Review: Hoobastank Says ‘Every Man For Himself’*

By Conor FitzPatrick
2007.1

The drill sergeant’s voice in the background of “Born to Lead” (think “Full Metal Jacket”) may be a bit cheesy, but it is the perfect start to “Every Man For Himself,” Hoobastank’s third commercial release. Dan Estrin’s thundering guitar riffs drive a song that tries so hard to be against authority. In doing so, it follows a path that far too many hard rock artists have followed. Regardless of the subject matter of their songs, this is a band that seeks commercial success, and does so without any edginess. Lead singer Doug Robb may exclaim “we were born to lead!” but his band has yet to do so in the world of hard rock.

Hoobastank is a band with tremendous talent, but has done very little to separate itself from its contemporaries (Nickelback comes to mind). No band can rely simply on a few hit singles to propel and maintain its popularity.

That being said, the singles on this release are sure to be hits. “Inside of You” has a wonderfully obvious title and the right amount of distortion to go with it. Many may have already seen its music video, which features more than a few PG-13 stripteases from some hired extras.

“The First of Me” continues somewhat with the anti-establishment theme of “Born to Lead.” Its message basically is that this band is not the next anyone; they are the first Hoobastank. This may be true, but they are a band with a commercial identity crisis. Are they the hard rock outfit that made “Crawling in the Dark” or the (mostly) soft rock band that crossed over with “The Reason”?

The crowning achievement of this album has to be “If I Were You,” which is about the way Velvet Revolver’s Scott Weiland treated the band when they toured together. Robb asks (to Weiland, I suppose) “have you forgotten how hard it used to be?” Above all, this single addresses the fact that successful artists need to appreciate how much effort and time it takes to get to the top. It is breath of fresh air.

Anyone who expects to find another chart-crossing, 24/7 airplay hit like “The Reason” isn’t likely to find it here. “If Only” seems to be the kind of ballad that attempts to replicate such success, but it falls flat on its feet.

One unexpected highlight of the album is the Pink Floyd-inspired “More Than a Memory,” a seven-minute ballad that features flutes and trumpets. While not a song that Roger Waters would ever want credit for, it closes the album on a soft and contemplative note.

Other than its brief foray into Jethro Tull-like prog rock, Hoobastank has put forth the album that everyone expected. It is sure to please their fans, but it remains to be seen whether they will gain any new ones.

Hoobastank begins a tour of Japan and Southeast Asia this month.

For more information on Hoobastank, visit the official website and MySpace page.

It’s Been a Long Time from Stage to Screen, but ‘Dreamgirls’ is Well Worth the Wait*

By Jennifer B. Kaufman
2007.1

Let’s face it—movie musicals are not easy to pull off. Most of us do not break into song and dance during our typical day (well, usually). It is often difficult for movies to transition from spoken dialogue to musical numbers. This could be one of the reasons why it has taken so long for the Tony Award-winning Broadway musical “Dreamgirls” to make it to the silver screen. Fortunately for us, many people, including writer/director Bill Condon, (“Kinsey”) were willing to take on this daunting task.

“Dreamgirls” follows a Supremes-like singing group from their humble beginnings to the apex of fame. Effie White (Jennifer Hudson), Deena Jones (Beyoncé Knowles), and Lorrell Robinson (Anika Noni Rose) make up the Dreamettes, a naive but ambitious singing group. They get their big break as back up singers for the soulful singing sensation, James ‘Thunder’ Early, after being discovered by Curtis Taylor, Jr., a car salesman turned music manager and founder of his own label, Rainbow Records.

Life on the road is not easy for the James and the Dreamettes. They have to deal with white audiences who are uncomfortable with African-American performers, and being overlooked by mainstream radio. Early’s rousing and rambunctious R & B song “Cadillac Car” is covered by white singers, wrapping it in the musical equivalent of sanitized bubble wrap, and stripping the original of its soul, spirit and vibrancy. Taylor soon turns to payola to get James and the Dreamettes on the Billboard charts. On the personal side, Effie falls in love with Curtis, and Lorrell begins an affair with the very married James. Along for the ride is CC, Effie’s brother, who becomes Rainbow Records main song writer.

Failing to make James into a more pop-friendly act, Curtis turns his attention to the Dreamettes. However, there is a catch. Curtis wants the more slender Deena to take over as lead singer. Curtis believes Effie’s larger figure and more gospel-infused voice wouldn’t attract white audiences. Curtis re-names the Dreamettes to the Dreams (and turns his affections to Deena). He carefully crafts their look to be more glamorous and has them sing more pop-oriented songs. Soon the Dreams are at the top of the charts and are hugely popular among music fans of all races. However, not surprisingly, Effie is not happy to be pushed into the background, and becomes more and more petulant. Soon she is replaced by Curtis’ secretary Michelle (Sharon Leal).

By the 1970s, the Dreams are re-named Deena Jones and the Dreams, and Curtis and Deena are married. Rainbow Records has moved to Hollywood, and Curtis has discovered new pop/soul acts. Curtis wants to expand Rainbow Records into the movie business, hoping to have Deena star in a movie about Cleopatra. However, Deena is not thrilled with the idea and has different movie roles in mind.

Early also struggles with Curtis over his image and the music he wants to sing. Early, a hybrid of the late James Brown and Marvin Gaye, wants to sing a socially-conscious song, but Curtis nixes the idea claiming that music is meant to sell, not to send a message. Frustrated by Curtis’ control, James turns to drugs and his relationship with Lorrell falls apart.

