been tossed into the ever-growing, ever-splintering “indie rock” category, but the best parts of their latest record, “Blackwing Yalobusha,” are pure blues.
Sure, you can find some of the indie rock conventions on this record -- heavily filtered vocals and guitars and a refreshing lack of wankery -- but the lyrics and vocal tones reveal at a true appreciation for honest songwriting on the part of Melissa Swingle and Laura King.
None of the protagonists in the songs on “Blackwing Yalobusha” are fooling themselves. Each song’s subject seems to go out of their way to be brutally honest with us, from the childhood explorer in “Hopelessly Lost” to the narrator of “Poor Souls,” a character which seems to float above the song’s commentary, at one point casting doubt on whether what she’s saying is even useful.
For me, the lyrics on “Blackwing Yalobusha” make it a solid record, but of course this kind of brutal honesty cuts both ways, and a times the lyrics can be heavy handed. In the song “Monkey Tongue,” the narrator asks “Dammit man, where is your heart? / This world at war is so insane / fanatics on the right / fanatics on the left / Jesus didn’t bomb all night.”
This song is the weakest of only a few weak spots on the record, simply because I think that it’s too easy. For all the complexity of Swingle and King’s observations on relationships, politics, emotion, this one seems to ignore the fact that humans are not monoliths; that we are capable of compartmentalization; that even the best people are capable of the worst.

Posted by
Nick Dana

Album Preview

THE HOOTERS BEGIN WORK ON NEXT RELEASE
By Rob Nagy

On February 28 and March 1 the Hooters played to an intimate invitation only live audience at keyboard player Rob Hyman’s recording studio in suburban Philadelphia. Friends, family, local media and fans were treated to two nights of all the Hooters standards, in an unplugged story tellers format, as well as songs off their current release “Time Stand Still”. The audience was encouraged, through-out the performance, to clap and sing along when appropriate. While many of the songs were noticeably a musical departure from the original recordings, offering different vocal arrangements, instrumentation and timing, they were well thought out and impressive in their delivery. It was obvious through-out the set that all five members of the Hooters were visibly appreciative and highly stimulated with the presence of a live studio audience. Their one time producer Rick Chertoff manned the mixing board for these sessions having last worked with the band twenty years prior producing their Columbia releases, “Nervous Night”(1985), “One Way Home” (1987) and “Zig Zag” (1989). Highlights from these recent sessions will become part of the Hooters next double CD release, which will include portions of their 2007 Thanksgiving week shows at the Electric Factory. While this project is still very much in the production stage, look for a possible release date later this year. On the heels of these recording sessions, the Hooters made their long awaited return to New York City on March 6, 2008 playing to a capacity audience at B.B. Kings Club on 42nd Street. Many of the fans in attendance had traveled from Philadelphia to witness the triumphant return of a band that last played the New York's Felt Forum at Madison Square Garden in 1994. After a marathon day of travel, interviews and an accoustic unplugged show, the Hooters hit the stage at 8:15 P.M. to a thunderous ovation. They opened their ninety minute set with “I'm Alive”, off their current release “Time Stand Still” followed by all the Hooters classics including “And We Danced”, “All You Zombies”, “South Ferry Road”, “Satellite” and “Johnny B”. A two song encore closed out the night followed by the band greeting fans and friends at the adjoining restaurant Lucille's. The Hooters are currently working with promoters to put together a national U.S. concert tour., which would be their first in a number of years. For more info on the Hooters go to www.myspace.com/thehooters or www.thehooters.net

Posted by
Rob Nagy

Album Review

Chatham County Line
IV


Chatham County Line's blend of "alt-folk" (as described on the back of their latest album 'IV') and blue-grass creates a pleasant mix of melodic ballads and resonating banjo and violin string music.

Unlike another bluegrass group we recently reviewed, Mason Porter, Chatham County Line isn't so much catchy and fun as it is haunting and somber, with each track telling a distinct story supported by strong vocals and instrumentals. Some of the tracks unfortunately sound too similar to one another to stand out, with the same banjo notes and rhythms being used too often. However, other tracks including tracks one and five are excellent, and regardless of whether you're into folk and bluegrass will stick with you long after they end.

