Photo provided by Casey

Being a solo artist has it’s perks. You get to set practice times whenever you want, getting to a show is a cinch, and you, of course, get all the glory. But the thing is, you also have to have talent to be alone. And that’s something Northern Virginia artist, Casey has in spades. If you needed proof, just listen and you’ll agree. The folks over at The John Lennon Songwriting Contest did and made him a finalist in their 2009 competition. We catch up Casey and get some insight into him and his  single name approach to making some of the most compelling song writing this side of the Key Bridge.

Photo by Lisa Boggs (lisaboggsphotography.com)

To the best of my knowledge Mike Boggs isn’t actually a pirate, nor is he more than one person. But when he picks up one of the multiple instruments that he has mastered and hooks up his laptop in his homemade studio, he becomes We Were Pirates. Let’s discuss, and I promise to keep the pirate puns to a minimum.

While the name “We Were Pirates” probably isn’t a misnomer on purpose (like a trio called Ben Folds Five), he does seem to do the job of many.  Arguably one of the hardest working men in DC, Mike Boggs is a one man wonder band. He writes, records and plays all by his lonesome. The project started off as a guy who had an iBook, Garageband and a love of music, and it has turned into a pure pop-adventure. Boggs has an innate ability to write and record catchy pop tunes that seem to pillage and plunder (sorry, I tried) their way into your brain and incite a feeling of toe-tapping and hum-inducing joy.

The latest release from We Were Pirates is called Cutting Ties and it has received some well deserved attention. A couple songs were recently used on episodes of the DC version of “The Real World.”  And it’s no wonder, because the album has infectious songs from front to back and includes everything from semi-grundgy guitars (used in a Fountains Of Wayne type of way) to hand-claps and voice doubling (used in a Beach Boys type of way). It’s quite the clever little album.

“Settle Down,” one of the songs featured on The Real World, is a perfect example of the infectious music Boggs crafts. The album also includes the cover “The Three of Us,” another wonderfully perfect little pop song. Other standouts on the album include “Restless” and “Little Monsters.”

While We Were Pirates does take on two more members for live shows (his live help coming in the form of Gabriel Fry and Ben Skinner), there’s a feeling that the music is fantastic because Mike Boggs does it all himself, not in spite of. If “Cutting Ties” passed you by last year without a listen, don’t let it pass you this time around.

Learn more about We Were Pirates here.

Photo by Laura Neal

In 1977, NASA launched Voyager 1, the robotic space probe destined to visit Jupiter and Saturn (the largest of planets in our solar system). Thirteen years after its launch, Voyager 1 completed its mission and was now headed out into the far reaches of the solar system. At the request of famed astronomer and NASA advisor, Carl Sagan, Voyager 1 turned around for one last look at home. The subsequent photo that the small probe took was named the “Pale Blue Dot,” showing Earth as a tiny blue speck surrounded by a dark endless vastness. Of all the telescopes and missions all dedicated to exploring outward, this one photo turned the perspective back on us. It showed our little planet in this “great enveloping cosmic dark.” Take a second to think about that and it can change your perspective on a lot of things.

With that in mind, let’s talk about a band… it’s after all what we usually do here at DoS. We look at bands around the capital of one nation, that rests in the corner of that tiny “Pale Blue Dot.” Some bands are inspired by Dylan or Morrissey, or sunsets or baby smiles, or whatever. But this is a different story–a story of a band that is inspired by the likes of Carl Sagan and Richard Dawkins. They’re three friends who’ve known each other for almost 15 years and they call themselves The Very Small. “The name ‘the Very Small’ is a tribute to the idea of keeping things in perspective-from the world of the very large (nebulae and galaxies light years across) to the very small (the quarks, leptons, and fundamental forces that act as a foundation for existence)… understanding how precious and beautiful all of this really is,” says bassist Will McHenry.

