A.L. Harper

Punk-pop band The Dollyrots may go down in history as the only good thing to come from the 2000 US Presidential elections, and by extension George W. Bush's presidency. So the story goes, Kelly Ogden (lead vocals, bass) and childhood friend and fellow student Luis Cabezas (guitar, piano) are attending New College Florida, preparing for medical school. On the night of November 7th they were watching the election results, when at four a.m. they found out that Bush had won and thought, “The world's probably gonna end anyway, and I don't want to go to med school.” So they decided to take their part-time college band full-time because, “We had no future anyways…” They may as well just be in a punk band.

So formed they began touring and creating their fun, poppy-without-compromising-punk sound. An accessible mix of fun bouncy melodies and harmonies but with all the ass kicking power and attitude of punk music. Their sound is a unique blend, precisely what pop-punk should be, honest, in your face, and accessible. If The Dead Kennedys and Gwen Stefani had a love child, they would have named it The Dollyrots. Punk music with pop sensibilities.

Much like Kelly Ogden herself. At first glance she could be mistaken for a pretty little thing with lots of curly blond hair, big doe eyes, and a baby-doll pout, and yet according to The Dollyrots website, Kelly just “might sucker punch you if you're dumb enough to try her patience”. In fact after interviewing Kelly I believe I am in the midsts of a full-on girl crush, she is an intelligent, witty, dirty-minded woman with a tough-girl attitude. Now before you get the horn imagining some Suicide Girl-on-girl action, I'm not talking about re-thinking my sexuality. No, just a good old fashioned, I-want-to-be-like-her crush. When we chatted, she was in the middle of the frozen Midwest at a truck stop on the way into Chicago on the Dollyrots latest tour. She was without sleep, wayworn, and coming down with a nasty cold, but still we laughed and talked like old friends, such was her friendly, open manner.

So tell us about your second album, Because I'm Awesome. Where did you get that name?

It's actually from the title track which is one of the more fun songs. It can be taken in different ways. When we wrote it, it was kind of a big F you to everyone who thinks they're better than the next person. When really they are just a big pile of crap. They've got no right to treat other people bad. The verses are meant to be sarcastic, the chorus is kind of a retort. But it's kind of hilarious because the song has been picked up by Radio Disney for example, as an empowering song for young girls. I was like “Oh! Okay. That's kind of interesting.” Not what we planned or anything. Then it's also been picked up by like punk-rock stations and XM Radio and mainstream alternative radio. So the song can be interpreted in different ways. Which is always cool, I think, in a song.

So how did you come up with the name The Dollyrots?

Well, when we first started out the music was very, very raw and punk-rock, it was really fast, very hard punk rock. Then I sang and my voice is so sweet. The words that I sang, a lot of time sounds like I'm being sweet, but it's not exactly the meanings. So we wanted to find two words that summed up the juxtaposition between my voice and the music. I feel like it's a good descriptive term. I hate when band names don't mean anything at all.

It does match your sound very well too. It's a bit, cheerleader with an attitude problem.

The thing is the recordings… the pop sensibilities come across much better on our recordings I think. Then live we're more of a punk-rock band. Yeah we're kind of a band that sounds really good, and polished and pop on our recordings, then we're this really good raw rock band live. Some people probably like the recordings better. Some people say that they like shows better.

So how long have you been on tour?

We've been on tour six or seven weeks. We have three more left. It's been a long cold one, it's kind of awesome. (laughing) I haven't seen a lot of snow in my life, I think I'm getting it all in right now, these two months. I think I will see enough snow to last a lifetime.

How has your tour been going?

It has been fantastic. The first night, I broke Chris' (Black, drums) nose.

(Laughing) How did you do that?

Well it was an accident. When it's a really good show, or a really crappy show, or sometimes just for fun, I like to jump into the drum kit or we jump off the drum kit or off of the stage. It just feels like a good time when you have a nice jumping ending to the set. And I jumped over the drum kit and I accidentally hit the wall with my head. Then I was still wearing my bass guitar and I let go of the bass to check my head because I thought it was bleeding, and as I let go of the bass I dropped it on Chris' face.

He said he felt like two crunches on his face and then all of the sudden he was like “Broken, broken! My nose is broken. My nose is broken!” I looked down and he was just pouring blood out of his nose. So we had that happen. Then a few weeks later we were in Columbus, Ohio, and I'm walking around on the ice and everything was fine and dandy, everything was cool. I was actually wearing snow boots but I didn't have them tied up. I went to get in the van, and I fell, like old-lady style, under the van. I sprained my ankle really, really badly. Then I got zombie foot. It literately looks like a zombie's foot. Right now it's yellow, purple, grey, and black and not very cool cause it hurts a little too. And I've had a cold the whole tour too.

If you would like to learn more about The Dollyrots, you can visit their website. To hear a few tracks from their album Because I'm Awesome you can visit their MySpace space.

Punk-pop band The Dollyrots sophomore album Because I'm Awesome is precisely what pop-punk should be; fun, honest, in your face, and accessible. Poppy without compromising punk. Their sound is a mix of bouncy melodies and harmonies, with all the ass kicking power and attitude of punk music. The Dead Kennedys love child with Gwen Stefani, nannied by The Go-Go's, playing tag with The B-52's. The Dollyrots come complete with fun to sing lyrics, driving guitars, a tough but pretty chick singer, and perfect radio friendly songs.

What more do you need?

Title track “Because I'm Awesome” is a sarcastic anthem of the tongue-in-cheek, Bowling For< Soup variety. According to frontwoman Kelly Ogden, “Because I'm Awesome” is a great big fuck-you to all those people who think they are oh so awesome. The witty banter-esque lyrics include the practically cheered (as in cheerleader) chorus “I’m a leader, I’m a winner, and I’m cleaner/ Cause I’m awesome/ I don’t need you cause, I’m neato and I beat you/ Cause I’m awesome/ That’s right!” With catchy hooks, great melodies, and the impressive driving guitar work of lead guitarist and founding member Luis Cabezas, “Because I'm Awesome” should be a hit song (video included below).