Posted by
Brian McCarthy

Enter The Haggis: Live at The Colonial Theatre March 22

I have to admit a prejudice I have going into this review: I am not a fan of most shows where the audience is seated. When I go to a show, I want to leave as sweaty and exhausted as a fat kid on field day and I find being seated severely limits the energy of the audience, and conversely, the band as well. But, Enter The Haggis were able to overcome these obstacles at their show Saturday night, March 22 at The Colonial Theater with their energy and the musical prowess.
Unfortunately, I was setting up the video equipment while the opening act (John Francis) was performing, but while surveying the audience as ETH took the stage, it was apparent that John Francis had been up to the task of warming up the crowd.
At this point, I would like to state just how fantastic the sound quality is of the stage at The Colonial. I was amazed when editing the video footage of the band (which can be seen on The Phoenix Files) at how well my camera’s microphone was able to capture the sound. In my opinion, the Colonial has the finest sound quality of any venue in the Philadelphia area.
This was the second time that ETH has performed at The Colonial and I look forward to the next time they are in town. I recommend anyone take the opportunity to see Enter The Haggis.

Posted by
Matthew Byrd

Movie Review

Shutter’ provides some flash and fun

It wasn’t quite a picture-perfect debut for 20th Century Fox’s “Shutter,” as it opened at No. 3 at the box office this weekend. The horror remake about spirit photography flashed around $10.8 million over the last three days. The film is set largely in Tokyo, where star photographer Benjamin Shaw (Joshua Jackson) and his new wife, Jane (Rachel Taylor), have arrived for his latest high-profile shoot. However, their working honeymoon gets off to a bad start when they have a serious car crash. The person who caused the crash is a mysterious woman, who appears on a dark, snowy roadway, and then promptly disappears. Soon enough, the same woman, as an apparition, begins seeking revenge upon Ben and Jane. She shows up in his photographs, repeatedly wreaking havoc with his career. A newcomer to the city, Jane feels very much like a stranger in a strange land as she makes tentative, unsettling forays through the city while Ben is at photo shoots. Things turn for the worse as Ben’s boss Bruno (David Denman), and sleazy model agent Adam (John Hensley) fall victim to mysterious attacks. The increasingly agitated Jane attempts to discover the identity of the malevolent ghost, but she doesn’t like what she ultimately finds. Although this is a remake of a Japanese film, what works for “Shutter” is the unique premise that there is some sort of spirit within the photos that have been taken. The acting is fair, as Jackson is acceptable as Ben and Taylor is absolutely beautiful. You sorta root that nothing bad happens to her. The rest of the cast is rather forgettable, as you tend to get wrapped up with all of the spirits showing up, along with the reasoning as to why this particular spirit is haunting just Ben and not Jane. Plus it doesn’t help that Jackson and Taylor chew up a lot of the scenery anyway. There are going to be people that won’t like “Shutter” and that is understandable. The reason films like this are made is because the public will flock to them in an attempt to get scared. They want to sit in a crowded theatre like I did Saturday night, feel suspenseful, and then jump and scream at every little appropriate thing. The downfall to that is some people took that edgy feeling and simply went overboard with it. Granted there are one or two scenes that’ll take you by surprise and give you the effective jump or spook, but for Pete’s sake, when you get one or two people in the audience who think it’s hilarious to jump every five seconds, it gets rather annoying and takes away from the overall suspense of the film. However, I won’t let the theatre experience taint my scoring for “Shutter,” as it develops nicely towards the end at three out of four stars. “Shutter” is rated PG-13 for terror, disturbing images, sexual content and language. Running time is 1 hour, 25 minutes. Last week’s No. 1, “Dr. Seuss’ Horton Hears A Who,” remains on top with $25.1 million — its ten-day total reaching $86.5 million. Warner Bros. “10,000 B.C.” remains in the top five after falling from No. 2 with $8.6 million. The pre-historic mammoth movie has earned $76.1 million in three weeks. For more information and show times, contact Regal Cinemas Marketplace 24, 180 Mill Road, Oaks, at 610-666-6697. Posted by Dennis J. Wright