So what sort of music does a band make when you’re inspired by scientists, astronomers and astrophysicists? Funky, toe-tapping, infectious rock music–that’s what. It’s what all the nerds dance to. These guys have been doing it for some time and have been playing together in some form or another since middle school. Jazz bands (!), pit orchestras, marching bands, choirs and school productions–you name it, they’ve played together in it. Will is joined by percussionist Aaron Mann and vocalist/guitarist Robin Smith. The three of them have been playing together in so many environments that when The Very Small started to take shape, their sound took a little longer to develop. Aaron’s take, “It’s definitely been a challenge sometimes to identify our own distinct sound… We didn’t create the band with any particular sound in mind, other than the vague ‘rock music with funk and indie influence’. At this point though, we’ve started to figure out how we want to sound and started to develop our own style. I think this will definitely come through on our next release. This first album was more just getting out the material we had generated as we really became a band.”

That first self-titled, self-released album came out last year and is not too shabby of a starting place. There’s funk found in the opening tracks, “Don’t” and “Guardians”–think Incubus in the S.C.I.E.N.C.E. days. On the other end of the spectrum is “In America,” a piano driven song that shows versatility. There are also two songs that are either partially or completely written in Spanish–”Ánimo” and “Uno Día”–inspired by time Aaron spent in Spain and Argentina. “Ánimo” is one of their standout tracks, a song about dancing with a sexy girl, full of “flamenco-esque” stylings like the trumpet and hand claps–a showcase for some of their innovative thinking.

This band is just full of surprises and tricks hidden up their collective sleeves. Their Web presence is another angle from which they attack. They have recently started releasing what they’re dubbing as “TVS Sketches,” which range from unreleased songs/covers to promo and practice videos. Their films are actually quite entertaining and sometimes quite hilarious. Will on the TVS Sketches: “Our original idea was to create some kind of ‘thing’ that gives fans new content to keep/increase interest without wearing them out… Often we find that people who are fans of our music also share other common interests – so being able to relate on that extra level makes our relationship with them much more special. The ability to be ourselves, to be ‘undressed’ (sometimes literally) in front of our audience is much more honest, comfortable and attractive-to us and our fans.”

The idea of keeping things in perspective is in the background of everything The Very Small does, from the big to the mundane. It’s clear that that they love what they do and that shines through in the funk rock that they make, but they don’t take themselves too seriously at the same time. In fact, they’re one of the more exciting, fun bands we’ve seen in DC for some time. They always seem to remember they’re just a group of guys doing what they love on that “Pale Blue Dot” Voyager 1 looked at from 4 billion miles away. Will explains, “Carl Sagan said something along the lines of, ‘If you encounter a human being, let her live–for in billions of light years in any direction you’ll never find another creature quite like her.’ I love that. All of this is so much more beautiful than we could possibly comprehend, and I’m honored to be able to experience this…take that, emo.”

The Very Small bring their energy to Jammin’ Java on March 30th for a breast cancer benefit and then The Rock and Roll Hotel on April 23rd. Visit them here: http://blog.theverysmall.com/

Photo by Luna Liu

If you heard that a band had named themselves after a stadium, what exactly would you expect their music to sound like? Something larger than life? Something you could bang your head to? Something, dare I say, you could fist pump to? Although Star FK Radium is somewhat named for the landmark of HFStivals past, you’re currently more likely to see them at Galaxy Hut rather than the Verizon Center. But the music created by this DC trio has a lot to say, even without lyrics, regardless of the venue.

Star FK Radium is the trio of acoustic guitar (Bill Martien), violin (Alissa Taylor), and drums (Matt Clarke). Their first full length release is entitled “Blue Siberia” which evokes a certain physical landscape of sorrow, beauty and solitude. The music obliges by painting emotion through every step of the album. So much so, the record’s producer, Jason Rubal (Dresden Dolls, Bitter Ruin) is quoted as saying “The music of Star FK Radium may be the most haunting I have ever done, while at the same time the most comforting.”