Second track “My Best Friends Hot” is an unrequited love song. Who hasn't fallen for a hot friend only to see them love someone else and treat you as a buddy? This track's truly melancholy subject matter is disguised by Ogden's baby doll voice and the upbeat hooks. So well disguised is the angsty desolation that you'll happily sing in a cheerful voice “My best friend's hot/ No matter what I do/ You'll love me not/ Nanananana/ Should I tell you now/ or go, go...”

Other tracks that make this album worth it. “Out of LA” the third track, shows off Ogden's talent as a bassist. The self-same upbeat hooks, melodies and vocals are joined by a pounding her bass for some chaotic fun. A playfully punk-rock version of the early 70's folk-rock hit song “A Brand New Key” with updated sounds and a punk attitude. Undoubtedly all of the sexual innuendo surrounding the original song is lost on a much too sophisticated modern audience. But that doesn't make it a bad remake, in fact just the opposite is true. Although I'm sure there won't be many radio stations banning it in fear that the key in its lock symbolises sex or that “new key” is code for “nookie”.

Also make sure you don't miss “A Desperate S.O.S”. A rapidly progressing punk song, that is The Dollyrots own “We Didn't Start the Fire”, and ends in true punk style with a yelled epithet “Our president is full of shit/ Our president is full of shit!” All in Because I'm Awesome is a fun, driving, fast-paced punk-pop album and I highly recommend it to anyone who likes either alt pop, punk rock or punk pop.

If you would like to learn more about The Dollyrots, you can visit their website. To hear a few tracks from their album Because I'm Awesome you can visit their MySpace space.

We all have them, songs that seem to touch a secret place in your soul – sometimes secret even from you. They can grow and occasionally fester like an open wound, or they can fill you up, inspire you and occasionally even heal you. Sometimes they don't even reflect your musical tastes. They can be shameful secrets that you keep from family and friends. You feel like a drug addict craving your next fix. At times like those you thank the powers that be for MP3 players - the syringe of those suffering with this affliction.

This is the eighth instalment of songs that touch my soul. And as always this edition is full of passion, desire and lust. This is a form of therapy, this sharing of my neuroses, my secret inner lunacy, the big ball of crazy that is me. Welcome to my musical schizophrenia.

“The Sweetest Thing” - U2

Ok yes, I know I've been hard on U2 but only because these guys are seriously talented and it pains me to watch them curl up and accept sainthood like a nun in medieval times. Joshua Tree Should have been the beginning of the amazing things to come. Instead… well history is it's own witness. Just because I'm hard on them now doesn't mean I never liked them. In fact, it's just the opposite. I was a punk/goth girl who loved U2, despite their lack of black clothes, mohawks, eye-liner or tattoos depicting the face of evil, even the words fuck you tattooed across their knuckles would have made them more acceptable.

We all know the legendary story behind this song by now. Written as an apology to Ali Hewson, a.k.a Mrs. Bono, after the rock star missed her birthday. To be fair he was in the middle of writing and recording his magnum opus, Joshua Tree. And to save himself, and possibly his marriage (although who would really divorce their husband over one missed birthday) he wrote his beloved, high school sweetheart a beautiful song.

The video is yet another tribute to his love. It features Bono clowning around a la Buster Keaton, numerous romantic trinkets to assuage the female temper, cameos from Boyzone (very successful Irish boy band), River Dance, Steve Collins (Irish middleweight boxing champion) and of course the rest of the band. Not to mention the numerous instances of the phrase “I'm sorry” that appearer through-out the video, on banners, cars and even an elephant. Why does this song touch my soul? Its sincerity. It makes me smile a gosh-that's-sweet smile. And personally I would much rather get a personal gift and an honest apology, than a bunch of fucking flowers. Wouldn't you?

“The Saddest Song I've Got” - Annie Lennox

Annie Lennox is arguably the coolest woman to ever warble down a mic. Her dulcet tones only add to her accessible brand of blue-eyed soul and without a doubt were a big part of the Eurythmics success. Let's face it, that deep, rich powerful voice is enough to soothe the savage beast in anyone. Truth is I could listen to Annie sing all day and night and never grow weary of it. “The Saddest Song I've got” touches me because of the deep heartfelt emotion, the plaintively begging quality of the Scottish songstress as she morns the loss of love, a relationship, friendship or possibly peace on earth as the video seems to imply, it's difficult to tell. What I can tell you is that the power, sadness, and pain are touching to the point of near tears. And she is ever so cool.

“Analogue” - A-ha

Maybe it's what's left of my school girl crush on Morten Harket and Magne Furuholmen, or maybe A-ha really are a great band. I've never been completely sure. Nowadays the trio all have rather successful solo careers, most notably perhaps Magne who not only has a solo album – with members from Coldplay and Travis as his backing band – but is also a very successful sculptor, painter and glass etching artist. He was even commissioned to design an official Norwegian postage stamp. In 2005 the boys from Norway released their eighth album Analogue. Maybe it's Harket's smooth, creamy voice, or the catchy riff, possibly it's the chorus that touches me “All I want you to know; I love you/ All I need is the time to show you”. When this song comes through my speakers, whether they be head phones, car stereo, or my computer, I want to shut my eyes, gently sway my head and get lost in a world where either Morten or Magne sing those fabulous words to me, and me alone.

