AC/DC: “Anything Goes” I swear, the next critic that complains about every AC/DC song sounding the same should get a clip in the teeth. Formulaic or not, you just can’t argue with the combination of sandpaper-like vocals, bluesy power chords, animated lead guitar, thudding eighth notes on the bass and metronomic, no-frills, no-fills drumming that just makes you just want to bang your head and rock out. It’s genius, and it’s worked since 1974. And yeah, yeah, I know these guys are hurtling toward retirement age. Who cares? They still rock! Spot On!

Asher Roth: “I Love College” Gotta love that “I’m nice right now” spoken intro. I also somehow think that the drunken stutter immediately afterward is real. If that’s the case, well, perfect! The funky instrumentation is superb - especially the wah-wahed lead guitar fills - and I must give Asher props for doing his own thing and not trying to jump on any particular bandwagon. The somewhat literary tone to these accessible lyrics show that Mr. Roth has a knack for observation and storytelling on par with Ray Davies and skillfully captures the mood of a campus bash vividly enough to remind me of the stories my brother told me about his days at Vassar. Spot On!

Taylor Swift: “Crazier” I can’t say I don’t appreciate the sentiment of this pedestrian, sleep-inducing, waltz tempo love song, but I have heard better. For example, the first few lines fail to hold my attention, since the metaphors about the wind and opening doors have been done before. As sweet as this is overall, it really doesn’t speak to me, and it’s just plain boring. Not on!

New Found Glory: “Listen To Your Friends” As we all know, Green Day achieved mainstream success in 1994. Since then - and to be sure, I don’t think we ought to blame Green Day - there has been a glut of bands playing a more refined, mainstream, radio-friendly version of punk… for example, New Found Glory. Hey! Hold on! Punk rock started out as being all about doing things differently! It was supposed to be dangerous music! What the hell happened? Oh, yeah, that’s right. Record execs clued in to the growing popularity of another grass roots movement, reabsorbed it back into the $#!*stem, castrated it, added extraneous rules and marketed it as a safe packaged rebellion for gullible adolescents who try too hard to be cool. Either that, or some of these “punk” bands became venal and decided to let themselves be led around by the nose to the brass ring rather than telling those greedy, short-sighted, tone deaf A&R men to %&*# off. Granted, Johnny Rotten did talk about “doing things out of necessity,” but I’d like to think that some people got greedy. As a result of all this, we have whiny, non-threatening, formulaic songs like this same one. The lyrics about waking up in a hospital waiting room may be gritty enough, but no song with that kind of content should sound this limp. Not on!

Seether: “Careless Whisper” I have to say I did not quite know what to expect, but this leaden interpretation of the hit song by George Michael is perhaps one of the best covers I have ever heard. The lead guitar plays the sax riff note for note, and Shaun Morgan’s vocal interpretation makes the pain, self-pity and pleas for forgiveness even more palpable and powerful than the original. As a result, it’s official. These South African rockers own this song. Spot on!

Wolfmother: “Back Round” This heavy number begins with ringing twin guitars playing a somewhat Celtic-sounding fanfare a la Thin Lizzy. Shortly after the drums begin, there is some good old fashioned sludgy power chord bashing that brings to mind the infectious, old-school primal riffs of Black Sabbath and Budgie. Even though guitarist and singer Andrew Stockdale’s voice can easily be compared to that of Ozzy Osbourne, I for one think it would be lazy to label this Australian band as derivative. If anything, I am glad that there’s someone out there keeping this style of music alive. Spot on!

Yusuf (formerly Cat Stevens): “Thinking ‘Bout You” This gentle song of devotion that will easily appeal to anybody who loved Tea For The Tillerman is engaging right from its intro, which is made up of fluid fingerpicked acoustic guitar with a descending bass line. One particularly wonderful thing about the lyrics is that the message could either be interpreted as being directed toward a lover or to God, but that would not matter to any first time listener, especially one who does not know that Cat Stevens converted to Islam over thirty years ago. Such ambiguity results in a song that is sweet, sincere and genuine with no trace of mawkish treacle anywhere. Spot on!

LMFAO: “I’m In Miami, Trick” This song does have a marginally enjoyable swagger to it. Sadly, it gets old with a quickness, and beyond that, I see nothing much to offer. The electronic beat is repetitive and therefore quite wack, and although the lyrics are clever in some spots, there’s no way they can redeem this tune. Of course, it’s perfect for the atmosphere of those trendy-ass clubs that I hate with a passion, so despite its shortcomings, this song will sell, especially once every misogynistic frat boy in the country has a listen. Nonetheless, I hope this Hollywood electro-hop duo makes the most of their royalties, because in a few years time, I do not think anybody will want to be bothered with this song. I sure don’t, not even now. Not on!

Taylor Hicks: “What’s Right Is Right” As I said last week, don’t be fooled by somebody’s American Idol credentials. Having listened to this song, I cannot say this enough. The instrumentation is O.K., especially the Hammond organ, electric piano and saxophone, but Taylor’s voice is reminiscent of enough of Michael Bolton to make me cringe. Well, at least there will be plenty of lonely middle-aged women to keep this guy on the charts, and I’m sure Mr. Bolton could use another mediocre white guy to help maintain his legacy of systematically committing R&B sacrilege after R&B sacrilege. After all, “What’s right is right.” However, this is NOT ON!

Stevie Wonder: “All About The Love Again” This very well may be the feel-good song for the Obama years, but being that Stevie Wonder is behind it, it will surely transcend its time, especially if there’s a message of hope and optimism set to excellent clavinet and hummable chromonica anchored by a great walking Detroit soul rhythm that brings back memories of his 1973 hit “Higher Ground.” Lyrically, there are plenty of interesting concepts, too. Soda that makes us love each other? Lotion that makes everybody start sharing? I gotta get me some of that! Spot on!

Last 5 posts by frontpocketjames

• Spot On or Not On -- Be not brainwashed by American Idol or Disney. They be false prophets. - May 21st, 2009
• Spot On or Not On -- It's for your own good! - May 14th, 2009
• Spot On or Not On -- Keep your iPods clean, folks. There's a lotta trash out there. - May 7th, 2009
• Spot On or Not On – Download With Caution... - April 30th, 2009