How do you classify haunting, yet comforting? Some have called their music “Chamber Rock”, while the band has taken to the label of “musicbox”. A living musicbox might be a closer description. All three of them are working moving parts and breathe their own life into the music making it less mechanical and more organic. The music isn’t one type of genre, but a multitude of them, blended as they flow and move from place to place. At times, it’s as if you’re witnessing a sonata being painted over an acoustic rock record.

The band’s Myspace page has a quote from someone saying their music would make a great soundtrack, and it’s true. I just happened to be listening to “Blue Siberia” during our recent snow storm (round 1) late at night as I looked out the window. There was a street, usually bustling with life, abandoned, and as the snow fell and the wind blew, the streetlights shown down on the snow, highlighting the emptiness of the area. I thought how fitting the two went together. And that’s the thing about this record, it can elicit feelings of discovery mixed with nostalgia. It’s a land not trekked by many. Haunting yet comforting.

Star FK Radium’s new album is now available online and they’ll be playing back in town in April after a March west coast tour. Visit www.starfkradium.com for info, live videos and more.

Photo Provided by The Jet Age

Throughout their past couple of albums, The Jet Age have had some pretty unusual destinations. The flight pattern for most bands includes the inaugural flight, which really lays down the basis for what kind of band it’s going to attempt to be. Next, there’s that crucial second flight, which is just as important. By this point they’ve got a little flight time under their belts and the band is feeling good, but now is the time to crank it up a notch. It is the time to take what everyone saw and heard before and turn that potential into a reality–all while simultaneously turning those expectations up on their head. With their third album, The Jet Age have now landed in an unexpected destination once again – In “Love”.

For those unfamiliar with Eric Tischler (lead vox, guitar), Pete Nuwayser (drums), and Greg Bennett (bass), the trio have come to be known throughout DC as the garage band of all garage bands. However, that in no way means they’re simple-minded or not worth listening to. They’re akin to taking a simple concept, turning it upside down, inside out and a completely different color. Take their previous record for example, What Did You Do During The War, Daddy? In that album, they took on a pretty intense subject matter – the state of a war-torn nation that contorts an American family man into a suicide bomber. That’s not quite your everyday rock album, now is it? But that’s what they do.

So how do you move on from there? How do you pick a different subject to write about that will make people say, “how did they do that”–again? The answer–do what you do best. Write with emotion. And what other emotional topic causes more happiness and more pain, more angst, and more glee than love? Writing with and emotional side isn’t anything new for them, though–even What Did You Do During The War, Daddy? had a lot of emotion within it’s boarders.

This is what In “Love” is all about. The emotional journey of having, not having, not wanting and losing love. Musically, the band has taken another significant step. There’s still a lot of the garage band feel, but this time it’s more accessible. On the song “It Could Be Brand New,” Tischler (the primary song-writer) sings of that age old quandary of “a bird in hand.” The chorus speaks to this as well: “But is this love?/And do you know what that means?/Because you thought that you loved her/And now you think that you love me.”

In “Love” is a solid third effort from The Jet Age. It’s not overly-sappy or overly-obscure. What it is, is a lot of rock that pulls in the listener that allows them to relate to the material. And it looks like that is becoming the M.O. of The Jet Age. Whether it’s a suicide bomber or just plain ol’ heartache, you’ll be on board.

The Jet Age’s final show of the year is next Friday (Dec 11th) at The Rock and Roll Hotel! Get more info about the show and the band at www.thejetage.net.

Photo By Sarah Law

Possibly one of the best things about DC is its transient nature. In a nation founded on the heterogeneous philosophy of bringing ”your tired, your poor, your huddled masses” into the arms of Lady Liberty, its capital is the epitome of the melting pot our nation grew up as and into. What band could represent the District — filled with such an assortment of life and culture — better than These United States? Now, there’s a lot of folks “from” DC, but “originally” from somewhere else. Such is the story with TUS, “originally” from Lexington, KY, but now “from” DC. As a someone actually “from” DC, I say that we’re more than happy to call them our own.