CD Release

THE SPIN DOCTORS FRONT MAN CHRIS BARRON RELEASES DEBUT CD

By Rob Nagy

For Spin Doctors front man Chris Barron it has been a career filled with great success, lots of surprises and an appreciation for how blessed he is to still be performing. It has now been almost two decades since Barron first lead this New York based foursome from the ranks of playing college frat parties to the cover of Rolling Stone Magazine and beyond. The Spin Doctors became one of the prognosticators of the early nineties “Jam band movement” building a huge cult following that carried them well into the remainder of the decade earning the band multiple hit records, national television appearances and honors bestowed to a select few. As with any artist the ever predictable music climate and window of opportunity ran its course as the Spin Doctors popularity gradually declined. Airplay became less frequent as did the demand for the band to perform live. While the Spin Doctors have never really officially disbanded band members have moved on to pursue individual projects while doing the occassional concert date together as a band. performing recording and working on individual projects. Barron has endured professional and personal struggles coming out the other side intact and better than ever as he is about to release his solo CD debut “Pancho and the Kid””.



It has been almost twenty years since the Spin Doctors united to become one of rocks premiere jam bands joining artists like Phish, Blues Traveler and Widespread Panic. Creating a buzz on college campuses and radio stations the Spin Doctors took their first step toward international prominence signing with Epic Records in 1990. Their debut EP “Up For Grabs…Live” was released the following year giving fans and converts a taste of just how great a Spin Doctors concert was, showcasing their marathon jam sessions that had quickly become a concert trademark for the band. In the summer of 1991 they released their highly anticipated studio debut “Pocket Full of Kryptonite”. While the album at first did not achieve commercial success, heavy touring cultivated a growing allegiance of hardcore fans. Capitalizing on their newfound fame the Spin Doctors were enlisted to be a part of the inaugural line-up for the H.O.R.D.E festival sharing the bill with Blues Traveler, Phish and Widespread Panic. The bands exhaustive efforts to spread their music finally caught the attention of the mass media gaining lots of airplay on radio and video rotation on MTV. Their first two hits “Little Miss Can’t Be Wrong” and “Two Princess” catapulted “Pocket Full of Kryptonite” to Gold status by the fall of 1992. (Following the bands debut on “Saturday Night Live”.) The singles “What Time Is It”, “How Could You Want Him (When You Know You Could Have Me?”) and “Jimmy Olsen’s Blues” continued the bands momentum on mainstream radio and MTV with the release of more videos and much deserved praise. The album went onto sell over ten million copies worldwide earning an American Music Award nomination for favorite pop/ rock album and a Grammy Award nomination for best vocal performance. While the bands 1994 sophomore release “Turn It Upside” Down” didn't reach the heights of their debut, it did manage to sell a million copies yielding back to back platinum releases for the band. The band had caught the attention of rock legends the Rolling Stones serving as their opening act on the Voo Doo Lounge Tour exposing the Spin Doctors to millions of rock fans they would otherwise have been unable to reach on their own. Subsequent releases, 1996's “You've Got To Believe In Something” and 1999's “Here Comes The Bride”, did not reach the success the Spin Doctors had come to expect. It was during this time that Barron faced a potentially life altering situation when he awoke one morning, while on tour, to find that he could barely speak or sing. Barron was diagnosed with paralyzed vocal chords with a fifty-fifty chance of ever speaking with a normal voice. “It was a pivotal moment for me”, says Barron. “It kind of forced me to reassess myself as a human being. I had always equated myself with my job. The person and the singer that I am are kind of the same thing. I had some really painful soul-searching, asking 'Who am I if I'm not a singer?'. It was an extremely dark time for me. I think in the end it made me a better writer and a better person.” Barron's voice eventually returned sounding better than ever. He picked up right where he had left off hitting the road and eventually the studio with the Spin Doctors. By 2001 they had peaked commercially with band members opting to take a hiatus to pursue individual solo efforts with the idea that they would always work together when they felt the urge or the demand would be there. With this in mind Barron continued his individual songwriting efforts as well as through collaborations with a few of his contemporaries. In the fall of 2001 the original line-up of the Spin Doctors reunited, the first time since 1994, for a benefit concert to support the impending closing of the legendary New York City venue Wetlands. With renewed interest from the band and their fans, the Spin Doctors spent the next three years touring culminating with the completion of a new studio album “Nice Talking To Me” in 2005. The album was received well by music critics but failed to do anything commercially when their label folded.



