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Hayman drum
Soft PVC Magnetic Memo Holder , remote holder
Hayman drums were introduced in the late 60s, they were made by an English manufacturer. The idea was to come up with a drum series to compete with the success of the large American companies of the time.
The shells were thin walled with rings, and painted white with what they called "Vibrasonic" interiors. The lugs were essentially a copy of the Camco design. Hayman was out of business by 1975.
They did have a few endorsers, one of them being Mitch Mitchell from The Jimi Hendrix Experience.
The company started with the name George Hayman on the badge, then shortened it to just Hayman in later years.
Hayman made the drum kits in only 3 brushed metallic finishes; gold, silver and midnight blue."
Contents
1 Dating Hayman Drums
2 History
3 Sizes
4 Sound
5 Finishes
6 References
//
Dating Hayman Drums
If the badge and/or snare strainer says "George Hayman", then it's from 1968-69.
If the badge is a 4cm brass one with "Hayman - then it's around 1969-73
If the badge is smaller and silver then it's one of the last to be made during 74/75.
Also, each round badge on a Hayman drum has a patent number - giving the year of manufacture within the patent number.
History
"They were the brainchild of Ivor Arbiter who besides being the first to actually bring guitars into Britain in quantity was also the first to import Ludwig and Gretsch drums during the `beat boom'. It was he who, in the sixties, cleverly identified a gap in the market for a LOUD drum set at a time when drummers were seldom miked-up outside of the studio. The original plan was to ht metal liners inside the shells of rather ordinary beech Carlton drums and, indeed, some of these were actually made. Ultimately they discarded the metal inserts, which were weighty and expensive and instead chose to thickly coat the drums' interior surfaces. Bingo! Loud and extremely cutting drums were here.
Originally the drums were named George Hayman after one of the guys ` in Dallas-Arbiter's Shoeburyness factory (whose surname, to confuse things further, was actually Haymon) and, possibly, George Way who made the legendary Camcos. In further homage to that famous American marque, the set's nut boxes were also made circular, which was well avant-garde at the time. Anyway, the name was eventually shortened to the more identifiable Hayman.
The drums had a mixture of features which, prior to 1969, would only be seen on expensive American products. Triple-flange hoops, which gave a more open sound, very new to British drums, as were non-telescopic spurs, adjustable, swivelling shell mounts and cymbal arms and an abundance of' tension screws and Reno heads.
Dallas-Arbiter designed their own cumbersome tom holder too, which might well have looked good on the drawing board, but in reality was something of a nightmare. A flat, curved and slotted rail was jacked up a little above the bass drum shell and to this was attached the body of the cast tom holder itself. This was fitted with not one, but two ratchets and by judicious use of both you could actually have exceedingly limited horizontal height adjustment. A radial-toothed block was fixed to the tom which mated with a ratchet on the holder to maintain its playing angle, and very large capstan nuts locked tom to holder and holder to bass drum rail. These capstans had an annoying tendency to crush your fingers against the drum and were neither particularly stable nor hard wearing. Rut at the time, it was the best around. Hayman spurs were modelled on Ludwig type outrigger designs, but with large, cast circular holder blocks which matched the nut boxes and also located the tom legs. Hayman's `lightning-bolt' bass drum tensioners were the first I'd seen that were ergonomically designed to ease operation - they were shaped to accommodate the thumbs better.
The Dallas-Arbiter company also produced pretty good double-braced, tripod-based stands and pedals called Speedamatic, which were actually a lot more substantial and sophisticated than the majority of their competition. They're no doubt still seeing service in drum sets almost a quarter of a century after their conception. The snare stand was the first in Britain to use a basket-holding mechanism while the wide, industrial-fibre-belted bass pedal and double-sprung hi-hat (both featuring easily adjustable springs) were particularly were worthy. They were more rugged than just about anything else on the market, although the extremely chunky, scalloped cast screws which arrested all the adjustable bits did leave something to be desired.
Initially the Hayman snare drums all had 5 1/2" deep wooden shells in common with the rest of the drums, but a year or so later aluminium-shelled versions were introduced. They were loosely modelled along the lines of Ludwig's 400, although in appearance, their shells were much more like Gretsch's. I'm told they didn't make too many metal drums so theye evidently quite collectable.
Hayman were the first non-American snare drums to have ten tensioners per head and boasted a simple, but effective American-style on/off strainer attached to a 22 strand snare. They also had an American-style swivelling damper like Ludwig's.