“Sing For the Moment” - Eminem

Musically it's streamlined, elegant, smooth, but I love Eminem for his lyrics, and this one is a diamond in his already jewel-encrusted crown. In “Sing For the Moment” Mr. Mathers – aided by Joe Perry and Steven Tyler of Aerosmith – addresses the parents of the disaffected youth of white middle class America who, for reasons that seem to escape most parents, identify with him. He also talks to his critics who say that he promotes violence, saying that ultimately the offender is responsible. Personally, I think Eminem is to violent street crime what IKEA is to design, furniture haute couture.

I'm a big fan of Eminem, I admire him for his awe inspiring lyrical abilities, his strength in overcoming less than ideal personal circumstances, his sarcastic often self-depreciating wit and his fabulous body. I also think he is one of the most intentionally misunderstood artists on the planet (followed closely by Marilyn Manson). “Sing For the Moment” shows Eminem in all is glory, as an introspective, intellectual artist with the ability to truly see through and past what many are not willing to look at, at all.

“Tainted Love” (cover) — Marilyn Manson

There is something inherently sexual about Marilyn Manson and his music. There is no denying that goth, as a lifestyle choice, is now more mainstream than ever. Bands like HIM and Evanescence are reaping the benefits of this mainstream version — mallgoth as it's frequently referred to – of the goth aesthetic. Although Manson is undoubtedly the most high profile of these sudo-goth artists I doubt he would identify himself with them, as he sees himself more as a performance artist. He is absolutely, unapologetically Marilyn Manson. And he, as Alice Cooper before him, defies categorization. Shock-rock, glam-rock or alt-metal, I couldn't tell you. What I do know is that he makes my panties wet and as many of you know by now, that really is the door to my soul.

I grew-up listening to the early 80's version of “Tainted Love” by Soft Cell, but it's in Manson's version where the darkly romantic, heart-broken lyrics meet their match. Mason's gothic/hard rock flourishes and more substantial and sex soaked vocals add weight to what was bouncy, snyth-pop and flippant. Where Soft Cell's “Love” made you want to dance cheerily in an Eddie Murphy-dancing-like-a-white-man way, Manson's version encourages you to push your lover down on the bed, tear his clothes off with your teeth, mount him and ride him until all your anger is spent on one final sweaty, screaming climax of angry sex. Frankly, I'm a big fan of angry sex and Marilyn Manson brings that out in me, and a lot more too.

We all have them, songs that seem to touch a secret place in your soul – sometimes secret even from you. They can grow and occasionally fester like an open wound, or they can fill you up, inspire you, and occasionally even heal you. Sometimes they don't even reflect your musical tastes. They can be shameful secrets that you keep from family and friends. You feel like a drug addict craving your next fix. At times like those you thank the powers that be for MP3 players - the syringe of those suffering with this affliction.

This is the seventh installment of songs that touch my soul. And as always this edition is full of passion, desire, and lust. This is a form of therapy, this sharing of my neuroses, my secret inner lunacy, the big ball of crazy that is me. Welcome to my musical schizophrenia.

“Magic” – Colbie Caillat

With the recent changes in my personal life, romance has been on my mind again. I can’t help but think that this time, I want it all. Fuck settling for someone who is “close enough”, frankly I don’t need someone in my life just to fill space. This time I want it all, I want the fantasy. “Magic” is about the fantasy, that perfect chemistry in love. Caillat’s lyrics evoke the images and feelings of cold fire moving over bare skin with the lightest touch from a lover and the joy of seeing the face you adore, above you with love in their eyes. It’s an intoxicating image sung in a beautifully sweet, romantic, almost girlish way but with a sensual, lustful feel to it and decidedly big-girl lyrics like: “You've got magic inside your finger tips/ Its leaking out all over my skin/ Everytime that I get close to you/ Your making me weak with the way you/ Look through those eyes”. I’ve said it before and I’ll say it again: Colbie Caillat knows what it means to be a woman in love.

“All Kinds” – Dan Wilson

And of course I want a man who can’t resist me. Who adores me, thinks that no woman anywhere was ever or has ever been as perfect and amazing as I am right now. Okay, who doesn’t want that? I think Dan Wilson sums it up beautifully when he sings to some very lucky girl: “You've got the kind of beautiful/ Makes the boys want to give up running all around/ You know the kind of magic spell/ Makes the wild, wild horses lay down on the ground”. “All Kinds” is the first track from his latest solo effort Free Life (one of my best albums of 2007) and like the rest of this poignant alt-folk-rock album it has the same mixture of acoustic and electronic instruments; feeling still, bare, evanescent but with a nearly orchestral quality to it. Dan Wilson seems to understand what many men do not, when you love us we don’t want there to have ever been anyone nearly as life altering as we are. And when we leave you, we simply want you to pine for us for the rest of your lives. Is that really too much to ask?

“Keith Don’t Go” (Acoustic Live version) – Nils Lofgren

There are musicians that the general public love – usually not terribly technically proficient but they have it and that makes-up for their weakness as a musician – and there are musicians' musicians. Usually technically perfect, always visionary, they break rules other musicians would never consider breaking, and are generally considered, by other musicians, to inhabit levels of genius. And every once in a while there are musicians who are both visionary genius and have that it factor. Bo Diddley, Eric Clapton, and Jack White to name a few obvious choices, are all visionary and talented with wide general appeal. One name that should be on that list is Nils Lofgren.

I have heard him referred to as Chopin with a guitar. And his live acoustic version of “Keith Don’t Go” is a prime example of how amazing a musician he is. Although he now works primarily with Bruce Springsteen as a member of the E Street Band, Lofgren is, in my opinion, far and away the better performer and the more talented musician and songwriter. You can judge for yourself, I have included the video of his mind blowing live performance below.