Barron has most recently completed his long anticipated solo “Pancho and the Kid” which is to be released on April 8th . A collaboration with fellow musician Jeff Cohen, the CD Features twelve new songs that touch on a variety of musical influences and styles, creating a very real and touching CD that is hard not to listen to over and over again. “I would describe it as rootsy rock and roll”, says Barron, “Americana with a country aftertaste, it runs the whole gammet musically. The thing I really like about this record is I did it on purpose Jeff and I co-wrote and co-produced the entire record. We made a concsious decision that we will have the final word on everything. We're not going to listen to anyone's input. Once it was finished we started giving it to people and we got such great reaction.” Songs that particularly standout are “Brokenhearted Serenade”, “Heartbreak Boulevard”, “Can't Kick The Habit”, “Why Must The Show Go On” and “Pretty As A Picture”, one of the most beautiful songs I have heard in long time.

While Barron is anything but arrogant when it comes to his music he is very much in touch with his abilities as an artist. “I’ve been lucky”, says Barron. “I think I’ve always been able to write stuff that hits a lot of different people. When I write a song I don’t set out to write something catchy, the stuff that I write just happens to touch a lot of people and get stuck in people’s heads.” While Barron is incredibly proud of “Pancho and the Kid” he has no great expectations commercially. “I don’t know if some major record company is going to take a punt on me at this stage in my career? I seriously doubt it. I’ve done the record company thing and I’ve see both faces. Right now my solo stuff is my first priority. My goal is to keep singing songs for rooms full of people.” Barron is a realist when talking about starting over musically as a solo artist. “If you’re willing to sit in a van for like nine hours several days a week”, says Barron, “And get no sleep and you have the inner fortitude after that to get up on stage in front of fifteen people and throw down a show that’s going to blow their minds and reach deep into your heart and sing your god damn guts out every night you’re going to end up with a following. I feel very lucky to still be doing what I do.”



For more info on Chris Barron go to www.myspace.com/thechrisbarron

Posted by
Rob Nagy

Movie Review

‘Horton Hears A Who!’ scores strong box-office showing

With the best opening of 2008, 20th Century Fox’s “Dr. Seuss’ Horton Hears A Who!” heard ticket sales during its debut weekend at the box office. Featuring the voices of Jim Carrey and Steve Carell, “Horton” scored $45.1 million, topping the $40.1 million opening in January for “Cloverfield.” Carrey stars as the voice of Horton, an amusing but imaginative elephant who teaches his young friends about the amazing world around them. One day Horton, with his big ears, hears a voice on a speck of dust floating in the jungle air. He catches the speck on a dandelion, and begins to talk to the speck. The voice he hears is The Mayor of Whoville (the voice of Steve Carell), and the mayor finds it hard to believe that there is something bigger than his world. After there are several climate changes (darkness in the middle of the day and snow in summer) that occur in Whoville, the Mayor believes that his world is in great danger. Of course, when the mayor tries to warn his fellow Whos of their impending doom, everyone ridicules him, thinking he is crazy. Things aren’t any better for Horton, as he’s getting the same treatment from everyone in the jungle, who think likewise. Kangaroo (voice of Carol Burnett) wants to get rid of the speck and Horton’s wild ideas. She warns him about telling the children, but soon all of the kids are carrying dandelions. Horton tells the Mayor that he’s going to do what he can to put the speck in a safe place and out of danger. Okay, it is obvious that “Dr. Seuss’ Horton Hears A Who!” is designed especially for children, while giving adults an animated version of a classic book. The animation in this film is flawless, and the characters move like humans without looking too much like humans. The environments are beautiful and stay true to Seuss’ palette of pastel colors. I also noticed some subtle references to other Seuss books like “Green Eggs and Ham,” “Cat in the Hat” and “The Lorax.” We are familiar with Carrey’s knack for slapstick comedy, but that isn’t Seuss’ thing. His voice is very recognizable, but it seems like the animation just can’t keep up with the voice. I thought that Horton would come across as more lovable than affable, and both main characters sustain quite a bit of backlash that comes across more harsh than comedic. The three main characters, Horton, The Mayor and Kangaroo, eat up a lot of screen time, while the surrounding cast flitters in and out so much that it’s hard to keep track of them. While I’m sure a lot of children and some parents will find “Horton” to be delightful, I found it to be a “who-mongous” disappointment at two-and-a-half out of four stars. “Dr. Seuss’ Horton Hears A Who!” is rated G. Running time is 1 hour, 28 minutes. For more information and show times, contact Regal Cinemas Marketplace 24, 180 Mill Road, Oaks, at 610-666-6697. Posted by Dennis J. Wright

