I used to be angry. Back then, I'd listen to angry music. But I rediscovered The Refreshments while I was coming out of it. I'd bought Fizzy, Fuzzy, Big and Buzzy long ago. I'd been a fan of Banditos. I managed to record the music video onto a tape I filled with my favorite music videos. I really liked that song, and Down Together. The rest didn't click much with me. A year later Dan Pouw, my buddy at the time, said he was listening to the CD much. I gave it another couple of listens and started liking the song Nada a great deal. I saw they had a new CD out, The Bottle & Fresh Horses and bought it on a whim. A few of the songs clicked with me. I started listening to Fizzy, Fuzzy more. I listened to the The Bottle more. It had risen in the ranks, entering my top 20. I kept reading about their live shows. I'd be the wrong age (under 21) for a few, or away from town when they'd tour. The Refreshments fell apart. I'd follow their antics for a long time after. I kept up on any news. Eventually the band reformed as Roger Clyne & the Peacemakers. I preordered Honky Tonk Union, preorders come with a live CD, Real to Reel. The album arrived at the right time in my life. Stabbing Westward's anger was coming down with my own for their self-titled album, and RCPM was similarly situated. I was maturing, and RCPM was more mature. My appreciation for the band deepened with Sonoran Hope & Madness, and entrenched with the release of Americano. Shortly after Americano's release Josh and I finally managed to see them live at the Grand Emporium. It was everything I wanted. The best live show I'd seen. I felt happy, and the joy of the live show clinged to me for some time after. RCPM is the only band I've seen more than 10 times (no other gets close). I even went to Mexico, largely due to my affection for the band.
RCPM at: their website, their mySpace, me blogging about them, photo gallery of a concert.

Certainly one of the first bands I listened to that wasn't all that angry or angsty. Black Lab only got a bit of my attention with their first single, Wash it Away. At first I didn't like the song, then it grew on me enough where I'd sing along. Then Time Ago came along. I decided to purchase the album. I'd sing loudly and poorly with the song. My love of the song deepened, and others followed. Ten Million Year, She Loves Me and Gates of the Country all won me over. I suppose the songs spoke to the same part of me that Stabbing Westward had, the part of me that felt love that couldn't be returned. Unrequited love was one of the themes of high school for me. Black Lab sung of love and separation. I waited for a sophomore release. Their site went without update for years. I purchased the soundtrack for Can't Hardly Wait for a fix (the song Tell Me What to Say there appeared). I hunted down a copy of Keep Myself Awake from the Buffy TV show. I waited. I watched with some confusion as Black Lab appeared on both the Spiderman and Scorpion King soundtracks (I purchased neither). Then one day, on alternative addiction there was a story about a new Black Lab CD. In 2005 Black Lab released See the Sun, their first album (Your Body Above Me) had been released in 1997. I feel blessed by their perseverance. See the Sun was filled with songs that immediately felt good to listen to. One of the few CDs in my mp3/playlist world that was played back to back with itself before ever being ripped/burned/transfered. The album debuted in my new 626. The first song played over the Bose speakers was the title-track. I just felt good. Other songs have added significance for being the background to some very happy times in a thoroughly decent (now deceased) relationship.
Black Lab at: their website, their mySpace.

Counting Blue Cars was a bit of a guilty pleasure. 'Easy Listening' by my standards of the time. The type of song that I'd say was 'too soft' for my taste. But I'd listen to it on the radio. I recorded it on my tape of music videos. I'd learn all the words. My buddy Adam bought the CD and our acceptable range expanded to include it. Money was scarce and Adam owning it meant that I didn't need to. Eventually Adam started selling many of his CDs and I scooped this one up. I really enjoyed Moisture, Haze, Pretty Babies, Give, and Charlie Brown's Parents. The next album (And You Think You Know What Life's About) held many gems as well. Dishwalla provided songs that I loved to sing along with and even fall asleep with. I can't even guess how many times Until I Wake Up saw me off to sleep. The next album, Opaline, jumped Dishwalla from 'a band that I really like' to one of my favorites. From start to finish perhaps the most solid album that I own. Maybe my favorite album behind Roger's Americano. Opaline was the CD that saw me off to bed. Opaline was the album I'd make copies of to try to get people hooked on Dishwalla. Opaline was the album that made me not understand why people didn't love it as I did. Certainly some do, but part of me actually expected that anyone listening to it would be filled with that same feeling that I was. The next album (self-titled) again struck gold. I don't love it as I love Opaline, but I wouldn't make the claim that it was anything short of amazing. I can't point to a track that I don't like. Every track has the capacity to find its way onto one playlist of mine, or another. Dishwalla has accumulated one of the longest list of tracks worth playing on my computer.
Dishwalla at: their website, their mySpace.