Sizes
Size-wise Hayman sets originally came with 22", 20" or 18" bass drums and 12", 13", 14" and 16" toms, but eventually 24", 26" and even 28" basses appeared. The jazzers of the time went for the 18"x 12", 12"x8" and 14"x14" Recording outfit, while the rockers went for the larger-sized Showmans.
Sound
As I said, the secret of the Hayman sound was in the interior coating. It was rather grandly called Vibrasonic but was simply a thickish, sprayed-on coat of ordinary white polyurethane paint (originally with an unfortunate tendency to craze). Its function was to harden the surface of the drum, allowing the sound to bounce around inside and give more `crack'. Hayman drums didn't sound exactly warm but, for the mostly un-amplified drummers of the time, fitted the bill exactly. They cut through any sort of music at high levels.
Finishes
The original Haymans were only available in three brushed metallic finishes: Solid Silver, Gold Ingot and Midnight Blue, (Regal Red, Matt Black, Natural Pine and see-through Iceberg were introduced later) the first five of which 1 was once told were also used to cover refrigerators.
When they were first introduced in August 1969, a five drum Showman set without stands would have cost ?265.
References
^ True Brits, Bob Henrit, Rhythm Magazine
^ Not so Modern Drummer
^ True Brits, Bob Henrit, Rhythm Magazine
Hidden categories: Articles needing additional references from August 2008
Hayman drums were introduced in the late 60s, they were made by an English manufacturer. The idea was to come up with a drum series to compete with the success of the large American companies of the time.
The shells were thin walled with rings, and painted white with what they called "Vibrasonic" interiors. The lugs were essentially a copy of the Camco design. Hayman was out of business by 1975.
They did have a few endorsers, one of them being Mitch Mitchell from The Jimi Hendrix Experience.
The company started with the name George Hayman on the badge, then shortened it to just Hayman in later years.
Hayman made the drum kits in only 3 brushed metallic finishes; gold, silver and midnight blue."
Contents
1 Dating Hayman Drums
2 History
3 Sizes
4 Sound
5 Finishes
6 References
//
Dating Hayman Drums
If the badge and/or snare strainer says "George Hayman", then it's from 1968-69.
If the badge is a 4cm brass one with "Hayman - then it's around 1969-73
If the badge is smaller and silver then it's one of the last to be made during 74/75.
Also, each round badge on a Hayman drum has a patent number - giving the year of manufacture within the patent number.
History
"They were the brainchild of Ivor Arbiter who besides being the first to actually bring guitars into Britain in quantity was also the first to import Ludwig and Gretsch drums during the `beat boom'. It was he who, in the sixties, cleverly identified a gap in the market for a LOUD drum set at a time when drummers were seldom miked-up outside of the studio. The original plan was to ht metal liners inside the shells of rather ordinary beech Carlton drums and, indeed, some of these were actually made. Ultimately they discarded the metal inserts, which were weighty and expensive and instead chose to thickly coat the drums' interior surfaces. Bingo! Loud and extremely cutting drums were here.
Originally the drums were named George Hayman after one of the guys ` in Dallas-Arbiter's Shoeburyness factory (whose surname, to confuse things further, was actually Haymon) and, possibly, George Way who made the legendary Camcos. In further homage to that famous American marque, the set's nut boxes were also made circular, which was well avant-garde at the time. Anyway, the name was eventually shortened to the more identifiable Hayman.
The drums had a mixture of features which, prior to 1969, would only be seen on expensive American products. Triple-flange hoops, which gave a more open sound, very new to British drums, as were non-telescopic spurs, adjustable, swivelling shell mounts and cymbal arms and an abundance of' tension screws and Reno heads.
Dallas-Arbiter designed their own cumbersome tom holder too, which might well have looked good on the drawing board, but in reality was something of a nightmare. A flat, curved and slotted rail was jacked up a little above the bass drum shell and to this was attached the body of the cast tom holder itself. This was fitted with not one, but two ratchets and by judicious use of both you could actually have exceedingly limited horizontal height adjustment. A radial-toothed block was fixed to the tom which mated with a ratchet on the holder to maintain its playing angle, and very large capstan nuts locked tom to holder and holder to bass drum rail. These capstans had an annoying tendency to crush your fingers against the drum and were neither particularly stable nor hard wearing. Rut at the time, it was the best around. Hayman spurs were modelled on Ludwig type outrigger designs, but with large, cast circular holder blocks which matched the nut boxes and also located the tom legs. Hayman's `lightning-bolt' bass drum tensioners were the first I'd seen that were ergonomically designed to ease operation - they were shaped to accommodate the thumbs better.