Meanwhile, Effie does not fare well. She’s broke and trying to raise her daughter, Magic, alone. She’s also trying to get her music career back on track even though she has a reputation of being a difficult diva. She makes amends with people from her past and starts performing in local blues clubs.

Curtis, in his quest to stay current, has Deena Jones and the Dreams make the transition from soul to disco. Effie, now reunited with her brother CC, is struggling to make a comeback. Effie records a single, “One Night Only,” but Curtis gets his hands on it and has Deena and the Dreams record a more danceable version. It’s not long before Deena finds out about Curtis’ scheme, and things are in place for Deena to assert herself, Effie to have her original song heard, and the all of the Dreams sing together as a cohesive group.

“Dreamgirls” boasts a cast of superstars, but this is truly Jennifer Hudson’s movie. She simply embodies the proud and difficult Effie White. Ms. Hudson doesn’t act Effie; she is Effie, at times both vulnerable and infuriating. You want to hug her and shake some sense into her. I’d be hard-pressed to think of a newcomer to film making who has made such a riveting first impression.

The showcase song of “Dreamgirls” is the roof-raising “And I Am Telling You” sung by Effie, with both rage and heartbreak. Ms. Hudson puts her very heart and soul into the song. I got goosebumps, the hair stood up on the back of my neck, I shed a few tears, and the whole theater broke into both cheers and applause.

Eddie Murphy also shines. James Early is inspiring with his pure joy of performing and heartbreaking as he struggles to be the artist he wants to be. Many of his musical performances sizzle with energy and enthusiasm. Beyoncé’s Deena has an air-brushed and sleek vacuity, which portrays her as an empty vessel waiting to be filled by Curtis’ vision. And Jamie Foxx’s Machiavellian Curtis Taylor proves his Oscar for “Ray” was no fluke.

In “Dreamgirls,” many performances stay in your mind long after the closing credits have rolled. Among the musical standouts are the heartfelt “Family” sung by a majority of the principle characters, and “Fake Your Way to the Top,” a show-stopping, get up and dance number sung by James and the Dreamettes. “Listen,” a song not in the original Broadway production, is sung by Beyoncé and is both touching and empowering. “Listen” should be remembered come Oscar time.

The behind scenes teams of costume design, art direction and film editing also deserve recognition. In the beginning, the Dreams are adjusting their cheap wigs and wearing off the rack dresses. At the height of their fame, the Dreams are clothed in glamorous Bob Mackie inspired gowns. The album covers of the music stars are also spot on with their 1960s and 1970s lettering, photography, and graphics. And the editing keeps the movie running smoothly.

“Dreamgirls” does not sugarcoat what the performers faced in their careers and personal lives. The film portrays both the racial unrest and racism of the time, as well as drug use, poverty, the sleazy shenanigans of the music business, and women being controlled by men.

Ultimately, “Dreamgirls” is a spectacular cinematic experience that has proven delightful and inspiring to audiences. Several years ago, the critical and commercial hit, “Chicago” brought the musical back to the silver screen. “Dreamgirls” makes you hope that musicals are back for good.

Review: Monty Are I Release ‘Exhilarating’ Debut Record*

By Jonathan Swartz
2007.1

Alternative punk/rock/grunge band Monty Are I burst onto the music scene in the summer of 2006 with their impressive debut CD entitled “Wall of People.” The band, originally from Cranston, Rhode Island, consists of Steve Aiello, (guitarist and vocals), Mike Matarese on bass, Andrew Borstein on keyboards and trombone, and twin brothers Justin and Ryan Muir, who play the drums, vocals, trumpet, and guitar. The CD combines alternative, and both mellow and heavy metal styles to teach lessons on life’s tribulations, as well as the obstacles one must overcome to achieve success in life, while encouraging everyone to follow their dreams.

The album opens with “Between the Sheets” a fast-paced meditation on the struggle for love and the desire for independence. The band consistently sings about wanting to be themselves on this track, and the music shows that they want to be independent from everyone else, but also demonstrates that people are willing to sacrifice everything for love and be accepted for who they are. “Between the Sheets” is among one of the band’s most popular tunes among its fans in the Providence area, and one of the most requested tunes among frequent listeners to WBRU 95.5 FM, the station that frequently plays the band’s songs.

Another popular track is “Dublin Waltz,” which presents the band’s mellower side. It’s a welcome combination of their self-described “action rock” style, with a soft tone that encourages people to dance to their songs. “Dublin Waltz” is what it is, a soft song that turns into a strong, dynamic one towards the end, while helping the band reach new, and creative, heights.

The strongest tracks on “Wall of People” are “In this Legacy,” a mediation on life’s frustrations and living it to the fullest. It is also an “anti-establishment” song in every sense of the word. Monty Are I, as evidenced by this song, encourages rebellion against the wrongs of the world, and the lengths people will go to make sure their lives are the best they can be. Other tracks worth listening to include the final two “Tie off Your Veins” and “Only the Weak,” which blend into each other creating a sensation so exhilarating, it imagines the listener is dreaming of an exotic location, and is with the band in person. “Tie off Your Veins” and “Only the Weak” directly transition each other, playing as two songs combined into one long, grand finale, successfully mixing the alternative rock style with the more laid back style of the keyboards and the trumpet.

If “Wall of People” is any indication, Monty Are I are one breakout hit from gaining national (and perhaps worldwide) recognition as one of the most exciting, up-and-coming young American bands to break through in a long time.

For more information on Monty Are I, please visit the official website and MySpace page. “Wall of People” was released in August 2006 on Stolen Transmission.

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