I occasionally have more money than sense. I purchased Val Emmich's Slow Down Kid because amazon.com told me it was like Butch Walker (of Marvelous3). It was a rocky start as Val abutted the 'indie' scene that I despise so vehemently. But I gave Val a real shot. His production was tighter than most of the indie stuff I revile. His lyrics are clever. Sometimes he rocks in a more pure, traditional way. Bury Me had great pacing and fine guitar work, so I kept putting it in playlists. Separate Things and Shock soon followed. Slowly I grew to love the slower songs that have a decidedly more singer-songwriter feel like Boy Who Cried Wolf. The whole CD was pretty solid and I kept track of him and I'm glad I did, as his next album, Sunlight Searchparty, has joined the ranks of my favorites. The entire album is tremendous and its peaks are very high. New Year's Resolution was catchy and was played with high frequency. Then High Noon snagged me and my iTunes would attest that it is the song with the most plays in my library. Now is No Time is a great song. At the Risk of Sounding inspired my largest short story to date (which will be posted soon, I hope). The next album, Songs, Volume 1: Woodstock, was pre-ordered and it proved to be thoroughly decent, but didn't hit quite the same spot as Searchparty. Though his musical style is very dissimilar to RCPM he shares a key ingredient for winning me over: sincerity.
Val Emmich at: his website, his mySpace.

I liked the song Photograph, The Verve Pipe's first single. I liked the second single, The Freshmen, too. I believe I was a freshman in high school when it began its assault on the airwaves. Adam and I both purchased a copy of their first major record album, Villains. One of ours came in a normal jewel case. One came in a blue case. The CD held more diversity than its mega-hit. I really enjoyed the title-track and Reverend Girl. Adam got me hooked on Cup of Tea. Many other tracks have since fallen into my favor. I rembember being confused seeing their sophomore album in stores. It was self-titled and I'd not heard a thing of it coming. I purchased it and listened it through a couple of times. I immediately became attached to the second track, She Loves Everybody. It moved me. I'd explain to Adam that the album was more solid than Villains, but didn't have standout tracks for the radio. The lows weren't as low, the highs not as high. I enjoyed the CD, but it didn't do very well. Two years later, I purchased the third Verve Pipe album, Underneath. I gave it a couple of listens and felt disappointed. Nothing clicked with me. I didn't follow the antics of the band for a time. I eventually read on alternative addiction that the band had gone their separate ways. I read of The Verve Pipe's leadsinger working on a solo album. I didn't think too much about it. Eventually there were pretty cheap, used copies on Amazon, so I bought a copy of Ressurection, Brian's solo debut. It arrived, I was blown away. The album felt like the most sincere music I've ever heard, performed by someone who could convey all the meaning. The three Verve Pipe CDs felt like a man climbing up, and finding happiness. Resurrection sounded like a man who'd found happiness and lost it. It writhed in pain and hope. It was mature sorrow. Not of the emo variety. Not of the 'Stabbing Westward's Darkest Days' variety. The album got me. I purchased his live album, Within Reach. I waited patiently, and Brian released the completely independent Angel, Put Your Face On. Angel is one of the most satisfying albums I own. Some songs are peppy and rebelious. Most all of them are clever. They tell stories. Another Good Man makes me jealous as a writer. Over the course of a four minute song, Brian spins the beautiful story of a dying man. You feel with the man as he appreciates those in his life.
Brian Vander Ark at: his website, his mySpace.

Sully invited me to a concert headlined by Reverend Horton Heat, I agreed. I was told that the openers were going to be cool, too. Sully made two concert prep CDs. One with the Reverend and another with the openers. I didn't give either much a listen. On the drive to Lawrence we listened to some Murder by Death. I liked it just fine. I saw them live, I liked them enough to support them by buying a CD. Sully told me to buy their most recent, In Bocca al Lupo. It was pretty great. The album fit the genre I'm growing most fond of, which I dub 'dusty trail.' Songs that tell the tales of the untamed incivility of man. Songs of bad men with revolvers, trains rolling into town can be pretty great when put to the right lyrics and instruments. Murder by Death is less playful than RCPM, but that isn't necessarily a bad thing. In Bocca was very good, with Steam Rising, Shiola and The Devil Drives leading the pack. I bought the rest of their music. The first disc to arrive, Like the Exorcist, But More Breakdancing, confused me. The vocals from In Bocca sounded much like Johnny Cash and they were in the fore. For Like the Exorcist they were pushed back and didn't sound much like Cash. It didn't fit the 'dusty trail' genre in the least. I gave it some time and came to really appreciate the disc, it was original and resourceful and the first track, I'm Afraid of Who's Afraid of Virginia Wolf was infectious. After some undue delays the second disc, Who Will Survive, And What Will be Left of Them?, arrived and it hit the spot. This album is one of my favorites and it is one of the finest examples of the 'dusty trail.' Who Will Survive is a concept album, almost like a musical where the Devil heads down to Mexico and some badness follows. Even in this day of playlists and shuffle I often find myself wanting to play this album from begining to end. Murder by Death at: their website, or their myspace, and finally my blog post from after seeing them live.