The Dallas-Arbiter company also produced pretty good double-braced, tripod-based stands and pedals called Speedamatic, which were actually a lot more substantial and sophisticated than the majority of their competition. They're no doubt still seeing service in drum sets almost a quarter of a century after their conception. The snare stand was the first in Britain to use a basket-holding mechanism while the wide, industrial-fibre-belted bass pedal and double-sprung hi-hat (both featuring easily adjustable springs) were particularly were worthy. They were more rugged than just about anything else on the market, although the extremely chunky, scalloped cast screws which arrested all the adjustable bits did leave something to be desired.
Initially the Hayman snare drums all had 5 1/2" deep wooden shells in common with the rest of the drums, but a year or so later aluminium-shelled versions were introduced. They were loosely modelled along the lines of Ludwig's 400, although in appearance, their shells were much more like Gretsch's. I'm told they didn't make too many metal drums so theye evidently quite collectable.
Hayman were the first non-American snare drums to have ten tensioners per head and boasted a simple, but effective American-style on/off strainer attached to a 22 strand snare. They also had an American-style swivelling damper like Ludwig's.
Sizes
Size-wise Hayman sets originally came with 22", 20" or 18" bass drums and 12", 13", 14" and 16" toms, but eventually 24", 26" and even 28" basses appeared. The jazzers of the time went for the 18"x 12", 12"x8" and 14"x14" Recording outfit, while the rockers went for the larger-sized Showmans.
Sound
As I said, the secret of the Hayman sound was in the interior coating. It was rather grandly called Vibrasonic but was simply a thickish, sprayed-on coat of ordinary white polyurethane paint (originally with an unfortunate tendency to craze). Its function was to harden the surface of the drum, allowing the sound to bounce around inside and give more `crack'. Hayman drums didn't sound exactly warm but, for the mostly un-amplified drummers of the time, fitted the bill exactly. They cut through any sort of music at high levels.
Finishes
The original Haymans were only available in three brushed metallic finishes: Solid Silver, Gold Ingot and Midnight Blue, (Regal Red, Matt Black, Natural Pine and see-through Iceberg were introduced later) the first five of which 1 was once told were also used to cover refrigerators.
When they were first introduced in August 1969, a five drum Showman set without stands would have cost ?265.
References
^ True Brits, Bob Henrit, Rhythm Magazine
^ Not so Modern Drummer
^ True Brits, Bob Henrit, Rhythm Magazine
Hidden categories: Articles needing additional references from August 2008
You can also more feature products :
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Leadership and the Odd Mind
July 20, 2009 (San Dimas, CA) American Heroes Press announced that the co-author of Leadership: Texas Hold ‘em Style, Lieutenant Raymond E. Foster, LAPD (ret.) will be a guest on the internet-based radio program The Odd Mind with host Lesa Trapp on September 3, 2009.
Date: September 3, 2009
Time: 9PM Central
Listen Live:
http://www.blogtalkradio.com/TheOddMind
ABOUT THE PROGRAM
The Odd Mind Show is the voice of the independent author/artist. The host, Lesa Trapp, is also the publisher of The Odd Mind magazine. In an interview of Trapp by Yvonne Mason, Trapp said of the Odd Mind magazine, “"I want a magazine which not only highlights unknown authors and artists, I also want one which can be purchased and taken into a store to use as a guide to by books." Lesa Trapp went onto explain, “These authors have to rely one their own promoting and their own resources to get their work out there to the readers. Many have spent years trying to not only get published but about as many years getting known.” Summed up, the radio program and the magazine put the extraordinary talents of relatively unknown authors and artists into the minds of new audiences.
ABOUT RAYMOND E. FOSTER
Raymond E. Foster was a sworn member of the Los Angeles Police Department for 24 years. He retired in 2003 at the rank of Lieutenant. He holds a bachelor’s from the Union Institute and University in Criminal Justice Management and a Master’s Degree in Public Financial Management from California State University, Fullerton. He has completed his doctoral studies in business research. Raymond is a graduate of the West Point Leadership program and has attended law enforcement, technology and leadership programs such as the National Institute for Justice, Technology Institute, Washington, DC.
