The ACBs

Most Tuesday nights after band practice, the ACBs score a late dinner at the Popeyes at 63rd Street and Troost.

"They've got a deal on Tuesdays where you get a two-piece chicken, a biscuit, a side and a drink for $2.99," bassist Bryan McGuire says.

"No, the drink's not included," frontman Konnor Ervin counters.

"Oh, right — you have to pay extra for the drink," McGuire says. "Still a great deal."

Ervin nods solemnly. "Great deal," he agrees.

They're not joking. Well, they are, but not about their eating at Popeyes. Rather than convey embarrassment about how lame it sounds that a rock band regularly dines together at a Cajun-themed fried-chicken chain restaurant, the bandmates own the moment by turning it into a joke about how poor they are.

There's a lot of that twisted self-deprecation on the ACBs' terrific new record, Stona Rosa. "Street Fighter II," a jangly, quick-tempo stomp, is about sneaking from the bed of a woman and being extra quiet while eating cereal and playing Super Nintendo. "But I guess it's really more about me getting older and still feeling very immature," says Ervin, the band's primary songwriter and lyricist.

These songs seem an extension of Ervin's personality. They're funny and charming but a little alienated, too. The band's self-titled debut was mostly straightforward power pop, but Stona Rosa is quieter, sadder (and more stoned). It would be a mistake to read laziness into the ACBs' lyrics, though. Nobody in the city is writing sharper or more inventive melodies than Ervin, who has honed his craft the old-fashioned way: working a part-time job, living in a shitty apartment and practicing music all the time.

"It's true that, as people, we don't take ourselves all that seriously, and I think that comes through in our music," Ervin says. "But I spend the majority of my time awake, working on songs. I take that very seriously. The other stuff: image, promoting, selling yourself — it's hard to get excited about that stuff."

"When the band was just starting out, we were naïve about how to go about getting shows and getting press and all that," McGuire says. "We were confident about our music but insecure about people in the scene liking us. And we're looking at the people who are succeeding, and they're all acting like Lou Reed. We were like, 'Is that what we have to do to get people to like our band? Act like jerks?' "

"So we did, like, a photo shoot where we all stared into the camera like a bunch of pricks," Ervin says. "We had no idea what we were doing. But over time, you get more perspective about things and you realize that all the people you're intimidated by aren't actually that cool, and you just try to present yourself and your band as sincerely as possible."

The path from the ACBs' self-titled 2007 debut to Stona Rosa has been rocky. For the better part of three years, the band members bounced around studios throughout the Midwest, failing to find the sound they were seeking for their next album. On a trip to Norman, Oklahoma, to record at Bell Labs with Trent Bell (Flaming Lips, Starlight Mints), their van caught fire. They recorded a song but were unhappy with the results, and they drove back to Kansas City in a U-Haul.

"The recording process just became so demoralizing," Ervin says. In 2009, the band finished an album but decided to shelve it. "We got picky about it," Ervin explains. "I just never felt like we sounded the way I wanted us to."

Ervin wrote most of Stona Rosa in the aftermath of that abandoned album. (Drummer Corey Egan and guitarist Matt Saladino decamped for Los Angeles in 2010.) Earlier this year, Ervin took his new songs to Mike Nolte at More Famouser and began recording. As the album progressed, Nolte played tracks from it for Andrew Connor, his bandmate in Ghosty. When Saladino moved, Ervin asked Connor if he knew any talented guitarists who might be interested in the ACBs gig.

"I suggested someone, but I also said I was tempted to do it myself," Connor says. "I've always really respected the conciseness of what the ACBs do, how they don't waste anybody's time. So I felt like playing with them was an opportunity I didn't want to pass up."

"I honestly didn't think he [Connor] would be interested because he's got his own band, and he's this great songwriter himself," Ervin says. "It's been amazing having him in the band. He makes every song better and he makes me better. As a songwriter, I don't want to bring any weak songs to practice because I respect him so much."

To replace Egan on drums, the band recruited Kyle Rausch, formerly of the Abracadabras. "Kyle has great musical instincts in general," McGuire says. "But on drums, his fills are fresh, his rhythm is perfect. He's also probably the best singer in the band."

"That's another thing," Ervin says. "Our new songs are all a lot more technically complicated. Everybody's voice and instrument are being used for the majority of every song. The old way o - The Pitch

Most Tuesday nights after band practice, the ACBs score a late dinner at the Popeyes at 63rd Street and Troost.

"They've got a deal on Tuesdays where you get a two-piece chicken, a biscuit, a side and a drink for $2.99," bassist Bryan McGuire says.

"No, the drink's not included," frontman Konnor Ervin counters.

"Oh, right — you have to pay extra for the drink," McGuire says. "Still a great deal."

Ervin nods solemnly. "Great deal," he agrees.

They're not joking. Well, they are, but not about their eating at Popeyes. Rather than convey embarrassment about how lame it sounds that a rock band regularly dines together at a Cajun-themed fried-chicken chain restaurant, the bandmates own the moment by turning it into a joke about how poor they are.

There's a lot of that twisted self-deprecation on the ACBs' terrific new record, Stona Rosa. "Street Fighter II," a jangly, quick-tempo stomp, is about sneaking from the bed of a woman and being extra quiet while eating cereal and playing Super Nintendo. "But I guess it's really more about me getting older and still feeling very immature," says Ervin, the band's primary songwriter and lyricist.

These songs seem an extension of Ervin's personality. They're funny and charming but a little alienated, too. The band's self-titled debut was mostly straightforward power pop, but Stona Rosa is quieter, sadder (and more stoned). It would be a mistake to read laziness into the ACBs' lyrics, though. Nobody in the city is writing sharper or more inventive melodies than Ervin, who has honed his craft the old-fashioned way: working a part-time job, living in a shitty apartment and practicing music all the time.

"It's true that, as people, we don't take ourselves all that seriously, and I think that comes through in our music," Ervin says. "But I spend the majority of my time awake, working on songs. I take that very seriously. The other stuff: image, promoting, selling yourself — it's hard to get excited about that stuff."