Everything Touches Everything is the third album from Jesse Elliot & Co. Earlier releases laid the ground work for the folk and alt-country foundations from which the band thrives. This album comes in as the band’s most accessible effort, by far. They do a fantastic job of honing in on Jesse’s novella-like song writing style, which is is usually bursting at the seams with literary references but doesn’t lose the charm of albums past. This time around, there’s a more cohesive feel to the band though. And it’s a little surprising, seeing how long it’s taken These United States to grow into a five-piece lineup. While Jesse may be the mastermind behind the band, it’s hard to do it all by yourself. That is, unless you’re comfortable with an accordion, a bass drum strapped to your back, bells on your toes and a kazoo around your neck. Most of the previous shows and recordings were done with the help of many, many musicians from all over the country — seemingly an attempt to employ a large portion of the lower 48 states. This task had to have been a  challenging, yet refreshing experience, but could also be called a hindrance for creating an identity. Everything Touches Everything is like the Louisiana Purchase of albums. After this record, you’re looking at a band who was blooming prior to, but now is finally taking shape. Emerging from that shape are fellow band mates, Robby Cosenza, Tom Hnatow, Justin Craig and Colin Kellogg.

If there could only be one true “single” on the record, it’d be a duel between the title track and the lead-off track, “I Want You To Keep Everything.” The former looks like the true attempt at a “single,” as evidenced by a pretty freakin’ awesome video. The latter sets the mood for the entire record and truly does what a lead off track is supposed to do-pull you in so deep that you can’t help but give the rest of the album a listen. Tucked between the two is “Will It Ever,” a pure example of lyricism to which the band has evolved: “I do not need to be saved/ I just want to be taken,” Jesse croons. And the arrangements do such an amazing job of really showcasing Jesse’s vocals. The whole thing emits an Andrew Bird mixed with a pre-major label My Morning Jacket vibe. On “The Secret Door,” we hear a feeling of promise pulled forward with a strong presence of the steel pedal: “I am pushing/ though myself to something else.” While the lot of songs clock in at the two-to-three minute range, “Good Night Wish,” the closing song, goes on closer to eight, yet doesn’t drag a bit and seamlessly rounds out the record.

Everything Touches Everything was one of two directions Jesse had planned for the new record-based off last year’s election. While it’s a bit scary to think of where the other direction may have taken us, this one is full of hope and promise without being over zealous. What these boys managed to construct is a folk-rock record so toe-tap inducing, so filled with energy, that if you were scared of the “folk” part, you won’t be anymore. They’ve creatively maintained the sound that made them one of the most toured bands in recent memory, while continuing to morph and evolve. And they’ve evolved into something for everyone without a loss of that quirk that originally had you telling everyone you knew about Crimes after you first heard it.

These United States create folk rock music that has all the heart and soul of folk, yet still makes one want to sing it loud from the rooftops of your height-restricted building. What else would you expect from a band majorly influenced by Dr. Teeth and the Electric Mayhem? They are conceivably one of the hardest working bands (three full length albums in 18 months!) and show no signs of stopping. This is good news for ears all across this land.

Photo By Kristian Whipple

It’s your 8th birthday. The family is gathered for cake and presents, and wrapped in last Sunday’s funnies with a Peanuts comic prominently displayed on the front is a gift – a gift from that tacky crazy Aunt. Uh-oh. You know what it is. Everyone knows what is it. You can already make the outline of the Hecht’s or Woodward & Lothrop gift box. The question is, do you open this present first, to get it out of the way? Or last, as an afterthought – with nothing to cleanse the palate after the toys have all been opened? Details, I suppose, for no matter when you open it, it’s there: an Ugly Purple Sweater. Within the boarders of our beloved district, there’s a man and a woman who took it upon themselves to name their “apocalyptic folk rock” duo after this most unfortunate pieces of clothing. But why? Does the music make you feel embarrassed when you wear it? Does it scratch at your neck so incessantly that you’re bound to pull the collar way out of whack? Quite the contrary, dear friends.