Raymond has been a part-time lecturer at California State University, Fullerton and is currently a faculty advisor and chair of the Criminal Justice Program at the Union Institute and University. He has experience teaching upper division courses in law enforcement, public policy, technology and leadership. Raymond is an experienced author who has published numerous articles in a wide range of venues including magazines such as Government Technology, Mobile Government, Airborne Law Enforcement Magazine, and Police One. He has appeared on the History Channel and radio programs in the United States and Europe as subject matter expert in technological applications in law enforcement.
His first book, Police Technology is used in over 100 colleges and universities nationwide. He latest book, Leadership: Texas Hold ‘em Style has been adopted by several universities for course work in leadership; by several civil service organizations and required reading for promotion; and, has been well received in the wider market.
ABOUT THE BOOK
Using poker as analogy for leadership, Captain Andrew Harvey, CPD (ret.), Ed.D. and Lieutenant Raymond E. Foster, LAPD (ret.), MPA found the right mix of practical experience and academic credentials to write a definitive book for leaders. Working together, Harvey and Foster have written Leadership: Texas Hold em Style. Most often leaders find they are given a set of resources people, equipment, funds, experience and a mission. As Foster noted, "You're dealt a certain hand. How you play that hand as a leader determines your success."
More than a book: A fun and entertaining journey through leadership that includes an interactive website to supplement knowledge gained from the book.
Proven and Tested: Not an academic approach to leadership, but rather a road-tested guide that has been developed through 50-years of author experience.
High Impact: Through the use of perspective, reflection, and knowledge, provides information that turns leadership potential into leadership practice.
Ease of Application: Theory is reinforced with real-life experience, which results in accessible and practical tools leaders can put to use immediately.
High Road Approach: Personal character and ethical beliefs are woven into each leadership approach, so leaders do the right thing for the right reasons.
Uses Game of Poker: Rather than a dry approach that is all fact and no flavor, the game of poker is used as a lens through which to view leadership concepts.
CONTACT INFORMATION
Lieutenant Raymond E. Foster, LAPD (ret)
909.599.7530
raymond@hitechcj.com
www.police-writers.com
Date: September 3, 2009
Time: 9PM Central
Listen Live:
http://www.blogtalkradio.com/TheOddMind
ABOUT THE PROGRAM
The Odd Mind Show is the voice of the independent author/artist. The host, Lesa Trapp, is also the publisher of The Odd Mind magazine. In an interview of Trapp by Yvonne Mason, Trapp said of the Odd Mind magazine, “"I want a magazine which not only highlights unknown authors and artists, I also want one which can be purchased and taken into a store to use as a guide to by books." Lesa Trapp went onto explain, “These authors have to rely one their own promoting and their own resources to get their work out there to the readers. Many have spent years trying to not only get published but about as many years getting known.” Summed up, the radio program and the magazine put the extraordinary talents of relatively unknown authors and artists into the minds of new audiences.
ABOUT RAYMOND E. FOSTER
Raymond E. Foster was a sworn member of the Los Angeles Police Department for 24 years. He retired in 2003 at the rank of Lieutenant. He holds a bachelor’s from the Union Institute and University in Criminal Justice Management and a Master’s Degree in Public Financial Management from California State University, Fullerton. He has completed his doctoral studies in business research. Raymond is a graduate of the West Point Leadership program and has attended law enforcement, technology and leadership programs such as the National Institute for Justice, Technology Institute, Washington, DC.
Raymond has been a part-time lecturer at California State University, Fullerton and is currently a faculty advisor and chair of the Criminal Justice Program at the Union Institute and University. He has experience teaching upper division courses in law enforcement, public policy, technology and leadership. Raymond is an experienced author who has published numerous articles in a wide range of venues including magazines such as Government Technology, Mobile Government, Airborne Law Enforcement Magazine, and Police One. He has appeared on the History Channel and radio programs in the United States and Europe as subject matter expert in technological applications in law enforcement.
His first book, Police Technology is used in over 100 colleges and universities nationwide. He latest book, Leadership: Texas Hold ‘em Style has been adopted by several universities for course work in leadership; by several civil service organizations and required reading for promotion; and, has been well received in the wider market.