"When the band was just starting out, we were naïve about how to go about getting shows and getting press and all that," McGuire says. "We were confident about our music but insecure about people in the scene liking us. And we're looking at the people who are succeeding, and they're all acting like Lou Reed. We were like, 'Is that what we have to do to get people to like our band? Act like jerks?' "

"So we did, like, a photo shoot where we all stared into the camera like a bunch of pricks," Ervin says. "We had no idea what we were doing. But over time, you get more perspective about things and you realize that all the people you're intimidated by aren't actually that cool, and you just try to present yourself and your band as sincerely as possible."

The path from the ACBs' self-titled 2007 debut to Stona Rosa has been rocky. For the better part of three years, the band members bounced around studios throughout the Midwest, failing to find the sound they were seeking for their next album. On a trip to Norman, Oklahoma, to record at Bell Labs with Trent Bell (Flaming Lips, Starlight Mints), their van caught fire. They recorded a song but were unhappy with the results, and they drove back to Kansas City in a U-Haul.

"The recording process just became so demoralizing," Ervin says. In 2009, the band finished an album but decided to shelve it. "We got picky about it," Ervin explains. "I just never felt like we sounded the way I wanted us to."

Ervin wrote most of Stona Rosa in the aftermath of that abandoned album. (Drummer Corey Egan and guitarist Matt Saladino decamped for Los Angeles in 2010.) Earlier this year, Ervin took his new songs to Mike Nolte at More Famouser and began recording. As the album progressed, Nolte played tracks from it for Andrew Connor, his bandmate in Ghosty. When Saladino moved, Ervin asked Connor if he knew any talented guitarists who might be interested in the ACBs gig.

"I suggested someone, but I also said I was tempted to do it myself," Connor says. "I've always really respected the conciseness of what the ACBs do, how they don't waste anybody's time. So I felt like playing with them was an opportunity I didn't want to pass up."

"I honestly didn't think he [Connor] would be interested because he's got his own band, and he's this great songwriter himself," Ervin says. "It's been amazing having him in the band. He makes every song better and he makes me better. As a songwriter, I don't want to bring any weak songs to practice because I respect him so much."

To replace Egan on drums, the band recruited Kyle Rausch, formerly of the Abracadabras. "Kyle has great musical instincts in general," McGuire says. "But on drums, his fills are fresh, his rhythm is perfect. He's also probably the best singer in the band."

"That's another thing," Ervin says. "Our new songs are all a lot more technically complicated. Everybody's voice and instrument are being used for the majority of every song. The old way o - The Pitch

Start conditioning yourself. Disregard album art and track or band names. Listen to the music and make your decision to move on or invest in a band off the music only. I woke up today with a slew of mp3s and album reviews I wanted to write about/post, but was swiftly interrupted by a tweet from the wonderful band SSLYBY. The tweet was simple: "I think you will love this album (bandcamp link)."

I clicked the link and was immediately turned off by the album art, the album name "Stona Rosa" (Surfer Rosa???), and track names like "Street Fighter II". It just seemed like amateur hour. But this is not an art competition, it's about the music, so I clicked play on the first track and was blown away. This is pure indie rock, a wormhole of sound bringing my ears back to the days of Pavement, The Pixies, early Of Montreal, and Portishead. I haven't heard indie rock sound so uninhibited and planted in the early concepts of the genre like this (in The ACBs) since the wonderful Aqueduct record "I Sold Gold"(2005). The sound on the new ACBs album "Stona Rosa" is raw and driven by the marriage of traditional rock instruments that bounce off each other. It feels weird writing this, but it's refreshing to have a lead singers vocals up front and untouched by layers and layers of effects. Flawlessness is often times boring and it's bands like The ACBs that embrace the garage band (not the program) sound without sacrificing any aspect of their final product.

Track after track, The ACBs present some of the best music I've heard all year. The immediate take away is that these guys are clever songwriters. The indie rock sound is coming up on two decades now and it's hard for bands to separate themselves from the greats that came before and even more difficult to shift away from the new artists and bands that are scrambling to fit into new subsections of indie rock. The ACBs seem blissfully unaware of the musical trends of the last five years and the listener prospers with "Stona Rosa". This album was like taking a shower after months of being dirty. All the bullshit buzz outside the actual music that bands/artists use today to get attention washed down the drain and The ACBs remain as a reminder that great music trumps all. - We Listen For You

Since the release of their 2007 self-titled debut, The ACBs have been writing and recording music that hasn’t been released into the wild. They encountered some misfires on recording material to their satisfaction and also adapted to a lineup change. This month, the reconfigured band set free a full-length recording of sophisticated power pop titled Stona Rosa.

Guitarist Andrew Connor from Ghosty and drummer Kyle Rausch, formerly with The Abracadabras, join guitarist Konnor Ervin and bassist Bryan McGuire. This promising roster has already begun to capitalize on their combined talent.

Stona Rosa is unlike the high energy, bouncy power pop found on the band’s excellent debut. Their early material was fresh-scrubbed and energetic as a JV cheerleader with hooks and beats that leapt out of the speaker. These new songs still offer a catchy pop vibe in places, but the arrangements are more layered and complex. A sense of maturity and songwriting mastery is clearly evident.

“Italian Girls” is immediately likeable for its low-key approach with sweet harmonies soaring over a simple guitar riff and a peppy beat. “Street Fighter II” jukes along on a crisp beat and jangly guitar.

At times, the band’s sound is reminiscent of Wilco’s exploratory pop from the middle of their ouevre, the smartly crafted sound of Semisonic, or Cake’s tight, rhythmic pop gems. “Hold Phone” leans toward the latter sound, buzzing with a fat bumblebee bass line and precise guitar notes cutting through a shimmering beat. “It Looks Dark and Cold” applies a tender touch as the band pulls back a bit. The upper range of Ervin’s vocals becomes the focal point. The hyperkinetic beat and driving guitar line on“My Face” is hard to ignore. The funky drum pattern by Kyle Rausch on “I Wonder” is simply fantastic.