You Are Alone But You Are Not Alone is the new record from Ugly Purple Sweater. Sam McCormally and Rachel Lord use a plethora of tools and tricks to mold a brand of music that’s actually quite accessible. The songwriting is solid and clever, the banjo is twangy, the whistles are infectious, and the male/female harmonies run together brilliantly. And Sam and Rachel have implored the help a couple friends to help round the sound during performances and recording.

But let’s talk about that record. One of the instant standouts, no doubt, is “Jumbo Slice.” A perfect snapshot of how so many of us feel living in DC. Not necessarily fitting in with the hipster, trendy, “I-only-drink-beer-from-Belgium-unless-it’s-PBR” crowd, but not quite one of the people clawing at the foot of “the Hill” who think they’re more important than they really are. It’s a cross between an explanation, a defense, and a plea for help from our city. Like we’re uncomfortable in our own skin – but it’s our skin. Plus, who hasn’t taken an out-of-towner to Jumbo Slice (usually around 3 am)? The way Ugly Purple Sweater is able to encompass that into song is actually quite a relief.

From there the album is just as strong while slowing down in tempo a bit, even with the banjo still in full tow. There’s a greater chance of hearing the sometimes tender harmonies that Sam and Rachel’s voices are capable of. The closing tracks on You Are Alone are just as strong as the opening ones – although they couldn’t be more different. “Anne H. Matheson” and “Riversnakes” are creeping tales, almost haunting in nature, but every bit as enthralling if not more.

This Ugly Purple Sweater turns out to be much more pleasant than an embarrassing gift from a wacky relative. And it has been rumored that an actual ugly purple sweater makes appearances on stage with the band. But as far as gifts go, You Are Alone But You Are Not Alone is something you’ll want to receive and something you’ll want to pass on to all your friends. And you can do so here by naming your own price to download it! And you should, because this is one you’ll be proud to own.

Learn more about Ugly Purple Sweater at www.myspace.com/uglypurplesweater or uglypurplesweater.blogspot.com.

   Photos By Bill Jenne

Anyone can work a gain knob. Hook up to the amp nearest to you and turn it up until the cone flies into the next room. Done. But if you’re looking for real “distortion,” one could suggest you head to your nearest local vinyl emporium (say, like Crooked Beat in Adams Morgan, for example) and get your hands on a hot little record named You Better Run, Your Highness, crafted by Petworth locals, Girl Loves Distortion.

Girl Loves Distortion (whose name sounds like a chance to avoid the generalization that all girls love distortion, and all generalizations are bad, right?) is comprised of Steve Rubin, Chris Goett, and Jenn Thomas. The trio tries to stray from the traditional roles of who actually does what in the band—vocal duties shift as do instrumental duties. And in those shared instruments, you’ll find your guitar, bass, and drum at the core. Sprinkled in are synths, electronics, and an array of keys–piano, organ, and dare I say, a mellotron? Ok, so those are the ingredients, but what’s the end product? That’s tough. It’s like asking, “What shape is the ocean?” The sound is definitely rock laced with noisy electronics, but it’s so aqueous in nature that it’s tough to pigeonhole it.

And upon further review, it would seem like its amorphous nature is the point… though it does have elements of post-punk in a familiar 80’s sort of way. Most of the lead vox are done by either Chris or Steve, but no matter who is lead, Jenn’s voice seems to complement them both. Word is she has a protest punk background, evident in her drumming, but it’s her voice that often comes across as a sweet contrast to the surrounding music (particularly on songs like “Dick And/or Jane”).

You Better Run, Your Highness is the second record from Girl Loves Distortion, released on their own label, Etxe (et-CHAY) Records. And in vinyl form, the record is blue! Not in a sad emo way either, it’s literally the color blue. You Better Run is also a testament to Girl Loves Distortion’s geographic proximity to the District and the capital’s former and current leaders. The band welds a DC activist mindset with topical social issues and end up with songs like the opener, “Weighing.” The third track, “…As I’m Run Down By the Evil Disco Princess” continues the effort, but in the form of, well, an Evil Disco Princess (there’s really no better way to put it). It’s by far, the catchiest of the bunch. While the stage translation is, personally, yet to be seen, Girl Loves Distortion is coming off an invitation from our beloved Fort Reno and will soon take the Black Cat’s main stage with local pop-punk legends, The Slickee Boys on Sept 4th. That can only forecast good things.

