| | Ellegarden Eleven Fire Crackers CD Ellegarden Discography of CDs
This record has a couple of song titles with hieroglyphs and some lines sung in Japanese, but barring that, it could have been done in California and no one would have batted an eyelid. On Eleven Fire Crackers, Ellegarden offer 11 (well, obviously) pop-punk tracks that follow blink-182 in their prime -- i.e., around the end of their career, when the Americans got the dorky teenage humor out of their systems but hadn't yet succumbed to the bloated pretentiousness that was Angels & Airwaves. But blaming Ellegarden for a lack of originality wouldn't make much sense, because all the American pop-punkers are doing it anyway, and what's more, the Japanese boys actually handle their task very well. Ellegarden find just the right balance in their songs. They're not afraid to be serious (a problem for many bands of the same ilk) but don't overdo the "anthemic" part -- and they have the hooks to back up the teenage emotions they're trying to express. There are a couple of blunders, particularly "Gunpowder Valentine," but songs like "Salamander" more than make up for it, even crossing into power pop territory and almost drawing comparisons to Jimmy Eat World or Weezer's poppier moments, were it not for the fact that those bands would never be able to keep the pace with Ellegarden. Eleven Fire Crackers is obviously an album listeners have heard before under different names (done by the same band, as well as by many others), but there's no denying it's a fun listen. ~ Alexey Eremenko
Ellegarden: Takeshi Hosomi, Shinichi Ubukata (guitar); Yuichi Takada (bass guitar); Hirotaka Takahashi (drums).
Eleven Fire Crackers Music Ellegarden Eleven Fire Crackers Songs Eleven Fire Crackers Music Eleven Fire Crackers Review
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DARK SIDE OF THE MOON was a benchmark record. It turned the musical world on its ear with a hitherto unseen combination of sounds, and changed things considerably for Pink Floyd. For this project, Pink Floyd resurrected older and unfinished numbers, some of which came from the multitude of soundtracks the band members had previously ...
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Riddled with hits that never were and draped in a denim jacket that was just as flashy as any of labelmate Gary Glitter's sequined sleeves, Hello's debut album hit the stores in the aftermath of the band's sophomore hit, Russ Ballard's "New York Groove," and portrayed the north London quartet as the hottest band to hit the glam trail in at least a couple of years. Hello's breakthrough had always been threatening -- caught on the phone during Glitter's own Remember Me This Way movie, producer Mike Leander is heard proudly announcing that Hello was "taking off," a full six months before the group finally did. That they then promptly came back to land is one of those guilty mysteries that British pop will always have to live with -- Keeps Us Off the Streets also kept them off the chart. How different things might have been. Plans to release "Teenage Revolution" as the band's next single were shelved in favor of the non-LP "Star Studded Sham" -- a great record, but not a great follow-up. "Teenage Revolution," on the other hand, was a slow-burning stomp driven halfway between classic Sweet and ideal Glitter, and nailed into place by an insistent thumping harp. Elsewhere, a slamming cover of Chuck Berry's "Oh Carol" updated classic R&B for the requirements of an entire new generation, slapping handclaps and debauched guitar line included, while the title track is a superlative (if slightly Mud-like) celebration of wild wild youth finding salvation in rock & roll. There's also a reprise for "Another School Day," Hello's third single (from 1973) and, again, a rebel cry for everyone who ever thought education was simply an adult plot to keep them from more interesting pursuits -- "I'm just a bopper with the schoolboy blues." In an age when most of the most crucial stars had been rattling around the U.K. club circuit for at least a decade before they finally made it, Hello's fresh-faced grasp of what it truly meant to be "young" was as refreshing as it was honest, and it's that naïve insouciance that gives Keeps Us Off the Streets its greatest attribute of all. It may be decades old today, but it still sounds as snotty as ever. ~ Dave Thompson
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