For fans of the band’s music, this album was worth the wait. The ACBs are in top form. The songwriting, harmonies, lyrics, and arrangements by these artists demonstrate admirable growth. With each listen, the music on Stona Rosa shows a subtle depth that only increases the album’s appeal. Undoubtedly, Stona Rosa deserves its place as some of the “Best Music of 2010.” - Present Magazine

When he started recording “Stona Rosa,” the follow-up to his band’s first and self-titled album, “The ACBs,” Konnor Ervin had a few things in mind: He wanted it to be more varied and more ornate than its predecessor, which was primarily straightforward power pop.

“The new record is kind of crazy, compared to the first,” Ervin said. “There are more guitars, more vocal layers. It’s really super bright and cheery — like ‘Brady Bunch’ happy sometimes. I’m not sure how they ended up sounding like that.”

“Stona” will get its official release at an early and all-ages show Saturday at the RecordBar, 1020 Westport Road. Showtime is 7 p.m. It will be released almost four years after the band released “The ACBs.” The long interim between records has been a function of a few variables. One, the band lost two original members. Two, Ervin admits he has an active “lazy bone.”

“Our guitarist and drummer moved to Los Angeles within the past year,” he said. “When I found out the guys were gonna be bouncing, I started working on other stuff by myself. I started writing and recording some stuff and messing around in the studio with Mike Nolte of Ghosty.

“We took our time. Mike has a lazy bone like me. Sometimes a couple of months would pass between recordings.”

About six months ago, he filled the band’s vacancies: drummer Kyle Rausch, formerly of the Abracadabras, and guitarist Andrew Connor of Ghosty, who heard about the opening from Nolte.

Then some ambition set in. The album was finished, after some comprehensive re-recording. The music is pure and bright pop. It’s diverse, too. Some songs are lavishly produced, one or two are more austere.

“It’s not real cohesive, which I think is a good thing,” Ervin said. “For the first record, we had all the songs ready when we went in. For this one, we did it song by song and from scratch, which allowed us to mess around with more sounds.” That has affected the live performances, he said.

“The new guys are so good, we’re able to do more complicated things live,” he said. “That means it’s harder to get through a song without making a mistake, so we have to put more time into preparing.

“And the old stuff — Andrew puts his spin on them. He’s so good we let him do what he wants. He gets great tone out of his guitar, and he has a really good sense of what’s cool.”

The plan was to release each track of “Stona” individually, one per month, with an accompanying video. “Yeah, that was the plan,” Ervin said. “We made three videos, then decided we’d just release the whole album.”

Among those three is one for “Boy Like Me,” the inaugural single. That one will be featured at Saturday’s release party, and Ervin is itching to show it off along with the other new material. “I like writing and crafting songs,” he said, “but playing live is really fun when the songs are fresh, and you have new blood in the band. I’m excited about the new songs.”



Read more: http://www.kansascity.com/2010/11/24/2453665/kind-of-crazy-new-cd-from-the.html#ixzz16J5hNYIo - The Kansas City Star

When he started recording “Stona Rosa,” the follow-up to his band’s first and self-titled album, “The ACBs,” Konnor Ervin had a few things in mind: He wanted it to be more varied and more ornate than its predecessor, which was primarily straightforward power pop.

“The new record is kind of crazy, compared to the first,” Ervin said. “There are more guitars, more vocal layers. It’s really super bright and cheery — like ‘Brady Bunch’ happy sometimes. I’m not sure how they ended up sounding like that.”

“Stona” will get its official release at an early and all-ages show Saturday at the RecordBar, 1020 Westport Road. Showtime is 7 p.m. It will be released almost four years after the band released “The ACBs.” The long interim between records has been a function of a few variables. One, the band lost two original members. Two, Ervin admits he has an active “lazy bone.”

“Our guitarist and drummer moved to Los Angeles within the past year,” he said. “When I found out the guys were gonna be bouncing, I started working on other stuff by myself. I started writing and recording some stuff and messing around in the studio with Mike Nolte of Ghosty.

“We took our time. Mike has a lazy bone like me. Sometimes a couple of months would pass between recordings.”

About six months ago, he filled the band’s vacancies: drummer Kyle Rausch, formerly of the Abracadabras, and guitarist Andrew Connor of Ghosty, who heard about the opening from Nolte.

Then some ambition set in. The album was finished, after some comprehensive re-recording. The music is pure and bright pop. It’s diverse, too. Some songs are lavishly produced, one or two are more austere.

“It’s not real cohesive, which I think is a good thing,” Ervin said. “For the first record, we had all the songs ready when we went in. For this one, we did it song by song and from scratch, which allowed us to mess around with more sounds.” That has affected the live performances, he said.

“The new guys are so good, we’re able to do more complicated things live,” he said. “That means it’s harder to get through a song without making a mistake, so we have to put more time into preparing.

“And the old stuff — Andrew puts his spin on them. He’s so good we let him do what he wants. He gets great tone out of his guitar, and he has a really good sense of what’s cool.”

The plan was to release each track of “Stona” individually, one per month, with an accompanying video. “Yeah, that was the plan,” Ervin said. “We made three videos, then decided we’d just release the whole album.”

Among those three is one for “Boy Like Me,” the inaugural single. That one will be featured at Saturday’s release party, and Ervin is itching to show it off along with the other new material. “I like writing and crafting songs,” he said, “but playing live is really fun when the songs are fresh, and you have new blood in the band. I’m excited about the new songs.”



Read more: http://www.kansascity.com/2010/11/24/2453665/kind-of-crazy-new-cd-from-the.html#ixzz16J5hNYIo - The Kansas City Star

Most Tuesday nights after band practice, the ACBs score a late dinner at the Popeyes at 63rd Street and Troost.

"They've got a deal on Tuesdays where you get a two-piece chicken, a biscuit, a side and a drink for $2.99," bassist Bryan McGuire says.

"No, the drink's not included," frontman Konnor Ervin counters.

"Oh, right — you have to pay extra for the drink," McGuire says. "Still a great deal."

Ervin nods solemnly. "Great deal," he agrees.

They're not joking. Well, they are, but not about their eating at Popeyes. Rather than convey embarrassment about how lame it sounds that a rock band regularly dines together at a Cajun-themed fried-chicken chain restaurant, the bandmates own the moment by turning it into a joke about how poor they are.

