THE SHAZAM - Tomorrow The World (JAPANESE 2-CD version)

  • specify your order
  • our price: $13.97
  • Out of stock

2 CD Japanese version. Only 300 pressed.

ONLY ONE COPY - Japanese Pressing of this classic album with a bonus 15-song compilation from the Not Lame label. "It's a blessing and a curse for The Shazam's members that a style of music similar to theirs has become increasingly popular in the past year. The Nashville guitar-pop trio broke out of its local club circuit two years ago with Godspeed The Shazam, a lively piece of power-pop inspired by the gutty style of late-'60s genre progenitor The Move rather than the more pensive and pretty version advanced by the likes of Fountains Of Wayne. The album made The Shazam a cult sensation in the U.K., where the rock press, appreciative audiences, and scene demigods Paul Weller and the Gallagher brothers anointed the band as the legitimate heir to their pet sound. But back home, The Shazam's retro side has gotten it lumped in with the neo-garage movement, when it's been noticed at all. Perhaps to cultivate that growing garage-punk audience, bandleader Hans Rotenberry and producer Brad Jones accentuate the raw on their follow-up album, Tomorrow The World. The record opens with "Nine Times"—so named because that's how many times they chant "yeah" at the start of the song—and follows that minimalist anthem with the intentionally over-the-top statement of purpose "50 Foot Rock (Rockin' And Rollin' (With My) Rock 'N' Roll Rock 'N' Roller)." Tomorrow The World emphasizes loud, fat guitar riffs and choruses like those on "Goodbye American Man" and "New Thing Baby," where everyone is encouraged to shout along. The beat-it-until-it's-bloody technique is as rousing as intended, thanks mainly to the powerhouse rhythm section of drummer Scott Ballew and bassist Mick Wilson, but it would all be just another fun, forgettable throwback were it not for The Shazam's continued affection for soar and sparkle. The group's gleaming melodies and Rotenberry's full-throated bellows indicate that there's more of the arena about them than the garage. Godspeed The Shazam employed a classic but discreetly modernized sound, and even amid the rough bash and goof-off of Tomorrow The World, The Shazam can't resist a little polish. The band isn't making music for archivists; it's happily, marvelously striving to connect broadly."- AV CLub

"The Shazam always were a funny fit for the pop underground -- sure, they write hooks, but they are really a decidedly retro arena rock band through and through -- so it was no stretch to see them take an adventurous step toward joining the garage rock revival -- and in the process get some increased attention. What's surprising (or not, depending on your viewpoint) is that Tomorrow the World sounds...well, it sounds like the Shazam always has. Brad Jones is again in the producer's chair, and very little of this material would've sounded out of place on their storming 1999 albumGodspeed the Shazam, and vice versa, even if there's less emphasis here on crafting Beatles-yhooks and more on building up a stadium-sized crunch. That means that there are a few songs that frontman Hans Rotenberry has described as "dumb riff" songs -- tunes like "New Thing Baby" or "Rockin' and Rollin' (With My) Rock 'n' Roll Rock 'n' Roller," which are really just vehicles for delivering a punishing guitar assault and killer riffs. These songs work really, really well, however, becauseRotenberry is a truly talented songwriter, meaning he writes these dopey, hedonistic stadium anthems as well as he does gorgeous retro pop. The band's pop underground cult will likely cry foul at the absence of ringing Rickenbackers, but realistically this is exactly the kick-in-the-pants that scene needed from one of their most popular, most visible, and hardest-rocking acts"- AMG