by Christopher P. Simmons, 1/30/2001
Disk: Roger Box (untitled Studio Demo)Let's assume, for the sake of discussion that these 4 guys, Roger Box are looking to get a record contract, tours, video, groupies, their lives on Behind the Music... the works. (As opposed to 'art for art's sake'). They have several aspects working in their favor, and a few working against them. Here are several:
Their name... There is no such thing as a 'bad name' or a 'wrong name', unless it just can't be said or pronounced on the radio or even MTV. TAFKAP pushed that to the limit, but he/she/it was already famous. Band names like "Anal C*nt" or F*cq the Whatever" are bad marketing. There is nothing 'wrong' with Roger Box, per se. It DOES make me wonder:
These questions will actually enhance the bands artistic mystique, though I suspect that they will soon tire of the questions, just as Mr. Floyd tired of "Which one's pink?" But there is a more devious idiosyncrasy that will make them eventually rue their choice of names. It was a bugaboo that haunted such well known bands as "The Yes", "The Led Zeppelin", and in it's extreme case, David Bowie mid-80's pet project, The The, or as some British DJ's called "the The The." I am certain that The Roger Box will also suffer that fate.
And now the music:
First off, this IS a demo, and I never judge a band by the failings of a demo recording, and there were a few. But the beauty of this demo recording is that it is so "UNDER produced" that you can actually hear what the band is doing. And what they are capable of.
My first observation is that as I listen to this repeatedly, I am struck by my inability to tell when the record was made. It could have been made yesterday, or in 1967. It could have been made by a group of guys who just listened to the latest Fuel CD, or the 1975 Rush CD, Caress of Steel ;-) In this, they have bridged a timeless class of rock & roll which defies labeling as 'seattle, indy, old-school, biker, heavy metal or classic rock.' KORN is right out.
One the best bands you have NEVER heard of, Love In Reverse, failed in the eyes of the the record company execs because "they didn't sound like anybody else." These guys have the exact opposite blessing. If they are a diamond in the rough, then each facet that the skilled diamond cutter exposes is an echo of a familiar music entity. Their songs have, from measure to measure, gone from sounding reminiscent of say, Smashing Pumpkins (with Jimmie!) to say, Steppenwolf. The next song they may sound for a moment, reminiscent of say, Godsmack, and in the next moment, like Nancy Wilson of (early) Heart. In that, they address the question: What color is a diamond? It depends. I like that.
On the edition of the demo I heard, the first song is "Lost and Found". It started out quietly, subtily, and in the way it sounded like a sunrise in the woods, it reminded me of Love Alive or Sylvan Song by Heart. (A strong compliment, I assure you.) If you are too young to know these songs, you are not too young to have Napster ;-) But as the song builds, the vocals resembled Pearl Jam with Seal as the lead vocalist. Genuine rock with a cry from the soul, like snow on a mountain, or a rose on a grave.
The second song on the disc was "Broke." It wasn't. It was rich in timbre, the guitar(s) had enough fuzz, but was bright enough to sounding like a singing blade, like say, Soundgarden, or like 250cc crotch-rocket, rather writhing in the dust like, say, Deftones, or a Honda Valkyrie with the wrong tail pipes. The occasional (key word occasional) "waa" on the cry-baby pedal added to that pleasant, sunlight on chrome feeling. Or maybe it wa sa slight flange. As opposed to the "buried to the plugs in mud" feeling they could have gone with. My apologies to weather bound bikers out there for my epithets.
The third song on this disc was "D song" This one immediately meshed in with my memory of several songs, including "Color of Right" by Rush, "Listen to the Music" by the Doobie Brothers, something by Queensryche that I can't put my finger on, and anything by The Ramones. It definitely has that "On the Road" feeling. In fact, if they would pick the tempo up just a bit, to something like Shimmer by Fuel, it would make a perfect "in the helmet headphones" song. Cruising at RPM's with enough changes to emulate normal highway motoring. It even sounds like the drummer wanted to do it that way, but was out voted.
The fourth song, "At a Loss" is my favorite on the disc. It perfectly captures the "Noble Quest" theme that this whole package is beginning to gel on. I hear a combination of "Ready for Love" by Bad Company and "The Necromancer" by Rush. It has a very "Lord of the Rings" feel... long, repressive trek, punctuated by flight or fight, followed my more slogging in the rain, at last breaking out of the rain and off into the overcast drying roads of real motoring.
In fact, I get a very clear image of what this song evokes. And then, it welds the whole ensemble of tunes into a theme. I hear a lone biker, on the road, fleeing one situation to the hope of another. Thus:
Overall
Overall, this is a diamond in the rough, or at least an emerald. As it stands, it's already better than 50% of the "new rock" out there on the airwaves. It's 100% better than anything by the Green Days, Blinks, Lit's, Len's and other lamer whiner bands. Slip Knot is right out. In a world where we classic rockers are weary of classic rock, but can't stand to listen to some of that angstian whine of new rock, this would be a great bridge between Generation W, X and Y.
As a rule, I don't like what the radio plays. You know, and I know that most of the best songs on an album, never get airplay, or worse, they make a big hit off the worst song on the album, then follow with a much better song. I hated "Kryptonite" by 3 Doors Down but loved "Loser." So far, all of these songs fit the 'second single' category. They need to write a catchy tune that I hate, to break into the scene, then release these.