There's a lot of that twisted self-deprecation on the ACBs' terrific new record, Stona Rosa. "Street Fighter II," a jangly, quick-tempo stomp, is about sneaking from the bed of a woman and being extra quiet while eating cereal and playing Super Nintendo. "But I guess it's really more about me getting older and still feeling very immature," says Ervin, the band's primary songwriter and lyricist.

These songs seem an extension of Ervin's personality. They're funny and charming but a little alienated, too. The band's self-titled debut was mostly straightforward power pop, but Stona Rosa is quieter, sadder (and more stoned). It would be a mistake to read laziness into the ACBs' lyrics, though. Nobody in the city is writing sharper or more inventive melodies than Ervin, who has honed his craft the old-fashioned way: working a part-time job, living in a shitty apartment and practicing music all the time.

"It's true that, as people, we don't take ourselves all that seriously, and I think that comes through in our music," Ervin says. "But I spend the majority of my time awake, working on songs. I take that very seriously. The other stuff: image, promoting, selling yourself — it's hard to get excited about that stuff."

"When the band was just starting out, we were naïve about how to go about getting shows and getting press and all that," McGuire says. "We were confident about our music but insecure about people in the scene liking us. And we're looking at the people who are succeeding, and they're all acting like Lou Reed. We were like, 'Is that what we have to do to get people to like our band? Act like jerks?' "

"So we did, like, a photo shoot where we all stared into the camera like a bunch of pricks," Ervin says. "We had no idea what we were doing. But over time, you get more perspective about things and you realize that all the people you're intimidated by aren't actually that cool, and you just try to present yourself and your band as sincerely as possible."

The path from the ACBs' self-titled 2007 debut to Stona Rosa has been rocky. For the better part of three years, the band members bounced around studios throughout the Midwest, failing to find the sound they were seeking for their next album. On a trip to Norman, Oklahoma, to record at Bell Labs with Trent Bell (Flaming Lips, Starlight Mints), their van caught fire. They recorded a song but were unhappy with the results, and they drove back to Kansas City in a U-Haul.

"The recording process just became so demoralizing," Ervin says. In 2009, the band finished an album but decided to shelve it. "We got picky about it," Ervin explains. "I just never felt like we sounded the way I wanted us to."

Ervin wrote most of Stona Rosa in the aftermath of that abandoned album. (Drummer Corey Egan and guitarist Matt Saladino decamped for Los Angeles in 2010.) Earlier this year, Ervin took his new songs to Mike Nolte at More Famouser and began recording. As the album progressed, Nolte played tracks from it for Andrew Connor, his bandmate in Ghosty. When Saladino moved, Ervin asked Connor if he knew any talented guitarists who might be interested in the ACBs gig.

"I suggested someone, but I also said I was tempted to do it myself," Connor says. "I've always really respected the conciseness of what the ACBs do, how they don't waste anybody's time. So I felt like playing with them was an opportunity I didn't want to pass up."

"I honestly didn't think he [Connor] would be interested because he's got his own band, and he's this great songwriter himself," Ervin says. "It's been amazing having him in the band. He makes every song better and he makes me better. As a songwriter, I don't want to bring any weak songs to practice because I respect him so much."

To replace Egan on drums, the band recruited Kyle Rausch, formerly of the Abracadabras. "Kyle has great musical instincts in general," McGuire says. "But on drums, his fills are fresh, his rhythm is perfect. He's also probably the best singer in the band."

"That's another thing," Ervin says. "Our new songs are all a lot more technically complicated. Everybody's voice and instrument are being used for the majority of every song. The old way o - The Village Voice

Most Tuesday nights after band practice, the ACBs score a late dinner at the Popeyes at 63rd Street and Troost.

"They've got a deal on Tuesdays where you get a two-piece chicken, a biscuit, a side and a drink for $2.99," bassist Bryan McGuire says.

"No, the drink's not included," frontman Konnor Ervin counters.

"Oh, right — you have to pay extra for the drink," McGuire says. "Still a great deal."

Ervin nods solemnly. "Great deal," he agrees.

They're not joking. Well, they are, but not about their eating at Popeyes. Rather than convey embarrassment about how lame it sounds that a rock band regularly dines together at a Cajun-themed fried-chicken chain restaurant, the bandmates own the moment by turning it into a joke about how poor they are.

There's a lot of that twisted self-deprecation on the ACBs' terrific new record, Stona Rosa. "Street Fighter II," a jangly, quick-tempo stomp, is about sneaking from the bed of a woman and being extra quiet while eating cereal and playing Super Nintendo. "But I guess it's really more about me getting older and still feeling very immature," says Ervin, the band's primary songwriter and lyricist.

These songs seem an extension of Ervin's personality. They're funny and charming but a little alienated, too. The band's self-titled debut was mostly straightforward power pop, but Stona Rosa is quieter, sadder (and more stoned). It would be a mistake to read laziness into the ACBs' lyrics, though. Nobody in the city is writing sharper or more inventive melodies than Ervin, who has honed his craft the old-fashioned way: working a part-time job, living in a shitty apartment and practicing music all the time.

"It's true that, as people, we don't take ourselves all that seriously, and I think that comes through in our music," Ervin says. "But I spend the majority of my time awake, working on songs. I take that very seriously. The other stuff: image, promoting, selling yourself — it's hard to get excited about that stuff."

"When the band was just starting out, we were naïve about how to go about getting shows and getting press and all that," McGuire says. "We were confident about our music but insecure about people in the scene liking us. And we're looking at the people who are succeeding, and they're all acting like Lou Reed. We were like, 'Is that what we have to do to get people to like our band? Act like jerks?' "

"So we did, like, a photo shoot where we all stared into the camera like a bunch of pricks," Ervin says. "We had no idea what we were doing. But over time, you get more perspective about things and you realize that all the people you're intimidated by aren't actually that cool, and you just try to present yourself and your band as sincerely as possible."

The path from the ACBs' self-titled 2007 debut to Stona Rosa has been rocky. For the better part of three years, the band members bounced around studios throughout the Midwest, failing to find the sound they were seeking for their next album. On a trip to Norman, Oklahoma, to record at Bell Labs with Trent Bell (Flaming Lips, Starlight Mints), their van caught fire. They recorded a song but were unhappy with the results, and they drove back to Kansas City in a U-Haul.