“Darkest Secret” – Sons of William

Sons Of William (SOW) make bluesy, carnal, dirty rock music, filled with the influences of the delta blues and classic 70’s rock sounds they grew up with. SOW weave rich tapestries of music that contain ear-catching musicianship, purely physical vocals, and intelligent, profound and always literate lyrics. Joe Stark, the band’s frontman, has an amazing talent with a guitar which is easily matched by his mellow, smoky, make-my-panties-wet voice. “Darkest Secret” has everything that I love most about SOW. Here they combine soulful guitar, coloured with classic rock, with oh-so-hot lyrics like "with a heavy hand, and a jealous glow, you touch me so sinful and slow” sung in Stark’s lazy southern drawl that is dripping with sexual promise, in perfect harmony with bassist and backing vocalist Jen Janet’s sweeter, feminine tones. They possess the enviable ability to create passionate, sensually driving emotionally haunting music that feels like an intimate caress from a long lost lover. It melts my heart and my loins every time I hear it. You really need to own this album.

“Come on Closer” – Jem

This is a deceptive track, hiding its erotic nature under a layer of electro-folk-pop. Jem’s 2004 debut album Finally Woken is rarely far from the top on my Sansa’s most played list and this song is only one of the reasons. It has a strangely ethereal quality with layers of synth woven through and supporting Jem’s gossamer, lithe, Beth Orton-esque vocals which are very soon joined by a heavily distorted, almost hard rock guitar riff. It sounds bizarre and believe me it is, but the rhythmic motions and contradicting musical styles create an erotic atmosphere, and it’s fabulous to belly dance to. But it’s the lyrics that are truly the sexual touch, hidden in what could be mistaken for a an almost cheery electro pop song: “Come on closer/ I wanna show you/ What I'd like to do/ You sit back now/ Just relax now/ I'll take care of you”. And that is just what this song inspires in me. Anyone feel like sitting back and letting me belly dance naked in their lap? Come let me show you how much pelvic control it takes to gyrate and grind slowly while straddling you.

“Keith Don’t Go” (Acoustic Live version) – Nils Lofgren

We all have them, songs that seem to touch a secret place in your soul – sometimes secret even from you. They can grow and occasionally fester like an open wound, or they can fill you up, inspire you and occasionally even heal you. Sometimes they don't even reflect your musical tastes. They can be shameful secrets that you keep from family and friends. You feel like a drug addict craving your next fix. At times like those you thank the powers that be for MP3 players - the syringe of those suffering with this affliction. This is a special two-part Valentine’s day instalment of Songs that Touch My Soul.

Valentine’s day probably originated with the 14th century English poet Geoffrey Chaucer (author of the very first work of fiction in English The Canterbury Tales) who romanticised in poetry the legend surrounding several early (Roman times) Christian martyrs, all named Valentine, to fit in with the Medieval court’s fashion for romantic love.

So romantic love is certainly the basis and the reason for Valentine’s day – well that and the card and chocolate industry need the yearly boost – but I can’t help but think that romantic love is only part of the story. So in this, edition of Songs that Touch My Soul we will celebrate ALL kinds of love and even heartbreak, because where one goes the other always follows. Just a warning, this may be more than just gently dirty, I frequently fall directly into smut.

“Strange and Beautiful” – Aqualung

“I’ve been watching your world from afar… To me you’re strange and you’re beautiful. You’d be so perfect with me but you just can’t see, you turn every head but don’t see me”. Stalker love is still a kind of love right? We’ve all been in the throes of obsessive love, think about your first crush, or that teenage worship of an actor or rock star. It’s not lasting love, it’s not really love at all, but it’s so excruciatingly exquisite; the pain, the desire bordering on lust, your first real tingles of sexuality. This song encapsulates all of that perfectly, summing it up with alarming and evocative lyrics and ethereal, haunting, carnal piano and synth music.

“Think Awhile” – Cary Brothers

Breaking-up is hard to do, even when you know it’s right. Cary Brothers seems to have had personal experience with the end of love. Here he so eloquently writes “I'm tired of hearin' everything you say/ It's rolling off your tongue across my face/ It seems the time to leave/ It seems we tried…” Haven’t we all been there? You don’t want to do the relationship anymore and now, staying isn’t any easier than leaving but still, it hurts. But you know that from this you’ll grow, move on, love again.

“Love Hurts” – Nazareth

What about broken-hearted love? Once you’ve been left bereft, alone and in pain, your heart ripped out, stomped on, but you still love them. Only Nazareth’s version of “Love Hurts” really manages to convey the heartrending intensity of a crushed spirit and burning love – and I’m not just saying that because they come from my Scottish hometown of Dunfermline. Dan McCafferty’s emotive vocals somehow seem to embody the acrimoniousness of being left, the deep-rooted fear that you brought this on yourself through some serious but unintentional sin. “Love hurts, love scars/ Love wounds, and marks…” Yeah but you get over it!

“Beautiful Freak” – Eels

This is what we all want isn’t it? Someone who can see through the facade we present to everyone else. Someone who loves the big ball of crazy we all are inside. Who not only loves our crazy, but adores us for our crazy bits but thinks they are as endearing as they are irritating. Someone who can just smile and shake their heads with bewildered love and joy when we cry at commercials, or panic over every little detail a thousand times, pack and re-pack our suitcases before we leave for an overnight trip, or get paranoid for no reason at all except our silly insecurities. “You’re such a beautiful freak/ I wish there were more just like you/ You’re not like all of the others/ And that is why I love you…”

“By Your Side” – Sade

“You think I'd leave your side baby? You know me better than that…” Of course you wouldn’t. Now you’ve found that one in a billion person who thinks your crazy bits are sexy no way you’re leaving, they’re stuck with you! Perfect romantic love, undying to the end of time, that’s the real fantasy. Yet it is one we all cling too, like drowning people to a life raft. Hope that true love really is out there is what keeps us celebrating a silly holiday, when we should be rejoicing in our love lives everyday. Remembering those little acts of romance everyday, that remind the person you love that you do indeed adore them everyday, and that you really are there for them when they need you. Sade, that Queen of cool jazzy soul music says it best in her breathy, sultry voice: “oh, when your cold/ I'll be there to hold you tight to me/ When your on the outside baby and you can't get in/ I will show you, your so much better than you know/ When your lost, when your alone and you can't get back again/ I will find you darling I'll bring you home…”