Mason Porter, Sampler

Mason Porter's six-track sampler CD is a great collection of folk and bluegrass songs, and definitely worth listening to before catching the band's show this Saturday at Steel City at 8 p.m.
While I'm not usually into bluegrass, Mason Porter's songs are incredibly catchy and affecting at the same time. I would have assumed they came straight out of Kentucky, and not from right here in West Chester, judging by their style and voices.
Still, every track, including my personal favorites "Ruby" and "Cold Rain," all contain great harmony from the band's four members, and not only tell great stories but are easy to sing along to as well.
I was surprised, pleasantly so, as I never really gave bluegrass a chance. But above anything else, Mason Porter is just plain fun.

Posted by
Brian McCarthy

Album Review

Old School Freight Train
Not Like The Others

Brian, Nick, Laurie, and I were listening to the advance copy of the first six songs of Old School Freight Train’s as of yet unfinished new album, in the office before we started our coverage of their show at Steel City, and trying to pin down their sound. We agreed there was a definite Blue Grass influence, and that the members of the group are trying to fuse it with various other sources of music. But what we couldn’t reach a consensus on what these various influences.
Reviewing further, I think this is caused by the fact that OSFT changes these influences throughout the album. I had a chance to sit down and talk with the band (check podcast for more info) and we discussed how they are on a journey to discover what that sound is going to be. They talked about how their sound is highly influenced by Dave Grisman who they have extensively worked with in the past.
The foundation of their music that runs through out all the different sounds and influences is their musicianship. As a unit they are a group of consummate musicians who fuse their different styles a cohesive sound that makes the listener wonder what the next track holds in store.
When released I recommend anyone who appreciates a good mandolin part in jam/blue grass/jazz/pop/rock band to check out the new release from Old School Freight Train.