"The recording process just became so demoralizing," Ervin says. In 2009, the band finished an album but decided to shelve it. "We got picky about it," Ervin explains. "I just never felt like we sounded the way I wanted us to."

Ervin wrote most of Stona Rosa in the aftermath of that abandoned album. (Drummer Corey Egan and guitarist Matt Saladino decamped for Los Angeles in 2010.) Earlier this year, Ervin took his new songs to Mike Nolte at More Famouser and began recording. As the album progressed, Nolte played tracks from it for Andrew Connor, his bandmate in Ghosty. When Saladino moved, Ervin asked Connor if he knew any talented guitarists who might be interested in the ACBs gig.

"I suggested someone, but I also said I was tempted to do it myself," Connor says. "I've always really respected the conciseness of what the ACBs do, how they don't waste anybody's time. So I felt like playing with them was an opportunity I didn't want to pass up."

"I honestly didn't think he [Connor] would be interested because he's got his own band, and he's this great songwriter himself," Ervin says. "It's been amazing having him in the band. He makes every song better and he makes me better. As a songwriter, I don't want to bring any weak songs to practice because I respect him so much."

To replace Egan on drums, the band recruited Kyle Rausch, formerly of the Abracadabras. "Kyle has great musical instincts in general," McGuire says. "But on drums, his fills are fresh, his rhythm is perfect. He's also probably the best singer in the band."

"That's another thing," Ervin says. "Our new songs are all a lot more technically complicated. Everybody's voice and instrument are being used for the majority of every song. The old way o - The Village Voice

Thanks to MFR for pointing me to the ACBs’ “Boy Like Me.” It’s a really fun pop song that’s the best I’ve heard in a few weeks.

UPDATE: Turns out the band’s name is actually “The ACBs” not the ABCs. Oops!

MP3: The ACBs – Boy Like Me
With a name like The ACBs, I was expecting something a little more in line with Matinee or Happy Happy Birthday to Me Records. Not so. “Boy Like Me” sounds like an American take on the sounds the British have been mining for about two years now. It’s a bit like the Wombats, but a little slower and more straightforward.

the ACBs on Bandcamp - You Ain't No Picasso

Thanks to MFR for pointing me to the ACBs’ “Boy Like Me.” It’s a really fun pop song that’s the best I’ve heard in a few weeks.

UPDATE: Turns out the band’s name is actually “The ACBs” not the ABCs. Oops!

MP3: The ACBs – Boy Like Me
With a name like The ACBs, I was expecting something a little more in line with Matinee or Happy Happy Birthday to Me Records. Not so. “Boy Like Me” sounds like an American take on the sounds the British have been mining for about two years now. It’s a bit like the Wombats, but a little slower and more straightforward.

the ACBs on Bandcamp - You Ain't No Picasso

There is little doubt in my mind that The ACB’s have been mistakenly introduced as “The ABC’s” on more than one occasion. After all, one can only expect so much from human nature. Being taught the fundamental Latin alphabet since kindergarten can make such a thing seem customary, especially in regard to the first three letters. Regardless, while their oddly configured name may provoke caution for being unconventional, The ACB’s’ music will likely sound enjoyably familiar to anyone who was even a slight fan of alternative rock during the early to mid ’90s. I mean this in an entirely complementary sense too; The ACB’s craft a sound that reaps from familiarity in the midst of a strong melodic flow and irresistibly manufactured pop hooks. Encouraged by a slew of glowing local reviews and thriving shows, the four-piece are setting their sights on branching out from their local music scene in Kansas City, Missouri. There is honestly a slight chance that they already have more fans than the Royals; a sad sight indeed. Though baseball fans in KC continue to suffer, the music scene continues to bustle with a variety of artists who are quickly distinguishing themselves in quality form. The ACB’s are currently one of the top indie acts from the “City of Fountains”, fusing together a memorable sound that remains largely focused on arena-sized hooks and crisp guitar-rock.

While there are a substantial number of comparisons that could suit The ACB’s harmonious style, one largely noticeable factor attributes itself to the geek-rock explosion that took place in the mid ’90s, largely consisting of Weezer and Fountains of Wayne. With both respected bands attributing factors of wildly catchy power-pop, subdued grunge, and late ’80s new-wave, I would not be surprised if such styles were the personal preferences for the four members in The ACBs when they were in their high school years. They remain a more contemporary version of their past influences, also incorporating elements of snappy art-rock and even slight tinges of funk into their qualifiedly expansive sound. Lead vocalist and guitarist Konnor Ervin has impressive range, swiftly transitioning between octaves as he establishes points of quivering emotion in songs like the infectious “Suzanne” and “Sometime”. The latter of the two sees Ervin starting out a startlingly high in pitch; it is consistent throughout the song and the eventual chorus, the high point of the song in which several layers of singularly parallel backing vocals collide with a new set of swirling guitars. While The ACB’s stylistic output could have easily generated from the emo-punk infestation that Kansas City is known for these days, Ervin and guitarist Matt Saladino, bassist Bryan “Sweetums” McGuire, and drummer Corey Egan have molded a sound that, while borrowing from their share of influences, is a largely refreshing beckon to the days of the ’90s where catchy power-pop was released in rapid streams. While Kansas City has generally been previously known for its promising output of punk and hip-hop artists, the indie-rock scene is finally starting to catch up with bands like The ACB’s.