“Fuck You (I Want To)” – Get Set Go

Ok this one is pure lust. No love here, just sex. And what’s wrong with that? I think just sex gets a bad rap. I personally am a great proponent of just sex. Commitment scares the hell out of me! Strange thing about this little song is that it’s not particularly passionate, or lusty or even emotive. It’s an everyday regular pop song that sounds like The Beach Boys meets Blink 182. It’s the lyrics, and if you’re not paying attention to the song at first the lyrics are the hand under your chin yanking your head in their direction. “You look pretty cool, I think I wanna fuck you/ I do, I do, I do/ I wanna fuck you sore/ I wanna fuck you raw/ I wanna fuck you hard/ I wanna fuck all night long/ When you let me come inside/ It's like a little slice of suicide/ I wanna fuck you raw…” Let’s hear it for good old fashioned lust!

We all have them, songs that seem to touch a secret place in your soul – sometimes secret even from you. They can grow and occasionally fester like an open wound, or they can fill you up, inspire you and occasionally even heal you. Sometimes they don't even reflect your musical tastes. They can be shameful secrets that you keep from family and friends. You feel like a drug addict craving your next fix. At times like those you thank the powers that be for MP3 players - the syringe of those suffering with this affliction. This is a special two-part Valentine’s Day instalment of Songs that Touch My Soul.

Valentine’s Day probably originated with the 14th century English poet Geoffrey Chaucer (author of the very first work of fiction in English The Canterbury Tales) who romanticised in poetry the legend surrounding several early (Roman times) Christian martyrs, all named Valentine, to fit in with the Medieval court’s fashion for romantic love.

So romantic love is certainly the basis and the reason for Valentine’s Day – well, that and the card and chocolate industry need the yearly boost – but I can’t help but think that romantic love is only part of the story. So in this edition of Songs that Touch My Soul we will celebrate ALL kinds of love and even heartbreak, because where one goes the other always follows. Just a warning, this may be more than just gently dirty, I frequently fall directly into smut.

“Little On Up” - Nils Lofgren

Let’s begin with the purest, most incorruptible form of love; the love of a parent and child. In this song, guitar virtuoso Nils Lofgren (now with the E Street Band) sings a beautiful tale about a father raising his daughter alone. The honestly expressed love, pride, and respect of the lyrics touch a place in my soul that also seems to trigger my tear ducts. But who wouldn’t have a tear in their eye when hearing lyrics like: “I remember your birthday/ your first breath out of the womb/ we were all crying, you were screaming/ it was the most beautiful tune/ God needed mother in heaven/ suddenly it was just you and I/ I felt so shattered and useless/ if not for you, I'd have surely died”. Lofgren’s raw, natural vocals lend themselves beautifully to this sweetly nostalgic tale of one daddy’s love for his perfect little girl.

“Kind and Generous” – Natalie Merchant

It’s not just parents that love their children, sometimes children love them back. Now that I am the mother of a 14-year old daughter I know I understand my parents a lot better, and that understanding has led to a, sometimes heart-swelling feeling of love, respect and pride that I’m their child. This song by the former 10,000 Maniacs frontwoman is exactly what I want to say to my parents. So mum, dad “You've been so kind and generous, I don't know how you keep on giving/ For your kindness I'm in debt to you/ For your selflessness, my admiration/ For everything you've done, you know I'm bound, I'm bound to/ thank you for it….”

“These Words” – Natasha Bedingfield

Imagine your brother is a number one selling pop-star, you get signed to his label and many think it’s because of your older brother’s chart success. The label is piling on the pressure to write a hit pop song. Then your brother goes and writes yet another chart topper. You might hate them, unless you’re the Natasha Bedingfield, then you’ll just write something like: “Now you've gone & raised the bar right up/ Nothing I write is ever good enough/ These words are my own/ From my heart flow/ I love you, I love you, I love you, I love you/ There's no other way/ To better say/ I love you, I love you…” I guess you can love your siblings even when they are more successful. You have to put that rivalry away someday.

“Ugly” – Sugababes

Loving your family is important, but more important than that, and more difficult, is learning to love yourself. And for some of us it’s not just our own self-doubt we have to battle. In 2005 the British satellite TV station Sky One aired the programme Celebrity Mingers (the definition for a minger in the Urban Dictionary is “British slang term for someone so appallingly ugly, their appearance can cause gastro-intestinal distress, erectile dysfunction and/or vaginal dryness”) included in the list was Sugababes’ songstress Mutya Buena. The hit song “Ugly”, followed on their next album Tall in More Ways and tells you all you need about her reaction. “Everybody talks bad about somebody/ And never realises how it affects somebody/ And you bet it won't be forgotten/ Envy is the only thing it could be/ People are all the same/ And we only get judged by what we do/ Personality reflects name/ And if I'm ugly then/ So are you…” For the record, I don’t think she’s a minger.