Movie Review

‘10,000 B.C.’ leaves reviewers’ interest frozen in the cold

Plenty of moviegoers went back in time to see Warner Bros. “10,000 B.C.,” making it the No. 1 movie at the box office this weekend. The prehistoric journey film drew an estimated $36 million over the past three days. Legendary Omar Sharif narrates this tale about a young mammoth- hunting boy named D’Leh (Steven Strait), whose father left their tribe when he was younger. The tribal sons spend their days practicing in anticipation of getting to kill their first mammoth. They are told they will be rewarded with the White Spear, which will led the tribe. Once the herd of mammoths come across the land, the young men scurry along the desert, hidden by bushes. After the men attack the mammoth, it ends up being D’Leh who manages to kill a mammoth, although he feels it was more luck than skill. He is deemed to protect the tribe from extinction by the tribe’s mystic, known as Old Mother. She also predicts his future with the Blue-Eyed One, Evolet (Camilla Belle). Traveling slave-raiders, led by Warlord (Affif Ben Badra) ransack the tribe, capture Evolet, and taking half of the remaining tribe along with them. Soon enough Warlord actually takes a shine to Evolet, sparing her life on several occasions much to the dismay of his allies. Traveling across a wide variety of land, from frozen tundra to rainforest, D’Leh sets out to find his love while convincing other tribes along the way to help him in his search. Eventually D’Leh and his tribe mates cross the desert to reach a slave-fueled pyramid construction site. A battle ensues between the tribesmen and the slave-raiders, which leads to a final confrontation between Warlord and D’Leh. “10,000 B.C.” has so many things wrong with it that I won’t label them all here. First and foremost, there are pieces of history that are clearly in disarray to the point where even I had some questions. There are too many historical liberties that are taken here to the point that it’s laughable. Obviously if this was actually 10,000 B.C., there certainly wasn’t any pyramids at that time, and wooly mammoths wouldn’t be used to help build them. Some of the tribesmen had British accents, which was pretty obvious and peculiar. The make-up was horrific, which was made even worse with some of the men having sparkling white teeth. Plus there were just some scenes that simply dragged on and on. We know they had to walk a long way because Omar Sharif is telling us that. We don’t need to see them walking and walking over the same frozen tundra or desert sands. Unfortunately, you feel compelled to keep watching in the hopes of something exciting will happen, but nothing really does. The acting and dialogue was extremely stiff, like we needed to hear D’Leh yell out over and over to Evolet “I’m coming for you.” Director Roland Emmerich, while known for his work with “The Day After Tomorrow” and “Independence Day,” has lost his touch with “10,000 B.C.” With the feel of a live-action “Ice Age” film without the annoying Ray Romano voice, “10,000 B.C.” gets a less than mammoth two out of four stars. “10,000 B.C.” is rated PG-13 for sequences of intense action and violence. Running time is 1 hour, 49 minutes. For more information and show times, contact Regal Cinemas Marketplace 24, 180 Mill Road, Oaks, at 610-666-6697. Dennis J. Wright can be reached at dwright@phoenixvillenews.com.

HOWIE DAY PLAYS CLUB TOUR

by Rob Nagy

In a music industry that has become cluttered with too many artists that
sound the same or fall short of expectations, it is refreshing to come
across a diamond in the rough. At the tender age of 27 Epic recording
artist Howie Day has risen to the occasion establishing himself as solid
performer and songwriter standing above the rest of the pack. To listen to
any of Day's recordings is captivating, to see him live is mesmerizing. It
is difficult to find a Howie Day song that doesn't exude passion and
songwriting craftsmanship that leaves you with the desire to hear more.
With two solid releases under his belt, Day is putting the finishing
touches on his next, yet to be titled, masterpiece. While Day has only
begun to receive the accolades that await him, he can find comfort in the
fact that he has created a signature sound as he takes another step toward
super stardom.

Armed with his guitar and still just a teenager, Howie Day quietly emerged
onto the music scene with little fanfare. Making his debut in 1996 at his
parents Bangor, Maine restaurant, Day immediately showed talent as a
musician. One year later, Day graduated from the ranks of being a solo
artist to playing in a local band “Route 66” while continuing to do solo
dates on his own. It was Day's supporting performance for Ziggy Marley, at
the University of Maine, that caught the attention of local booking agent
Shawn Radley, whom would later become Day's manager. Extensive touring
throughout 1998 found Day missing a record number of classes his senior
year in high school threatening his graduation. Day made his first effort
at recording this same year releasing a demo EP featuring cover songs by
Dave Matthews Band, Barenaked Ladies and the Goo Goo Dolls along with a
couple of his originals. The turning point for Day came when he played a
showcase for 1,500 college talent buyers resulting in months worth of
bookings through-out the country. Day postponed any plans to continue his
education dedicating all of his efforts to fulfilling his dream Still only
19 years old, Day released his self financed 2000 independent debut, of all
original music, “Australia”. Playing a back breaking schedule of over
three hundred live performances, Day managed to sell 30,000 copies of
“Australia” at his shows and through his website. His efforts did not go
unnoticed when Day was bestowed with a 2001 Boston Music Award for “Best
Debut Album by Singer Songwriter”. Day's unstoppable desire to perform
live was winning large audiences. There was no disputing the passion which
poured out of every one of Day's compositions. By 2002 Day had proven
himself to be an artist worthy of the promotion and support only a major
label could provide. Epic Records signed Day in 2002 re-releasing Day's
debut “Australia” and his sophomore release “Stop All The World Now”, which
included Day's most successful single to date “Collide”, achieving Gold
status. Day continued to perform live without abandon writing many of his
compositions on stage improvising at every opportunity. While Day
continued to receive positive attention from fans and the music press,
personal struggles soon grabbed the headlines. Day was arrested in 2004
over an incident with a fan and again one year later after a verbal
confrontation with a flight crew. While both incidents didn't help Day's
personal reputation they did keep his name in the public eye proving that
negative press can often be a boost to a career. rather than a detriment.
In an effort to show good faith, Day participated in a rehab program in the
spring of 2007 where he again, received more publicity when he met Britney
Spears. Emerging unscathed Day began returned to the stage and began
writing for his next release. The past month has seen Day embark on a small
club tour, through-out the northeast, offering selections from his new CD
as well as songs that are familiar to fans. With his new release in the
final stages of production Day has posted one track, “Everyone Loves To
Love a Lie”, on his myspace page, as a thank you to his fans for the
support that has been bestowed on him. Look for Day to release his new CD
late by summer 2008.

