Today's featured shit

Fun and jangly power pop, right here, right now. The Reaction want one, and they’ll get it with this release. From crunchy guitar to sensible and accurate bass, it has it all. I don’t understand how anyone could sit still and listen to this. You must get up and dance and do it now.

“It’s About Time” has it all. If it were a snack, it would be donuts. The title track is only 68 seconds long but a lot of fun. If you want simple stuff that rocks, this is where you go.

“Hello at Last” has the same bass intro as The Kirby Grips’ “At Last,” and that’s no coincidence. The bassist from that group is in The Reaction. It’s a good set of notes, though. A great idea. This bit is an instrumental, but maybe someday it will grow into a song.

Remember the guitar in “Fireman” by Jawbreaker? This band loves doing that stuff. “And Then There’s Mod” has more of a punk take. It’s great to hear them rock out. It reminds me of why I got into the local scene in the first place.

14 tracks. 30 minutes. Play it all in a row. Whew! That was a workout!

This music is too cultured for me. It has mandolins, banjos, mirambulas and a pump organ. Some songs are in French (“Toujours Vouloir”). Others aren’t but make as much sense as those that are (the title track). Albums that make me feel underdressed are not necessarily bad. It just means I misjudged it when I first saw it.

The faster songs are more my style. “You Don’t See It” could easily be a Suzanne Vega song, except the voice doesn’t match. The mixing of this album was definitely not skipped over. Everything is in its perfect little place. There’s nothing for me to grab onto generally.

I also like Magalenha, although I have no idea what language it is in. My money is on Portuguese. It would go great with a bottle of wine.

When I say this is party music, I mean one of those mixers you have right after you move, like a housewarming party. It will catch your attention every now and then and provide fodder for conversation once the weather has been discussed for the 81st time.

It’s the Clash. Even those that live under a rock heard this in the background while having sedimentary thoughts. All your favorites are there. Really what makes an album like this listenable are when songs sound even better than they normally do. For this, I nominate “The Guns of Brixton.” It starts with a bit of banter and then goes right into the song. It may not be The Clash’s most popular song, but this version rates as one of the best.

The cover of “I Fought the Law” is also above average and a song they are often known for. “The Magnificent Seven” is one of their more fun forays normally, but it misses the mark. Live albums are tough. You’re always going to have some songs that sound better or worse on any given night. “Armagideon Time” also is one to avoid. Luckily you can always listen to the studio version of the track!

Your standards are here too: “London Calling,” “Rock the Casbah” and “Should I Stay Or Should I Go.” They’re, well, standard. No real surprises but not bad either.

It’s an EP with a few remixes thrown in. The original sounds like another Book of Love sendup, although it has none of the innocence. Second track is an instrumental of the first track. I suppose that’s called “karaoke version” these days. Use it as a bed while you’re on the air if you want. The third track is the acapella version. It is not an a cappella version, however. I’m not sure what it is. Maybe unnecessary, and I normally love remixes.

“The Guest” is the B-side. It sounds like something David Bowie would do. The problem with this is that David Bowie is 62. It’s just a little too slow but not downtempo. Like the PT Cruiser it does not belong in any one class.

Glass Slipper is the last track. This has a very nice electronic feel to it, although the synthesized voice is over, right? The music itself is fine, which is why “Nite” is such a good song. “Glass Slipper” is good for driving, but that’s about it.

This is what indie rock is supposed to be about: varying styles of music by the same act, all rallying around a certain rhythm so you don’t feel threatened. Proud Simon can sound like R.E.M. (“Last One Left”). They can sound like country (“Bled Red Wine”). But most importantly they can sound good.

“Clockwork On and On” is a bit tripped in the ’90s, but if you want that Gin Blossoms/Toad the Wet Sprocket sound, then why look further? Here’s a hint: You don’t have to.

Everybody is into long song titles these days, but “Everyone on the Train Could Use a Little Change” is more than that. This ’70s-sounding track channels “Ramblin’ Man” by The Allman Brothers. Honest and for true!

“Honeymoon” has harmonica. It’s only missing Tom Petty, really, but that’s necessarily a bad thing. This track is a bit more dialed down than a lot of the others, and I think it takes away from the strengths of the band.