As for the individual musicians:
As I listen closely to the guitarist (being one myself, btw), I realize that he is already better than any of those Drop-D, one finger, metal chord mashing bands. In fact, the lilting filigree of chords reminded me more of the Chili Peppers than StainD. For the little production this effort saw, he nailed the guitar sound. Just the right blend of fuzz and humbucking zing. Despite simple chords, the arrangements were quite well thought out, letting a chord ring when it would have been normal to keep beating it. It reminded me of Clapton's arrangements in Cream, when drum, bass, guitar and vocals were enough. Again, he captured the time spanning sound well, ranging from Blue Cheer's Summertime Blues to Alice Cooper to Smashing Pumpkins. Keep it up.
The Bass Player sounds a little too much like a guitar player foisted into the bass slot, who would rather bowl on Wednesdays than practice some slapping hot licks or scales on his most major axe. ;-)* Being more of a bass player than a guitarist, I would remind the bassist that he has a J pickup. His bass has teeth and claws, don' t be afraid to bare them now and again. The sign of 70's rock was the repeating riff with the bass and the rhythm playing homophonically. Like AC/DC or Kiss. But if you listen to Yes, Rush, The Police, Winger, The Red Hot Chili Dogs and Tool, you find that the Bass is its own aenimal. Fight for your right, and get polyphonic. And borrow a pick.
As you might see from my site, I would put Neil Peart on the top of my drummers list. That's a tough standard to follow. But Neil does things that any drummer can do, regardless of skill level. He makes the drum line on a song interesting. Contrast Charlie Watts of the Stones. He plays a continuing line and then pops something in that makes you take notice, and then steps back into steady state. He adds a flair where one might have predicted something a little more plain. Each of these things I heard in these tracks. The drummer seemed to be more skilled than the songs allowed. I could easily compare it to a well known standard, Nirvana's Smells Like Teen Spirit. I could teach my nephew the chords in 10 minutes (he doesn't know a D7 yet), but it would take his dad 6 months to get the whole drum lick AND be on the leading edge, not the trailing edge. Specific example: 2:18 into D Song.
To me, the biggest hurdle of the band is the vocals, but not because the vocals are weak. They're not. The vocalist is probably better than he gives himself credit. The mixer should crank it up a bit. The biggest hurdle this vocalist has is that he sounds a little too much like, well, everybody else. Although better than Vetter, he sounds a bit too much like Scott Stapp, 7 Mary 3, 7 Dust, and a touch of Scott Weiland, toasted. Is that bad? In this way, it is. It doesn't sound like that's really his voice. I have no complaint musically. His pitch was well adequate, the arrangement worked fine, and there was enough of that soul crying out to make it all work. But I was put off (a little) by the feeling that if he sang the way his voice REALLY wanted to go, it would be better. Not knowing this for fact, I suspect that he was adding the raspy darkness to fit the current scene. But the current scene is over. Belt it out! Get your own voice and be the next scene. The world is full of baritone voices that were only themselves, and we were glad of it: Jack Bruce of Cream, Jim Morrison, Greg Lake, Dave Gilmour, Billy Idol, Michael Hutchence, all of the 80's synth-pop, the Smith's Morrisey, Paul Carrack and on, skipping Vetter. I suspect that his real voice is more clear and lofty, like Geoff Tate of Queensryche's later stuff (Jet City Woman, Silent Ludicity and on). I also sensed that he was using his enunciation as another instrument in the arrangement, much as Kate Bush (or Tori Amos), Billy Idol, Juliette Lewis (Hardly Wait), Maynard James Keegan, Raine from Our Lady Peace, Alanis, Bif Naked or Nellie Furtado do, and Billy Corgan does not. This would probably work better if it were his own voice. Let's hope we find out.
Another area which could use a little elbow grease is the lyrics. In my correspondence with Rush lyricist Neil Peart, we arrived on a strangely common thought: The best songs are those which can be on "the soundtrack of your life". With At a Loss being the closest approach, I didn't hear anything that I could take to heart lyrically. In that, I will not stick with me for long. Make it stick. Hurt people with your lyrics, and they will thank you for it. If they feel your pain through their own lives, then you have formed a bond with them, and that will never fade. You can also do this with love, joy or triumph, btw.
What this CD is is a gem in the rough. A good producer will bring this to light and catch all of the right rays. A very good producer will enhance this without heavily imprinting it with his/her own style, such as Daniel Lanois or Hugh Syme. A great producer will do all of that AND force each of these peeps into becoming themselves, on tape. Be the stars they could be, and then get them to behave that way on tape. I would suggest filming "Roger Box: Behind the Music" and them writing songs to fit. I'm only half joking.
Were I that producer, I would make these suggestions:
If I could choose one word to summarize, it would be "reminiscent." Not of any particular band, but many diverse bands. There's something here for everyone, whether you prefer Rush's first album or "At the Drive-in's" latest. In closing, it rocks. Listen fer yerself! It's looking for a niche that may not exist, so make yer own! We're ready for it! I know I am...