On February 19, 2008 Howie Day made a rare solo appearance at the Tin Angel
on Second Street in Philadelphia. Without the support of a back-up band,
which he quickly proved he did not need, Day played to a sellout audience
showcasing selections from his impending CD release along with a few
standards from his very young career. Sporting only an acoustic guitar and
a wide array of special effects foot pedals, Day took command of the stage
from the opening chord carrying his captivating performance through a solid
seventy-five minute set. Day would have been impressive if only relying on
his strong vocals and guitar playing, but his obvious mastering of the foot
pedals made his show all the more riveting. If one closed their eyes it
would have been hard to distinguish if it was just Day performing or if he
had a full band. The majority of the audience was in their twenties and
even younger with a few older music fans to round out the wide appeal he
has cultivated. It was obvious that Day was not lacking in confidence
giving off a cocky if not arrogant presence. This only added to the
intrigue and mystery Day displays both on stage and off. It is unlikely
fans will get another opportunity to see Day perform solo in such an
intimate environment. Following his show he greeted fans signing
autographs and taking photos. Day has just completed this mini tour to
return to the studio to add the final touches to his new CD. For more info
on Howie Day go to www.howieday.com or www.myspace.com/howieday.

Photo by Rob Nagy
http://www.myspace.com/robnagymusic

Show Review

Enter the Haggis @ Northhampton

I'm going to preface this review by mentioning that I LOVE jam bands, at least for the most part. That means that the jamming that went on during the show set my heart aflutter, at least a little.

I really got into the song "Another Round" on this CD. It was a new track for me and it was a little bit darker with a driving beat. Overall though, the songs I'd heard on the album Soapbox Heroes sounded a lot like they did on that album. There was great energy from the crowd, for sure, but I didn't hear the fact that it was "live" in all the songs. I would have like to hear them explore the songs more and add new dimensions to keep the crowd entertained.

Much like their studio album, this album was good. I'm sure that being in the audience would have been a treat, if not for the fact that the bands plays such unique instruments. Their stage presence did not seem to be huge, but there were moments where it was obvious they were having fun.

Listening to Enter the Haggis again though has made them grow on me. There are songs that I think could get stuck in my head and though there are a few weak links, this is another album that would be great to keep around for its individual sound and musical quality.