ABOUT THE BOOK
Using poker as analogy for leadership, Captain Andrew Harvey, CPD (ret.), Ed.D. and Lieutenant Raymond E. Foster, LAPD (ret.), MPA found the right mix of practical experience and academic credentials to write a definitive book for leaders. Working together, Harvey and Foster have written Leadership: Texas Hold em Style. Most often leaders find they are given a set of resources people, equipment, funds, experience and a mission. As Foster noted, "You're dealt a certain hand. How you play that hand as a leader determines your success."
More than a book: A fun and entertaining journey through leadership that includes an interactive website to supplement knowledge gained from the book.
Proven and Tested: Not an academic approach to leadership, but rather a road-tested guide that has been developed through 50-years of author experience.
High Impact: Through the use of perspective, reflection, and knowledge, provides information that turns leadership potential into leadership practice.
Ease of Application: Theory is reinforced with real-life experience, which results in accessible and practical tools leaders can put to use immediately.
High Road Approach: Personal character and ethical beliefs are woven into each leadership approach, so leaders do the right thing for the right reasons.
Uses Game of Poker: Rather than a dry approach that is all fact and no flavor, the game of poker is used as a lens through which to view leadership concepts.
CONTACT INFORMATION
Lieutenant Raymond E. Foster, LAPD (ret)
909.599.7530
raymond@hitechcj.com
www.police-writers.com
Analogue
Hello. My name is Ivette, but the moniker I would prefer to be referred to is Evey. This is going to be my daily blog. I'm probably going to post at the least 3x a week. But we'll speak more about that another time.
I live in the United States with my family. I live with four other people. I write, make art, photograph things. I like creepy things, but real gore scares me. I'm pretty open-minded to many things. Most of my friends revolve around the things I despise (drugs, sex, alcohol, etc.), but they're great people despite what I consider flaws. My creative expression is mainly what I care for in life. Without it, I'm good as dead.
Piercings, tattoos, body modifications, physical conditions, etc. = interesting as fuck. I'm going to be doing the same when I get old enough. I'm getting tons of piercings and some tattoos. I'm going to be corset training and seeing how small I can get my waist. And I'm a training contortionist (people with EXTREME flexibility due to joint-popping & loads of stretching). I like the weird looks from others and I adore the attention, whether bad or good.
I am straightedge (no promiscious sex, no illegal drugs/tobacco use, no alcohol). I find it pointless. I would prefer to give my virginity to someone I truly love instead of indulging my natural sex drive to a random person. I do not want to risk any bodily harm by using drugs/tobacco, plus I'm a penny pincher, so a little for that much money is a total NO! And I just don't like the idea of drinking yeast piss...oh, excuse me, flavoured yeast piss >_> I will talk to you if you do those things. Most of my best friends are druggies anyway XD
First impressions mean everything to me. Bad one, not much of a chance that I'm going to continue association with you. Good one, we could end up buddies ^^ & that's all I feel like telling about myself for now.
Anyway, back to the things that will fill these pages:
Things that make or break my day
Daily inspiration
Astrology
An alphabet section
Pop star updates
Skanky dresses of the days
Music reviews
Piercings & tattoos
Style inspiration
Website reviews
Icon Spotlights
Innopropiate jokes
My favorite celebrity bad boys/girls
Mixtape lists
My personal discoveries
Rants
Things related to my boyfriend
Intriguing things I ran into
Random shit about sex
and FAIL moments
plus anything other subjects that I adore..
-
I think of my blogs as magazine articles hahah. XD
Keep your eye out for this ;D
I live in the United States with my family. I live with four other people. I write, make art, photograph things. I like creepy things, but real gore scares me. I'm pretty open-minded to many things. Most of my friends revolve around the things I despise (drugs, sex, alcohol, etc.), but they're great people despite what I consider flaws. My creative expression is mainly what I care for in life. Without it, I'm good as dead.
Piercings, tattoos, body modifications, physical conditions, etc. = interesting as fuck. I'm going to be doing the same when I get old enough. I'm getting tons of piercings and some tattoos. I'm going to be corset training and seeing how small I can get my waist. And I'm a training contortionist (people with EXTREME flexibility due to joint-popping & loads of stretching). I like the weird looks from others and I adore the attention, whether bad or good.