From the opening sounds, You Better Run, Your Highness is filled with arresting beats and sonic resonance that begs to be turned louder and louder. It also yearns for a turntable (I think the band would agree). So distortion can be more than just a knob or fuzz out your speakerbox. This distortion is something to be loved, by girls and guys alike. 

Learn more about Girl Loves Distortion at www.girllovesdistortion.com.

Photo courtesy of Prabir and the Substitutes.

Here at DoS, we’re all about broadening our horizons. A new perspective on things can open up a world of possibilities. This is exactly why we took it upon ourselves to broaden our DC outlook a little farther south down I-95 to our friends in a land sometimes known as “RVA” or Richmond, Virginia. For many, the only thing they may know about Richmond is that it’s halfway to the Outer Banks, but born from the capital of Old Dominion is a little five-piece band known as Prabir and the Substitutes.

If Prabir Metha is the teacher, he and his Substitutes are about to learn you some good ol’ rock and roll. To say the music is vocally driven would be an understatement. Hell, it’s the understatement of the year. What sounds like a collective of dedicated backup singers, turns out to be just the rest of the band. (They all sing!) But don’t let the fact that I called them “just the rest of the band” fool you. These guys will put that wiggle in your hip, that nod in your head, a snap in the fingers of one hand and the sign of the horns on the other. Helping Prabir (pronounced “Pruh-beer”) lay down riffs on guitar is Chris Smith. The rhythm section consists of Robbie King on bass and Tyler Williams on drums. Rounding out the class is Charlie Glenn on the groovy rhodes. And as an engineer I knew once told me, “no matter the circumstances, you can never have enough rhodes.” Truer words were never spoken.

Now 2008 may be a hard year for them to beat–they won best new artist with the Washington Area Music Association and had a highly praised release, aptly titled, “Five Little Pieces”—but damned if they aren’t trying. Hot on the heels of “Five Little Pieces” comes the six-song EP, “Hello.” It’s a precursor to a full length album due out before the year is over. This time around the squad has introduced a few new variables. These songs were all self-recorded in their practice space instead of in a studio.

And that tends to be the theme for the “do-it-yourself” EP. Not only is it self-recorded, but it’s also pretty much autobiographical—another change from previous releases. There’s still the subject matter of love, and love lost and longing love, but also tales from the road. The EP opens with by far the strongest track, “Who’s Going to Love You?,” which is a great showcase of the band’s love of 60’s rock. It’s easy to see how the influences they list (The Beatles, The Beach Boys, The Zombies) have bled their way into their sound. There’s also a good resemblance to someone they’ve toured with before–Dr. Dog–that full band harmony, pop rock with a slight lo-fi feel to it. “Sayonara” is then a good acoustic number that paints life on the road, quite literally. It listens like a letter back home, or a “what I did on my summer vacation” report. Don’t forget the 32-second long “I Started Writing You a Song But Then I Changed My Mind…Yeah!” song… and how could you, because those are the full lyrics.

Already an RVA staple, Prabir and the Substitutes look to gain well deserved attention farther from home. And after checking out “Hello” and their last CD, you’ll be grabbing your friends and heading to DC9 on July 30th for their last show in the area before heading into the studio. If you need any more convincing, just check some of their videos, like the one for “Everybody’s Got Somebody.” Just don’t ask them to turn it down, because something tells me that ain’t happenin’. Hopefully “Hello” is not only a prologue to a new full length album, but a prologue to things to come for the band.

Who loves you? We do, that’s who. Class dismissed.

Learn more about Prabir and the Substitutes at www.prabirandthesubstitutes.com. Specifically a great FAQ section.