“Bubbly” – Colbie Caillat

This perfect, gladsome, engaging love song captures perfectly the feeling a woman gets when she starts down that road to being truly in-love. The key to this elegant little song’s success is that the simple backing music of acoustic and electric guitar, some synth and drum, accomplices the light-hearted lyrics: “You've got me feelin' like a child now/ 'Cause every time I see your bubbly face/ I get the tingles in a silly place”. And the chorus of “They start in my toes/ And I crinkle my nose/ Wherever it goes/ I always know/ That you make me smile/ Please stay for a while now”…

“Like the Way She Moves” – Chris Isaak

“I was laying in bed trying to catch my breath. Half ashamed half smiling at the things we did. She made it clear from the start it was a one night stand. But I was thinking of ways to make her change her plan.” Ok this isn’t love, but it sure feels like it when it’s you lying in bed sweaty, sated and sleepy, you’ve just had the best sex of your life with a person who also made you laugh. It’s not love now, but why couldn’t it become love? Chris Isaak’s throaty, earthy vocals and the bluesy roots-rock guitar, accent the libidinous lyrics that express just that very feeling. This song is a delightfully lustful, sensuously naughty song that touches me in the centre of my carnal soul.

I was going to be driving across Scotland on my way to Ullapool to visit a sick friend; I figured that, the four and a half hour drive was as good a time as any to listen to a few CDs that had been submitted to me for review. I ripped them all and put them on my MP3 player ready for the long, but breathtakingly beautiful drive through the Scottish Highlands. Usually my musical fare on trips like this consists of music that enhances the visual splendour, that sounds like the world around me looks; and in the case of the Scottish Highlands that would be Afro Celt, Wolfstone and Chopin.

In the car, not long into my journey I slipped into that all too familiar state of semi-conscious driving, while having a deep conversation with the little voices inside my head. About 45 minutes into my drive, just north of Perth, with the green mountainous majesty of the Scottish scenery slipping past me steadily at 70 mph, a deep melancholy, bluesy guitar riff grabbed my attention. The fabulous riff was quickly glazed by a smooth, honeyed female voice, joined in harmony by a round, sweet male voice to complete this bittersweet, nostalgic melody, rippling with bluesy, alt country atmosphere. This was my introduction to The Bittersweets.

As that first song, “When the World Ends,” unfolded it was clear that this band’s name fit perfectly with their happily redolent Americana sound; the rolling harmonies and melodies, a gritty, rugged, youthful sound with still, smoothed edges of age and wisdom to add weight and balance. The Bittersweets sound fit perfectly with the bleak, cozy beauty of the countryside, the backdrop of my awesome introduction.

The Bittersweets are a Nashville-based band formed around vocalist, songwriter and multi-instrumentalist Chris Meyers, vocalist Hannah Prater and former Counting Crows drummer Steve Bowman. Together they have created a roots rock/alt country sound that isn’t too country and not too rock and roll. Think Rilo Kiley without the twang or Shawn Colvin minus the twee.

Their debut album, The Life You Always Wanted, released in 2006, is one of the strongest and most surprisingly mature albums from a young band I have heard. Prater’s voice has a silky smooth, gentle, dulcet quality that weaves an enchanting aural picture, with echoes of vocalists like Norah Jones, Natalie Merchant and Emmylou Harris. Meyers’ lyrics and music are thoughtful, never overwrought, never pushing you too far, but instead lulling you into a warm comfortable place. His vocals, whether harmonising with Prater’s or serving as main vocals are fluid and guileless. When they mingle together, Prater and Meyers’ voices have a bittersweet quality, which wraps you in a complaisant blanket of luxurious nostalgia.

As I listened to the album over the next few days, its impact on me never diminished. Second track “Adam” continued The Bittersweets,’ bittersweet journey, shifting the tempo up, but still managing to maintain that tender and resolute atmosphere. Other stand-out tracks include “Bag of Bones,” a meandering, softly dramatic song. Here the music feels like Prater’s own breath, sung tortuously, delicately and the effect is dynamic, a supple willow tree bending with her every sigh.

“Long Day” is an effervescent tune with perfect harmonies and melodies, filled with sorrow and weariness, but so subtle is the heartache that you might not even notice it. “Houston” sees songwriter and guitarist Meyers get a chance on lead vocals. The resulting switch in gears is an interesting addition and Meyers’ pleasingly poignant, throaty vocals add an amiable twist in the road. “Burn Out My Eyes” is a heart-rending song, Prater’s voice once again achingly delicate, and tender, the music controlled by her breathy vocal ministrations. “Shooting Out the Sky” is a beautiful ballad with all the mellow, sentimental emotion that The Bittersweets are so good at.

The Bittersweets are a band that shouldn’t be missed, and their debut album The Life You Always Wanted really should be in your music collection. Both The Bittersweets and the album will be making a regular appearance on any car journey across Scotland I make. To hear The Bittersweet’s for yourself, you can visit their MySpace space or their own website.

The Bittersweets are the Nashville based band formed around vocalist, songwriter and multi-instrumentalist Chris Meyers, vocalist Hannah Prater, and former Counting Crows drummer Steve Bowman. Together they have created a roots rock/ alt country sound that isn’t too country and not too rock and roll. Think Rilo Kiley without the twang or Shawn Colvin minus the twee.

Their debut album The Life You Always Wanted released in 2006, is one of the strongest and most surprisingly mature albums from a young band I have heard. Not that the band members are overly young, but that they had been playing together only a very short time (a few months) before they recorded it. Prater’s voice has silky smooth, gentle, dulcet quality that weaves an enchanting aural picture, with echoes of vocalists like Norah Jones and Emmylou Harris. Meyers’ lyrics and music are thoughtful, never overwrought, never pushing you too far, but instead lulling you into a warm comfortable place. His vocals, whether harmonising with Prater’s or serving as main vocals are fluid and guileless. When they mingle together, Prater and Meyers voices have a bitter-sweet quality, undoubtedly the inspiration for the band name, which wraps you in a complaisant blanket of luxurious nostalgia.

This week I interviewed Chris Meyers for Band of the Week. An intelligent, witty, and fun man whose talents seem to lean to this side of prodigy. Meyers taught himself to play piano by listening to Bruce Springsteen’s album Born in the USA, a guitar rock album if ever there was one, and playing the chords over and over again on the piano, when he was just five. Our conversation was a long and winding one, and what follows is the highlight of our chat.