With a fair share of common influences in one hand (The Beatles, Matthew Sweet, and Michael Jackson) and a knack for irresistible guitar-driven hooks in the other, The ACB’s finished up their self-titled debut album earlier this year to a warmly receptive applause. From The Kansas City Star upward toward Village Voice, the press has been nothing but positive. Though sales have yet to erupt, it seems that nearly every major music publication based in Missouri has written some praising write-up about the band. I simply decided to be yet another one. With their expectable display of bouncy power-pop and prominent guitar riffs in tow, The ACB’s also have now revealed their fondness for the fashionable style of ’80s new-wave, with studded bands like The Cars and Devo breathing life through The ACB’s in most attempted ways possible. For instance, “Windows Up” takes a page from The Cars’ amiable formula quite successfully. As both guitarists utilize a muting effect that allows for concisely fulfilling chords during each verse, Ervin muses about a one-night-stand with misinterpreted intentions. “You’ll smoke alone, it’s a long ride stoned,” he sings, “Windows up, it’s 10 A.M., I’m late to work again.” The lyrical content on The ACB’s is largely similar; Ervin spews out quickly formulated lines that interpretively summarize hyperbolic anecdotes regarding recreational drugs, beautiful women, and hefty social risks. Youth is fun, no? Apart from the smooth chorus, “Windows Up” is largely minimal in terms of instrumentation, shifting between a steady rhythm section and incessant guitar progression until a variety of additional guitar riffs shine through in the second chorus. Though The ACB’s lack the synth use and slick percussion to be called full-on ’80s revivalists, it actually helps them in the long run. Their blend of l - Obscure Sound

Creating the perfect pop song is a lot harder than it looks.

Take the Beatles' "Yesterday," for example. Frequently considered the gold standard in pop songwriting, it was ranked by MTV and Rolling Stone as No. 1 on their list of all-time best songs in 2000. Not surprisingly, the Guinness Book of World Records also lists "Yesterday" as the most covered pop song in history, with more than 3,000 different versions having been recorded.

Also no surprise: Most of them are terrible.

It is surprising, then, that the four members of Kansas City's the ACB's have managed to write original songs that come so close to achieving guitar-pop perfection, especially on their first at bat. The band's self-titled debut album finds that elusive mix of catchy hooks, pitch-perfect harmonies and buoyant lyrics (with just a hint of corniness, for effect).

"We don't apologize for playing pop music," says Konnor Ervin, the band's guitarist, lead singer and chief songwriter, as he explains the band's approach to music from a secluded table at McCoy's in Westport on a quiet Thursday night. "Some people only seem to be able to enjoy pop on an ironic level, but we really are into what we're playing."

He's not just saying that. Whereas most bands try to name-drop at least a few cred-boosting influences, almost every musician the band members mention is decidedly uncool: Phil Collins, Burt Bacharach, Dionne Warwick, Whitney Houston — a laundry list of incredibly talented and influential ... dweebs.

"Some people seem to have this idea that if the music isn't cool, it's crap," Ervin says. "We're not ones to sit around and wait to be told what the next cool thing is."

"We're not afraid to throw in a few harmonies, either," adds drummer and singer Corey Egan. "Maybe even a little bit of the cheese factor now and then, if it sounds good."

Considering the band's influences, the ACB's' debut isn't the least bit uncool. On more than a few tracks, Ervin and Egan — along with bassist and singer Bryan McGuire and guitarist and singer Matt Saladino — come close to channeling the same charisma-charged formula that made pop's greatest hitmakers into household names.

The bouncing "We'll Walk on the River" wouldn't sound out of place on any of Weezer's color-coded albums. "My Movies" jives like a rewrite of the Temptations' "Get Ready." And the staccato riffs on the album's best track, "Everyone Wants to See You," make one wonder if Ric Ocasek was either in the booth or strapped to a guitar when it was recorded.

"I think we were just in a good state of mind when we recorded it [the album]," McGuire says.

Speaking of which, exactly when was it recorded? Considering the amount of buzz the band has garnered around town in the past few months (playing with it bands It's Over and the Republic Tigers, for example, or being nominated for a Best Pop Act Pitch Music Award), it might seem like the album hit store shelves only recently.

In fact, it was released nearly two years ago, around the time the band was forming. Ervin, McGuire and Egan had been playing in bands and recording together for years and decided to add Saladino and take on the new name in November 2006. Other start-up bands usually need at least a few months of writing and playing together before they can step into the studio, but the newly named ACB's were ready right out of the gate.

"We were kind of the chick under the egg when we first started out," McGuire says. "We had this great CD so soon after we started, but it was still hard to book shows."

Even after the gigs started coming, Egan says the band didn't draw much of a crowd — at least not an attentive one.

"We used to be the background music to the party," he says. "People would come to a bar to hang out with their friends, and they would hear us play and maybe say, 'That's a great song,' but they weren't really there to see us."

How times have changed. The ACB's are now the center of attention at their energy-packed shows, which Ervin describes as raw interpretations of the songs on the album. So if people are finally catching on to a record that's been around for nearly two years, when will the next disc arrive?

"We have a lot of new songs written, but we're not in any hurry to get back in the studio," Ervin says. "Our goal is to be around for a long time and put out a lot of great albums that each sound different. Our last album was a superb effort, but I really want this next one to be perfect."

Maybe all that's missing is a really good Beatles cover.
- The Pitch

For every good rock band with a bent for power pop, there are plenty of mediocre acts that leaned too hard on the appeal of pop music only to be disdained by audiences after a run on the charts. Remember these flame-outs from the late 80s and early 90s––Mike + the Mechanics, Smashmouth, or The Goo Goo Dolls? A rising career built on a few catchy pop songs can quickly disintegrate into cheese ball territory. Bargain bins at any chain music store are littered with musical shipwrecks, acts broadsided by the public’s fickle taste or the music industry’s whim. Fortunately, The ACB’s wield plenty of punch, catchy harmony, and hooks that should compel listeners to hold onto a self-titled debut album that upholds the timeless appeal of solid pop music.

When asked about what makes a pop song endure while others fade into obscurity, ACB’s guitarist and vocalist Konnor Ervin says, “Typically songs with catch phrases like “How Bizarre” by OMC or “Achy Breaky Heart” by Billy Ray Cyrus don’t last because they rely too heavily on a catch phrase which is cheap. These songs usually lack substance. Songs entitled “Save a Horse, Ride a Cowboy” should never be taken seriously. Great pop songs actually have emotion in addition to sweet hooks, like “Careless Whisper” by George Michael.”

Hmm, whether or not anyone agrees that “Careless Whisper” stands the test of time, Ervin’s reference hints at a slippery notion. And that’s the nature of pop music––a song reaches the masses, but only deeply connects with some individuals. Good songs weave into and out of popular culture, leaving an imprint on some people more than others. Ervin delves deeper into the phenomenon of pop music. “Pop gets a bad rap because people always associate it with commercial success and selling out or whatever,” he says. “It’s a shame that it has a history of being so manufactured. To me, pop music can be fun and even powerful. Hopefully, people will remember the root of their distaste for pop when they listen to our music. We certainly haven’t seen much success.”