You see, Bobby Driscoll’s story is a tale of irony, sadness and heartache. The young actor who had a brilliant career with Disney, even earning an Academy Award, soon learned that real boys do grow up. And real boys have to deal with adolescent things, like puberty and acne. In fact, a severe case of acne is what eventually led to Disney’s termination of Bobby’s contract and eventual parting of ways. Adjusting back to life in a world deprived of movie sets, adoring fans and a cute child’s face proved more than challenging for Bobby. His late adolescent years leading into adulthood were marred by drug abuse and eventually culminated in a prison sentence in California. After his release from prison, and a failed attempt at a comeback, he then moved to NYC and was briefly a part of Andy Warhol’s art community, The Factory. No one knows what happened to Bobby after that. Then in 1968, two boys who were playing in the East Village found what later turned out to be Bobby’s body. At the time, the body could not be identified because there was no ID and no one to claim the body. He was just a nameless homeless man who died alone after years of abusing drugs. And that’s exactly how he was buried – just another dead hobo in an unmarked grave. Bobby was just 31 years old. It took another year and a half before fingerprints proved it was his body in that unmarked grave.

Benjy Ferree, like many people, loved (and was possibly obsessed with) what Bobby Driscoll had done. But like many people, he never knew what happened to the young boy who had brightened so many lives. Discovery of his morbid and tragic outcome sparked inspiration. Benjy, like Bobby, had once lived in California trying to make a career out of acting. Benjy said the experience, for an already insecure person, magnified those insecurities and that’s where music came in. Growing up in P.G. County, he was always singing in the church, which is probably where his singing style was born from. His voice is so unique, yet feels familiar at the same time. And the music has such a vintage feel to it. It’s almost like you’re listening to something that’s been sitting on a 2″ tape for ages, just waiting to be discovered. When hearing his music for the first time, you might glance over to check what year it came out, only to find it copyrighted 2009. I’ve seen his music called “Americana,” I’ve seen it called “off-center pop,” but really all I want to call it is “Rock and Roll.” It’s good, damn good…but we’ll get to that later. This is Benjy’s second album and also his second release after signing with Domino Records. Yes, the same Domino Records with acts like Animal Collective, Arctic Monkeys, Franz Ferdinand, etc.

This album is also Benjy’s first release with a full band in tow. I can only imagine that one of the requirements to be in this band is possessing some serious singing chops because this record is filled with harmonies a-plenty. You get a taste of those harmonies to come after just the first three chords in the opening track “Tired of Being Good.” You’ll also be able to catch Bobby Driscoll references in the chorus: “I’m tired of being good you know I want to be bad/ but I cry when Jiminy won’t call my name/ in the name of Lost Boys everywhere and Marilyn Jean/ I don’t care if they don’t like me/ but they’re still the very best.” Next up is probably the strongest track on the album, “Fear.” If you’re not a fan by the time this song is over you must hate music and I have no idea why you’re reading this. Okay, maybe that’s a little overboard, but it is a mesmerizing track and just has so much soul to it – we’re talking old school, Motown, doo-wop soul. When the song ends you’re almost disappointed that it only clocks in at just under three minutes… that is until the next track starts. “Big Business” follows and quickly reverts back to good ol’ rock and roll and back to Bobby, even referencing his “pot marked skin.”

I don’t want you to get the wrong impression here. Benjy has said this isn’t a concept album. Sure, Bobby Driscoll is the meat and potatoes of this record, but you also can find many aspects taken from Benjy’s life as well. The song “Pisstopher Chrisstopher” is about a late friend of Benjy’s and there are numerous references to his old church school days from which he was expelled more than once. “Come Back to the Five and Dime Bobby Dee Bobby Dee” may not be a concept album per se, but most of the time it paints a portrait of a beloved child star who it seems the world punished for something every single one of us must do: grow up. Now we know what little Peter was talking about. Bring out the pixie dust.

Other “Come Back to the Five and Dime Bobby Dee Bobby Dee” standouts include:

• Blown Out
• I Get No Love
• When You’re 16