Tell me about your debut album The Life You Always Wanted. It has very biblical themed titles. What’s that about?

It does have biblically themed titles; it’s one of those things that just kind of happened.

It’s not a Christian music album though, right?

It’s not a Christian album at all! I don’t mean that to be like it’s a heathen album, it’s just not Christian rock. I think that biblical imagery is really powerful, at least in America, it’s universally understood too. Like when you bring up something like the rapture to talk about a woman who’s freezing to death in her car, I think that’s appropriate.

Is that what your song “Rapture” is about?

Yeah. And people bring up “And Death Shall Have No Dominion”, which is actually my response to the Dylan Thomas poem, I wrote while my grandfather was dying. It was my mediation on that Dylan Thomas poem while that was happening.

Tell me about your second record. You’re the primary song writer for the band, and wrote all the songs on the first album I know, but what about your soon to be finished second album?

Second record I’ve written the most songs, but Hannah has written one – which is actually one of my favourites. And she co-wrote, I think we co-wrote maybe two of them. Then Steve (Bowman, drums) has started writing too. I don’t think he finished the song in time to make the record, but I think if we do a B-sides or European release that there is a chance that it will make it. It’s being produced by this wonderful producer, whose one of our favourites, a guy named Lex Price. He has worked with all sorts of people like, Mindy Smith, Glen Phillips, Toad The Wet Sprocket and Melissa Etheridge. He’s a brilliant producer and has brought together a group of great musicians, all these great Nashville musicians that he got on board to do the record.

And you have relocated from the Bay Area of California to Nashville in order to make your new album correct? So how do like Nashville? Do you find it more creatively stimulating?

Yes, I love it! I fell like everybody I meet here is a musician and not just a mediocre musician, but a really good musician. Half the houses in town are recoding studios, everybody is a songwriter or a guitar player. I used to think that it was much more a country town, like country music, but there are so many different musicians living here now, that it’s kind of like everything. There is this great, indie/folk/Americana theme. We have gotten to know a lot of folks and it’s been absolutely wonderful for us both creatively and personally.

I think it’s a lot easier when you’re hanging around musicians ‘cause they get your lifestyle and the relationship. If there is somebody who’s working a nine to five job, that you are trying to have a friendship with, and you keep leaving for months at a time (laugh) people just don’t know when you’re available to hang out or whatever. Here everybody knows ‘cause everybody doing it, you just check somebody’s tour schedule and see when they’re getting back into town and then you give them a call and go grab a coffee or whatever.

That must be difficult, to try and have a social life while building the sort of career that takes you away so much. Do you manage to have a personal life or a girlfriend?

No, on all accounts. I feel like I was kind of built to play music and tour. My body kind of lends itself to being on the road and playing music, my whole make-up, it’s how I function. I love being on the road, I love being in the studio. I don’t feel like I don’t have a life, especially here; it’s a lot easier to have a life ‘cause you can hang-out with people and then take off and that’s kind of the whole deal.

Do you have aspirations to have a wife and family someday?

I’m a very in the moment person. I tend to live very in the moment. I think because of that I don’t really think about the future that much. I’m just kind of living in the now thing. This is great I love what I’m doing right now as I’m doing it.

So, that in the moment thing, does that effect your song-writing as well?

Yeah, you’re absolutely right, that’s exactly how I write songs. A lot of people will sit down and stew over their songs, edit them, and change things here and change things there. I’m very in the moment, but also a subconscious writer. Meaning I don’t sit back and think through lyrics a lot when I write, I just go with what’s coming to me. I might sit down and write the music, write the tune that’s in my head but not write words to it which is pretty common for me. And it will just stick with me for awhile and someday I’ll just start humming it again and I’ll sit down and pour through the whole thing.

Where do you see yourself and your music in five years?

You’re asking me a future question and I just told I’m an in the moment person. (laughs) I really don’t define success as having some huge band, playing arenas or anything like that. I would just love to have a solid group of people who want to hear the music, who want to listen to the music. The goal I guess is to get the music in front of as many ears as possible.

To hear The Bittersweet’s for yourself, you can visit their MySpace space or their own website.

Girl In A Coma (GIAC) is a modern, ultra-hip mixture of 50s retro, modern punk, lilting Irish folk rock and alt rock with a tough girl attitude. Think Indigo Girls, Siouxsie Sioux and Shirley Manson in a dark alley kicking the shit out of the Pixies.

GIAC look like the Suicide Girls, and have more attitude than a pissed off Alanis Morissette with PMS. But don’t get me wrong, there is nothing girl rock about GIAC. Their stylised punk hooks and riffs, Nina Diaz’s slick, swaggering vocals and lyrics that show an impressive IQ and startling wisdom in one so young (19) are the building blocks of a sound that is, by turns dreamy and ethereal, edgy and angst-ridden.

Now their debut album Both Before I’m Gone is getting recognised and spreading their fast-paced gritty brand of alt rock/punk to a wider audience.

Most recently the San Antonio based trio landed the support tour of the century, when they were asked to support Morrissey on the European leg of his latest tour. All this since they were signed to Joan Jett’s Blackheart Record label in 2006. GIAC have been working to polish their sound and stage presence over the last couple of years, culminating in the release of this physical, brazen, raucous debut full-length album.

Both Before I’m Gone begins with the first single “Clumsy Sky”, the perfect track to demonstrate GIAC’s range in all its glory. “Clumsy Sky” begins as a subtle ballad but moves quickly, if slightly clumsily, into a punk-riff filled fearless track, which is as dirty and beautiful as it could be. From there the album slides into its second track and single “Say” (video included below) with driving drum beat and straight edge guitar riff.