I first saw the four guys in The ACB’s perform at one of Mikal Shapiro’s Gypsee Show events at The Pistol several months ago. Sitting on the dusty wooden floor of the space with an all-ages audience noshing on homemade confections, we watched the band perform behind a white sheet stretched across a makeshift theatre backdrop. A bright light beamed from behind the curtain and silhouetted the band, creating a simple, but lively, shadow play.

Having never heard of the band, the element of mystery increased as they played songs like “You Did It Once” without showing their faces and challenging listeners to imagine what they looked like. Once Konnor Ervin pulled the sheet down, I was hooked on their upbeat sound. Along with Bryan “Sweetums” McGuire on bass and vocals, Matt Saladino on guitar, and Corey Egan on drums and vocals, Ervin led the group through a set of radio-ready pop confections.

“Windows Up” bounces with a guitar hook and drum beat, then Ervin’s sweet falsetto floats in as he sings about a girl in car locked in a self-made atmosphere. The third track, “Keys in the Car,” builds steadily on airy harmonies, cuts to a break, and slowly increases the vocal tension until the song rides out on a high. “Sometime” is a showcase for Ervin’s voice hitting a high range of notes like Michael Jackson in his prime, urged along by a ripple of guitar notes in the background. Ervin sings a line––Walking like that/it’s a crime against humanity–– that is reminiscent of Prince, another contemporary pop maestro, who vamps in “Little Red Corvette.” A body like yours/Oughta be in jail/’Cuz it’s on the verge of bein’ obscene.

Aside from The Gloved One, the band also cites early Beatles and Matthew Sweet as influences. “Lyrically, I’d say I’m somewhere between the two, as Sweet is more personal and the early Beatles more simple and relatable,” says Ervin. “They both have a certain pop sound that is both emotional and full of energy. Also I think we share similar goals in terms of song structure.”

The band’s sound flirts with funky riffs atop solidly constructed pop songs that would make Quincy Jones nod in approval. The foursome’s focus on harmony and melody is evident throughout the thirteen tracks. Altogether, it’s no simple feat to pull off a pop sound that rocks guitar and rhythm (“Come On,” “Rulo”), inspires a sing-a-long mood with lively vocals (“Suzanne”), and injects a danceable vibe (“Sometime”) without ripping off James Brown shamelessly. Whether or not The ACB’s have any measure of commercial success, they kick out fun songs that feel good.

For the time being, take The ACB’s disc for a spin. See what songs hang until the last days of summer. Play it again a decade from now and you might be thinking about more than a careless whisper or, heaven forbid, an achy breaky heart.

-Pete Dulin

http://www.presentmagazine.com/full_content.php?article_id=679&full=yes&pbr=1 - Present Magazine

For every good rock band with a bent for power pop, there are plenty of mediocre acts that leaned too hard on the appeal of pop music only to be disdained by audiences after a run on the charts. Remember these flame-outs from the late 80s and early 90s––Mike + the Mechanics, Smashmouth, or The Goo Goo Dolls? A rising career built on a few catchy pop songs can quickly disintegrate into cheese ball territory. Bargain bins at any chain music store are littered with musical shipwrecks, acts broadsided by the public’s fickle taste or the music industry’s whim. Fortunately, The ACB’s wield plenty of punch, catchy harmony, and hooks that should compel listeners to hold onto a self-titled debut album that upholds the timeless appeal of solid pop music.

When asked about what makes a pop song endure while others fade into obscurity, ACB’s guitarist and vocalist Konnor Ervin says, “Typically songs with catch phrases like “How Bizarre” by OMC or “Achy Breaky Heart” by Billy Ray Cyrus don’t last because they rely too heavily on a catch phrase which is cheap. These songs usually lack substance. Songs entitled “Save a Horse, Ride a Cowboy” should never be taken seriously. Great pop songs actually have emotion in addition to sweet hooks, like “Careless Whisper” by George Michael.”

Hmm, whether or not anyone agrees that “Careless Whisper” stands the test of time, Ervin’s reference hints at a slippery notion. And that’s the nature of pop music––a song reaches the masses, but only deeply connects with some individuals. Good songs weave into and out of popular culture, leaving an imprint on some people more than others. Ervin delves deeper into the phenomenon of pop music. “Pop gets a bad rap because people always associate it with commercial success and selling out or whatever,” he says. “It’s a shame that it has a history of being so manufactured. To me, pop music can be fun and even powerful. Hopefully, people will remember the root of their distaste for pop when they listen to our music. We certainly haven’t seen much success.”

I first saw the four guys in The ACB’s perform at one of Mikal Shapiro’s Gypsee Show events at The Pistol several months ago. Sitting on the dusty wooden floor of the space with an all-ages audience noshing on homemade confections, we watched the band perform behind a white sheet stretched across a makeshift theatre backdrop. A bright light beamed from behind the curtain and silhouetted the band, creating a simple, but lively, shadow play.

Having never heard of the band, the element of mystery increased as they played songs like “You Did It Once” without showing their faces and challenging listeners to imagine what they looked like. Once Konnor Ervin pulled the sheet down, I was hooked on their upbeat sound. Along with Bryan “Sweetums” McGuire on bass and vocals, Matt Saladino on guitar, and Corey Egan on drums and vocals, Ervin led the group through a set of radio-ready pop confections.

“Windows Up” bounces with a guitar hook and drum beat, then Ervin’s sweet falsetto floats in as he sings about a girl in car locked in a self-made atmosphere. The third track, “Keys in the Car,” builds steadily on airy harmonies, cuts to a break, and slowly increases the vocal tension until the song rides out on a high. “Sometime” is a showcase for Ervin’s voice hitting a high range of notes like Michael Jackson in his prime, urged along by a ripple of guitar notes in the background. Ervin sings a line––Walking like that/it’s a crime against humanity–– that is reminiscent of Prince, another contemporary pop maestro, who vamps in “Little Red Corvette.” A body like yours/Oughta be in jail/’Cuz it’s on the verge of bein’ obscene.