Stabbing Westward spent a long while as my top band. What Do I Have to Do? grabbed me from the radio. I heard it once, I needed to hear it again. I recorded it from MTV's Alternative Nation late one night. Adam Riha had purchased Wither, Blister, Burn + Peel and we listened to it often. WBBP was the second CD I purchased (behind Weird Al's Bad Hair Day), the third CD I purchased was Stabbing Westward's first album, Ungod. Ungod represented the rage and anger of rejection. WBBP represented the painful introspection that comes a year or so after the rejection and loss. I felt those thing for some reason. It strikes me now that lyrically Stabbing Westward had a lot in common with Emo songs of today, but their approach was more my style. Thrashing about violently. Both Stabbing Westward albums were copied to cassette tapes for my long drive to Alaska when I was 15. Darkest Days came out and met and exceeded expectations. As strange and sad as it is to say, the story arch presented in the albums of Stabbing Westward seemed to well reflect my own life. This album, to me, represented the directionless, the absence of passion which often follows loss and rejection. One can want to be with someone a great deal, then move along, but never find anything to fill that hole. Darkest Days sings of that hollowness. At 16 tracks, there was more to chew on in Darkest Days (both prior albums had 10 tracks). Each CD had about 2 tracks that I can do without. Then Stabbing Westward fell off Sony/Columbia. Eventually we got a 4th album, the self-title Stabbing Westward. Mixed reactions from my friends. I liked it, for the most part. I'd left my anger, rage, sorrow behind. This album did too, for the most part. Some songs touched on happiness, satisfaction and a general sense of moving along. The CD wasn't the most solid, with at least 3 throw-away tracks. The band broke up. Apparently the band wanted to pry some creative control out of Chris's hands, Chris didn't liking songs he didn't write and feel, so they went their separate ways. Chris Hall has since started up a new band that sounds like older SW, the new band is called the Dreaming.
Stabbing Westward at: their website.
the Dreaming at: their site, their mySpace.

I'd declared long ago that if Trapt could release two more albums as good as their first they'd jump to a firm spot atop my favored bands. Their self-titled debut was terrific. I had my doubts. Their radio single, Headstrong, was catchy but seemed that it would grow thin. It wasn't that complicated of a song. Plus, by the time Headstong came along, most of my anger was purged, what remained was more nostalgia than anything I was feeling. But, my money flowed freely and I purchased it. I was greatly impressed. Their lyrics were very clever. The vocals were highly discernable. The instruments were all played well. The band had a recognizeable sound. Stories and These Walls were very different in tone and heaviness from Headstrong and Hollowman, but I could tell by the opening guitars that it was Trapt instantly, no matter how big the playlist. I look at the list of tracks of their debut, and to this day, I can't find one not worth putting on a playlist or a compilation CD. The weakest tracks are still very strong. I loved the debut, and fairly soonafter I saw them live. They played at Memorial Hall. Trapt followed Three Days Grace and went on prior to Nickelback. They were incredible live, and had the audience for every song. The crowd sang along with everything. I roared. I lost my voice for a bit. Time passed. I bought the Made of Glass EP to get a little more fix. I waited and Someone in Control arrived. I bought two other CDs that day, threw them all in a playlist and trimmed tracks that were less good. No Trapt tracks were trimmed in the pruning of that playlist. Another completely solid CD from the band. If they can go 3 for 3 they'll likely have a place secured for 'top rock band' in my book.
Trapt at: their site, their mySpace, me blogging about the concert

It began with Little Black Backpack. It was catchy and involved the word 'upsmack.' I bought the CD, Nasty Little Thoughts, it was pretty great. Backpack was fun, but many other tracks went the sentimental route and did it well. Make It Last has remained one of my favorite tracks ever since I bought the album in '99. Three years later Rip It Off hit stores. The thing most resembling a hit on it was Kick Some Ass, which was fun but other tracks shined more brightly for me. Clever lyrics filled the disc, We Were Wrong being standout regarding its lyrics. Vacuum Bag struck a chord, one of those songs which said something I felt, but couldn't myself iterate. The disc was varied, funny and heartfelt. Good stuff. Two years later and All In arrived. Again a solid, varied album. There were some excellent, playful songs (Rod Beck, Parte, Words to Live By) and one song stood out as featuring both memorable lyrics and a small guitar solo, where the instrument emoted (My Advice). Stroke 9 has delivered consistently for quite awhile.
Stroke 9 at: their website, their mySpace.