Posted by
Laurie Perini

Movie Review

‘Semi-Pro’ not Ferrell’s best, but still quite watchable

New Line Cinema’s “Semi-Pro” bounced its way into the top spot at the box office over the weekend. The basketball comedy starring Will Ferrell scored with $15.2 million over the last three days. The film takes place in the mid-70s, where we find Jackie Moon (Ferrell), a one-hit wonder. Moon uses the profits from his chart-topping song “Love Me Sexy” to purchase the Flint Michigan Tropics of the American Basketball Association (ABA). He becomes owner-coach-player on the Tropics, which are the worst team in the league, and in danger of folding. When the league’s commissioner (David Koechner) announces that four teams from the ABA will merge with the National Basketball Association (NBA), Moon, obviously thinking that his Tropics stand a chance, is brought to the harsh reality that his team isn’t even considered. He manages to rally the other owners to come up with a plan that the top four teams in the league will be the ones who will merge with the NBA. In an effort to improve his team, Moon trades the team’s washing machine for Monix (Woody Harrelson), an NBA benchwarmer who won a ring with the Celtics. Monix brings to the team some attitude, along with some strife from team star Clarence “Coffee” Black (André Benjamin). Monix also returns to the city of his long-lost love Lynn (Maura Tierney), hoping to resume their relationship. With attendance and basketball skills both horrible, Moon relies more on promotions and his motto “everybody love everybody,” which isn’t turning the Tropics’ season around. When Black asks Monix to begin coaching the team, the Tropics develop a sense of team while Moon continues to provide antics to draw attendance. For the most part, “Semi-Pro” is a great look back at the old ABA/NBA merger process. The nostalgic feel of this film is pretty neat, with everything from leisure suits and huge afros. While this isn’t Ferrell’s greatest hit, it is definitely watchable. Some parts of this film, he absolutely tries too hard, and it shows. But he has a cast of characters that alleviate some of the redundancy. The side story of Monix and Lynn’s relationship developing is funny albeit strangely done. Stealing almost every scene he’s in is Benjamin, who ends up being traded before the last game, only to switch sides at midpoint. He fits this role as Black, an individual who constantly changes his nickname prior to every game. As a warning, there is some excessive vomiting, so I wouldn’t recommend eating prior to viewing. At one point, “Semi-Pro” was beginning to resemble the hockey classic “Slapshot,” but then went into a different direction. The brawl during the commercial break is without a doubt the funniest scene in the movie. With soccer, ice skating, basketball and auto racing films in his resume, there are few sports left for Ferrell and his cast of merry men to tackle (no pun intended). So within keeping it at the 90-minute mark, and perhaps freshening things up a bit, another sports film by Ferrell will continue to draw. If he looks at his opening gate for this film and doesn’t reinvent a little bit, then his agenda will become stale and he’ll have to look at other genres. While “Semi-Pro” isn’t necessarily a slam dunk, it’s a solid three-pointer at three out of four stars. “Semi-Pro” is rated R for language and some sexual content. Running time is 1 hour, 30 minutes. For more information and show times, contact Regal Cinemas Marketplace 24, 180 Mill Road, Oaks, at 610-666-6697. Dennis J. Wright can be reached at dwright@phoenixvillenews.com.

Album Review

Enter the Haggis
Soapbox Heroes

When Matt said that this band would be something that I may like, I wasn't really sure I'd agree with him about it. I mean, Enter the Haggis? I immediately thought of the band Flogging Molly and how when we first discovered them in high school we were so cool because we listened to them. I'm not sure listening to Enter the Haggis would make me so cool.

So, I popped in the disc; my first taste of this band. To my surprise, the first track was an instrumental track. The bagpipes that I heard in the background weren't overwhelming. It was more like a seasoning of them and it blended well. Maybe this is something I could get into.

I found myself thinking that the band was good. Not great, not knock your socks off, but good; they had a solid sound and they were confident. Their upbeat songs were easy and enjoyable to listen to because the mix of rock and "world music" made the band fresh. Barfly, a ballad, ended up feeling out of place for me and I didn't think it offered anything that would make me want to give it a second listen.

With instruments like the aforementioned bagpipes, harmonica and whistles, there were enchanting moments throughout the CD. It's a great CD to have on at a party, where people can take notice of it and strike up conversation about it.

The tracks were different from each other and unique. It was obvious that the band wasn't trying to fit into a mold and I greatly respect them for finding their own voice. It's one of the reasons I find them appealing. I'm not so sure I'll be giving this CD back to Matt right away. I think I could take it for a few more spins.

Posted by
Laurie Perini