I am straightedge (no promiscious sex, no illegal drugs/tobacco use, no alcohol). I find it pointless. I would prefer to give my virginity to someone I truly love instead of indulging my natural sex drive to a random person. I do not want to risk any bodily harm by using drugs/tobacco, plus I'm a penny pincher, so a little for that much money is a total NO! And I just don't like the idea of drinking yeast piss...oh, excuse me, flavoured yeast piss >_> I will talk to you if you do those things. Most of my best friends are druggies anyway XD
First impressions mean everything to me. Bad one, not much of a chance that I'm going to continue association with you. Good one, we could end up buddies ^^ & that's all I feel like telling about myself for now.
Anyway, back to the things that will fill these pages:
Things that make or break my day
Daily inspiration
Astrology
An alphabet section
Pop star updates
Skanky dresses of the days
Music reviews
Piercings & tattoos
Style inspiration
Website reviews
Icon Spotlights
Innopropiate jokes
My favorite celebrity bad boys/girls
Mixtape lists
My personal discoveries
Rants
Things related to my boyfriend
Intriguing things I ran into
Random shit about sex
and FAIL moments
plus anything other subjects that I adore..
-
I think of my blogs as magazine articles hahah. XD
Keep your eye out for this ;D
New Release Of The Week - The Cab
The Cab's new album Whisper War -- Augh, so before I even get into the album, I have a few complaints. I try very hard to give you guys a little bit of background about the band or the album before I get into the music; it helps set the scene for what I'm about to talk about. One of my biggest frustrations is when bands act like they're big and then don't even have a damn 'About Us' section. And sometimes, that wouldn't bother me, but with this band in particular, it's like they're nothing but pretty faces with no personality.
I'm going to be honest with you; I'm very torn on this album. Half of me loves it and the other half is disgusted with it. It's nothing but pure boy band fluff -- pretty faces (their pianist looks like a freaking girl) with pretty voices (and they do sound really good) singing trite and angst-ridden lyrics (who is this "girl" that everyone keeps singing to?). "Vegas Skies" is an entire song dedicated to (of course) "girl", alcohol references, and lyrics that sound like the poetry I used to write when I was twelve and thought my life was OVER because I got in a spat with my best friend. But if you can manage to completely ignore the lyrics, the steady piano and the light violins in the background combined with the acoustic bridge makes it a song that could really pull on your heartstrings. "One Of THOSE Nights" is the track that is most like their city- and labelmates Panic! At The Disco, but with a really shallow boy band twist. Believe me, if you're looking for a Panic! fix, don't come here. That's not to say this song isn't enjoyable on it's own, because it does have it's moments -- and can I just say, the electric guitar solo in the background near the end made me laugh the first time I heard this song. Seriously guys, what the hell was that? And "Risky Business"? Pretty sure I've heard this before... oh wait, "London Beckoned Songs About Money Written By Machines"! Except P!ATD did it incredibly better, with real lyrics and relevant references. But now I'm just poking fun at them, rather than actually reviewing them.
Now if you're okay with a boy band that literally sucks other genres into it and spits it back out onto a cd, then these guys will be great for you. I like a little bit more substance in my music, but I'm not everyone. All in all, The Cab sound like a shallow Panic! At The Disco trying to include their *NSYNC boyfriends in an attempt to build a Maroon 5 / All Time Low hybrid album. If that sounds appealing to you (and I know of a few people that it will) then go ahead and get them. I mean, they honestly make a great attempt at a boyband, and will probably be the heartthrobs of the rising generation -- but keep in mind, this is the same rising generation that has photos of themselves in their bras and panties at the tender age of 13.
I'm going to be honest with you; I'm very torn on this album. Half of me loves it and the other half is disgusted with it. It's nothing but pure boy band fluff -- pretty faces (their pianist looks like a freaking girl) with pretty voices (and they do sound really good) singing trite and angst-ridden lyrics (who is this "girl" that everyone keeps singing to?). "Vegas Skies" is an entire song dedicated to (of course) "girl", alcohol references, and lyrics that sound like the poetry I used to write when I was twelve and thought my life was OVER because I got in a spat with my best friend. But if you can manage to completely ignore the lyrics, the steady piano and the light violins in the background combined with the acoustic bridge makes it a song that could really pull on your heartstrings. "One Of THOSE Nights" is the track that is most like their city- and labelmates Panic! At The Disco, but with a really shallow boy band twist. Believe me, if you're looking for a Panic! fix, don't come here. That's not to say this song isn't enjoyable on it's own, because it does have it's moments -- and can I just say, the electric guitar solo in the background near the end made me laugh the first time I heard this song. Seriously guys, what the hell was that? And "Risky Business"? Pretty sure I've heard this before... oh wait, "London Beckoned Songs About Money Written By Machines"! Except P!ATD did it incredibly better, with real lyrics and relevant references. But now I'm just poking fun at them, rather than actually reviewing them.