I remember first hearing Sinch while working at Blockbuster. I'd turn the Satellite tuner to the progressive rock. Something More came on. I had a habit of writing the standouts on a sheet of paper. I wrote Sinch down. The paper was lost by the time I ventured to Target to purchase their stuff. Sinch and Finch sat side by side. I felt confused, which one did I write down. I looked at fonts, at track names. 'What it is to burn' sure sounded like my kind of music. I grabbed that. Not the right one. I went back for Sinch, and was pleased. Their self-titled album was great. I listened to Something More repeatedly, then I added a couple of songs to my rotation. Seven, The Arctic Ocean and The Silent Acquiescence of Millions quickly climbed my charts. The lyrics were tremendous. Silent Acquiescence really struck a chord, lyrically. I'd been surrounded by so many apathetic people. The rest of the tracks fell in, every one of them. Then I started poking around their website, and found that they were handing out about 20 tracks for free. Three were straight off the self-titled album, and 17 that weren't. Live tracks, acoustic tracks, an older EP, older versions of some tracks. Then Clearing the Channel, their second album. Again, the album was adopted in waves. A few tracks immediately had my approval, the rest fell in over time. Then they launched their Sinchcast. Every week they'd release a previously unreleased track and talk about the track, talk about recording. They'd talk band stuff. Sinch has given away a great deal of music for no charge. They've released a Live EP and a remix (but that term falls short of describing what they did). They are a great band to like, because they give so much and they explore their own music.
Sinch at: their site, their mySpace.

Like most I heard Cumbersome on the radio and MTV. I wasn't really hooked until Water's Edge. I remember recording it on my VCR late one night from MTV's Alternative Nation. I'd watch the tape of that music video with some regularity. I eventually bought American Standard and it grew on me. It started good, but my fondness deepened. I liked every track, which was uncommon. I waited and eventually they released the followup, Rock Crown. It was decidedly more chill and had fewer standout tracks. Not nearly the album that American Standard was. Lucky was my favorite song from that CD. Then came Orange Ave, which was more energetic than Crown, but not as catchy as Standard. Then came The Economy of Sound, which felt more uppity and solid than Rock Crown, but less impressive than Standard. Then their record label fell apart and they were in limbo. During this time of uncertainty they created an EP, Welcome Race Fans, which was their best work since Standard. Each of the tracks was great. They seemed to have more passion. I think hanging over the brink of oblivion they faced the potential death of the band and they were reminded of exactly why they were making music. They got a record deal again and released Dis/Located, which was probably the best album they've released since Standard. I've seen them live twice and they put on a good show. Their fans aren't as cool as I would've hoped.
Seven Mary Three at: their site, their mySpace, a concert blog

Favorite Songs:

the Verve Pipe – She Loves Everybody

TRAPT – Made of Glass

8stops7 – Question Everything

Dishwalla – Madlife

Sinch – Something More

the Refreshments – Nada

Flaw – Best I Am

Linkin Park – P5ing Me A_wy

Finger Eleven – Thousand Mile Wish

Live – Lightning Crashes

Marvelous 3 – Let Me Go

Sevendust – Angel's Son

Roger Clyne & the Peacemakers – Buffalo!

Seven Mary Three – Blue Letter

Tonic – If You Could Only See

Tool – Forty-Six and Two

the Nixons – Don't Cry

Stabbing Westward – Waking Up Beside You

the Refreshments – Mekong

Stabbing Westward – What Do I Have to Do?

Black Lab – Keep Myself Awake

Cool for August – Spinning

Dishwalla – Every Little Thing

Zac Maloy – Homesick

Chevelle – Don't Fake This

other bands of import to me:
Simmons   Days of the New   A Perfect Circle   Butch Walker   Revis   Our Lady Peace   12 Stones   Stroke 9   godHead   Evanescence   Godsmack   Goldfinger   Audiovent   Nonpoint   The Union Underground   Jimmie's Chicken Shack   Corrosion of Conformity   Project 86   Nickelback   3 Doors Down   Ultraspank   Lo-Pro   Three Days Grace   Metallica   30 Seconds to Mars   Audioslave   The Hunger   The Dreaming   Seether   Fuel   SpineShank   6gig   Sponge   Gravity Kills   Creed   Apartment 26   Deadsy   Puddle of Mudd   Vent   Damon Johnson   The Clay People   Stereomud   The Exies