But Both Before I’m Gone isn’t just ballsy galvanized guitar tracks, they have included a few sublime ballads – well tracks that are more ballad-esque anyway – most notably “Road To Home”. This surprisingly tranquil lullaby has softly lush guitar and slower gentler beats that will serenade you into a dreamlike state.

Other stand-out tracks include “Their Cell”, a song about longing and loss, with voluptuous melodies and harmonies and Nina’s emotive vocals, which seem to reach down into her pathetic, barely-beating heart to rip the pain from her chest to share it with you. “Celibate Now” opens with a retro-50s riff that weaves an evanescent veil of nostalgia around you; executed perfectly by Nina’ crooner-esque vocals and misty guitar riff. And finally “Simple Man”, which represents a complete change of pace for GIAC. This sweet acoustic song about the exquisite pain and pleasure of love is profoundly touching.

Both Before I’m Gone is a must hear album and GIAC are a band to watch and admire. These ballsy chicks are going somewhere. To listen Girl In A Coma you can visit their MySpace space or their website. I suggest you just buy this fabulous debut album from either Amazon or iTunes, as quickly as you can.

When you name your band after a song by a very famous, nearly legendary band like The Smiths, you’re bound to suffer from endless comparisons. If I were going to make comparisons between Girl In A Coma (GIAC) and The Smiths it would probably be something along the lines of, smooth sounds, passionate, ironic lyrics, and Morrissey-esque vocals. Let me say right now, I’m not a huge fan of Morrissey, what with his famous bouts of diva-esque behaviourfrequent displays of arrogance and attitude, and his apparent disregard for his fans.  You won’t see me making comparisons lightly. However frontwoman Nina Diaz has the kind of voice that makes you think of a young Morrissey, addictive to listen to, creamy smooth, warblingly melodic and alt-rock rich. GIAC’s retro cool sound has shades of The Smiths, with the attitude of Nirvana, and the smell of Elvis; ultra cool, laid-back punk with alt rock sensibilities, and that 1950’s aw-shucks style charm.

Sisters Nina (vocals, guitar) and Phanie Diaz (drums) and high school chum Jenn Alva (bass) from San Antonio, Texas have been playing together, writing songs, and developing their retro-cool, unique sound over the last eight years; and now, signed to the queen-of-rock-cool Joan Jett’s label Blackheart Records, they have released their debut album Both Before I’m Gone and are embarking on a tour of the UK, opening for none other than Morrissey himself. Unfortunately their recent tour schedule means I had to conduct this Band of the Week interview via email, something I hate doing. However with a band as exciting and talented as GIAC I was willing to make an exception. Below are the questions as answered by Phaine, and beneath that I have attached the video for GIAC’s hot single “Clumsy Sky”. Enjoy!

How did Girl in a Coma come together?

We came together in 2001. Jenn and I [Phanie] had been playing in punk bands around San Antonio through the mid '90s. Then we decided to stop for a while since we could never find the perfect chemistry with anyone. While we were playing I had shown Nina (my younger sister) some chords and she kept at it. One day she asked to show us a song she had written. When she was done we were completely blown away with her writing skills and voice. We immediately started a band with her despite our eight year age gap.

Tell me about Both Before I'm Gone. What kind of sound are you going for? What are you currently listening too and what effect does that have on your current sound?

Both Before I'm Gone is a collection of what we consider our stronger songs over the eight years we have been together. There is not specifically any sound we are trying to go for. When we get together and write, it either works or doesn't. We definitely grew up with different influences which now obviously come out in our style. I grew up with a lot of punk and riot girl, Nina loves old jazz and singer/songwriters and Jenn is a huge Elvis fan.

I think my drumming style is definitely more towards punk and simplicity. Nina has the crooner type voice that she picked up from singers such as Billie Holiday and, of course, Moz [Morrissey]. Jenn just loves to go all over the board. She has a wide range, which spawned off of bass players such as Peter Hook, to bass lines from older Elvis songs.

What is your song writing process? Do you write the music and lyrics as a group?

It usually starts with Nina. She likes to sit alone and write a main hook. Once she shows us, Jenn and I will start writing out parts and helping her guide the songs along. Nina always writes the lyrics. They’re usually based on observation of either our lives or other peoples. Lately she’s been into a lot of musicals, so she’s been writing little tales as lyrics now. Sometimes the best songs come out of us just jamming together. At practice we will start knocking off and just flowing, that’s actually how we wrote
“Race Car Driver”. Once in a while, I will pick the guitar and try to write since I used to play guitar in my earlier bands. I got to write the music for “The Photographer” and the main guitar line for “Mr Chivarly”.

You're about to tour with Morrissey, how does that feel? Are you nervous?

It's definitely an amazing thing. I mean, whoever gets to tour with their main influence?! We feel very lucky to be on tour with him and we’re just amazed that he likes us. He could have easily been “Girl in a Coma? What a stupid name! I am not listening to this.” But he did listen and he liked it. It’s obvious we are fans. We really do respect him though and try not to be fans while we tour. We are there to do our thing and to show our music. We do get nervous because the people are not there to see us, and we’re just another block to the main show. We never know how the Moz fans will be, they are definitely fanatical for him. But overall, we have been well received and always have a great time playing for them.

Where are you hoping to be in five years time? What do you want for your careers/music?

We hope to still be doing the same thing. Touring and making albums. Look at Sonic Youth, what they’re doing is amazing, still making albums, still touring. It’s great. We plan to be around for a long time.

To listen to more tracks by Girl In A Coma you can visit their MySpace or their website. I suggest you just buy their fabulous debut album Both Before I'm Gone, from either Amazon or iTunes, as quickly as you can.

“Clumsy Sky” by Girl In A Coma from their debut album Both Before I'm Gone.