Now if you're okay with a boy band that literally sucks other genres into it and spits it back out onto a cd, then these guys will be great for you. I like a little bit more substance in my music, but I'm not everyone. All in all, The Cab sound like a shallow Panic! At The Disco trying to include their *NSYNC boyfriends in an attempt to build a Maroon 5 / All Time Low hybrid album. If that sounds appealing to you (and I know of a few people that it will) then go ahead and get them. I mean, they honestly make a great attempt at a boyband, and will probably be the heartthrobs of the rising generation -- but keep in mind, this is the same rising generation that has photos of themselves in their bras and panties at the tender age of 13.
New Release Of The Week - Story Of The Year
Story of the Year's The Black Swan -- Story Of The Year or SOTY as they are also referred to, come back with a bound and determined attitude to take the success they felt on their first album, but couldn't generate from their second album, and get it back. This is their first album with Epitaph Records, but they've brought back their Page Avenue producer John Feldmann in hopes of reigniting the flame of success. SOTY is to be a headliner the upcoming 2008 Vans Warped Tour and then heading to Europe to play the Groezrock festival, after which a tour of Australia is in the works, all in hopes of promoting the new album. Epitaph is brutal.
So let's talk about this. They're saying their first single off of this album is "Wake Up" but it sounds far, far too much like a cookie-cutter single to have it be worth much of anything in my opinion. Trite lyrics like "one by one the pieces fall" and "are we missing what it is to be alive?" Whether I'm missing it or not is my problem, not your's; and if I am missing what it is to be alive, I certainly don't think I should be taking advice on it from you. That's not to say it doesn't sound good, it just sounds like everything else. So if you're okay with a copy of a copy of a copy, then sure, "Wake Up" is the perfect single for you. However, if you're looking for the real gem of this album, if you'll direct your attention to "Tell Me (P.A.C.)" you might actually find something worth being interested in. While a good deal of the album sounds like itself, and this track really isn't all that different, it does seem much more explosive and anthemic -- much like their singles from Page Avenue which is really what we're all looking for. The piano interlude with his desperate voice truly is what makes this song. SOTY also tries to break out a little bit with "Terrified" where they actually play the piano and it's a little bit more gentle, a little bit more emo, but again, it just doesn't stand out enough to make it really something.
The entire album subscribes to fast and hard slinging guitars and screaming, emotional lyrics. But it really doesn't set itself apart as anything special and something that you need to go out of your way to get. A decent listen except the songs all blend into each other. They don't distinguish themselves from one another. All in all, if you want angst and guitars and screams, go listen to "F.C.P.R.E.M.I.X." by The Fall Of Troy. They do it much better than these guys.
So let's talk about this. They're saying their first single off of this album is "Wake Up" but it sounds far, far too much like a cookie-cutter single to have it be worth much of anything in my opinion. Trite lyrics like "one by one the pieces fall" and "are we missing what it is to be alive?" Whether I'm missing it or not is my problem, not your's; and if I am missing what it is to be alive, I certainly don't think I should be taking advice on it from you. That's not to say it doesn't sound good, it just sounds like everything else. So if you're okay with a copy of a copy of a copy, then sure, "Wake Up" is the perfect single for you. However, if you're looking for the real gem of this album, if you'll direct your attention to "Tell Me (P.A.C.)" you might actually find something worth being interested in. While a good deal of the album sounds like itself, and this track really isn't all that different, it does seem much more explosive and anthemic -- much like their singles from Page Avenue which is really what we're all looking for. The piano interlude with his desperate voice truly is what makes this song. SOTY also tries to break out a little bit with "Terrified" where they actually play the piano and it's a little bit more gentle, a little bit more emo, but again, it just doesn't stand out enough to make it really something.
The entire album subscribes to fast and hard slinging guitars and screaming, emotional lyrics. But it really doesn't set itself apart as anything special and something that you need to go out of your way to get. A decent listen except the songs all blend into each other. They don't distinguish themselves from one another. All in all, if you want angst and guitars and screams, go listen to "F.C.P.R.E.M.I.X." by The Fall Of Troy. They do it much better than these guys.
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