Aside from The Gloved One, the band also cites early Beatles and Matthew Sweet as influences. “Lyrically, I’d say I’m somewhere between the two, as Sweet is more personal and the early Beatles more simple and relatable,” says Ervin. “They both have a certain pop sound that is both emotional and full of energy. Also I think we share similar goals in terms of song structure.”

The band’s sound flirts with funky riffs atop solidly constructed pop songs that would make Quincy Jones nod in approval. The foursome’s focus on harmony and melody is evident throughout the thirteen tracks. Altogether, it’s no simple feat to pull off a pop sound that rocks guitar and rhythm (“Come On,” “Rulo”), inspires a sing-a-long mood with lively vocals (“Suzanne”), and injects a danceable vibe (“Sometime”) without ripping off James Brown shamelessly. Whether or not The ACB’s have any measure of commercial success, they kick out fun songs that feel good.

For the time being, take The ACB’s disc for a spin. See what songs hang until the last days of summer. Play it again a decade from now and you might be thinking about more than a careless whisper or, heaven forbid, an achy breaky heart.

-Pete Dulin

http://www.presentmagazine.com/full_content.php?article_id=679&full=yes&pbr=1 - Present Magazine

Wait a minute, Mr. Postman. The ACB's don't want to hear from you today.

"We're at an age when you've got 80 save-the-date postcards on your refrigerator," says 25-year-old bassist Bryan McGuire.

"We've had a couple friends who basically stopped living, and they're just trying to succeed in their careers and do everything that their parents did," adds guitarist and singer-songwriter Konnor Ervin, a landscaper by day. "It's tempting to just fall in line, but a lot of pressure was released from me when I decided that I wasn't going to let that dictate my life."

Commitment to music has been a long time coming for Ervin and McGuire, old high school chums whose former band, Dr. Woo, recorded only three songs in its five-year existence. That Columbia, Missouri, group disbanded shortly after its members finished college and moved back to Kansas City.

"We'd headline the Blue Note and bring in, like, 400 people, but it was because it was a party," Ervin says. "I wasn't really achieving any of my goals as a songwriter. I didn't feel like people even knew our songs."

With their quarter-life crossroads upon them, McGuire and Ervin re-formed as the ACB's with drummer Corey Egan and guitarist Matt Saladino. The group promptly headed to Underdog Studios in De Soto, Kansas, to track a 13-song record that sounds every bit the part of a veteran ensemble.

The self-titled debut arrived last December, introducing Kansas City audiences to the band's textbook power-pop, which is informed by the big hooks of the Posies and the taut single-note riffs of the Cars.

"We listen to a lot of Michael McDonald and Michael Jackson, too, so that kind of creeps in there," Ervin says with a perfectly straight face. "This album is really early-Beatles-influenced ... 'Twist and Shout' is seen as this totally cheesy teenybopper song, but I think it's a real powerful song. That's kind of what I was going for."

There's definitely a cheese factor in hooky tracks such as "Suzanne," but that's precisely what makes the band's songs so much fun. Same goes for the lyrics, which mostly revolve around girls and recreational drug use.

"Those are two things that were really impacting my life at the time," Ervin says, clarifying that he has since cut back on the latter.

The ACB's hit the Brick Saturday. Save the date.
- Village Voice

Wait a minute, Mr. Postman. The ACB's don't want to hear from you today.

"We're at an age when you've got 80 save-the-date postcards on your refrigerator," says 25-year-old bassist Bryan McGuire.

"We've had a couple friends who basically stopped living, and they're just trying to succeed in their careers and do everything that their parents did," adds guitarist and singer-songwriter Konnor Ervin, a landscaper by day. "It's tempting to just fall in line, but a lot of pressure was released from me when I decided that I wasn't going to let that dictate my life."

Commitment to music has been a long time coming for Ervin and McGuire, old high school chums whose former band, Dr. Woo, recorded only three songs in its five-year existence. That Columbia, Missouri, group disbanded shortly after its members finished college and moved back to Kansas City.

"We'd headline the Blue Note and bring in, like, 400 people, but it was because it was a party," Ervin says. "I wasn't really achieving any of my goals as a songwriter. I didn't feel like people even knew our songs."

With their quarter-life crossroads upon them, McGuire and Ervin re-formed as the ACB's with drummer Corey Egan and guitarist Matt Saladino. The group promptly headed to Underdog Studios in De Soto, Kansas, to track a 13-song record that sounds every bit the part of a veteran ensemble.

The self-titled debut arrived last December, introducing Kansas City audiences to the band's textbook power-pop, which is informed by the big hooks of the Posies and the taut single-note riffs of the Cars.

"We listen to a lot of Michael McDonald and Michael Jackson, too, so that kind of creeps in there," Ervin says with a perfectly straight face. "This album is really early-Beatles-influenced ... 'Twist and Shout' is seen as this totally cheesy teenybopper song, but I think it's a real powerful song. That's kind of what I was going for."

There's definitely a cheese factor in hooky tracks such as "Suzanne," but that's precisely what makes the band's songs so much fun. Same goes for the lyrics, which mostly revolve around girls and recreational drug use.

"Those are two things that were really impacting my life at the time," Ervin says, clarifying that he has since cut back on the latter.

The ACB's hit the Brick Saturday. Save the date.
- Village Voice

July 19, 2007
The ACB's write punchy, summery pop tunes that signify goals more satisfying and longer-lasting than a three-minute radio-ready sugar high. Influences and resemblances? The Zombies, Material Issue and too much in between to mention (including Def Leppard, Foo Fighters and Elvis Costello).

High points: "My Movies" and "Warning," which, come to think of it, is a sweet, three-minute blast of melody and groove that is more than ready for radio.


- Timothy Finn, The Kansas City Star

- The Kansas City Star

July 19, 2007
The ACB's write punchy, summery pop tunes that signify goals more satisfying and longer-lasting than a three-minute radio-ready sugar high. Influences and resemblances? The Zombies, Material Issue and too much in between to mention (including Def Leppard, Foo Fighters and Elvis Costello).

High points: "My Movies" and "Warning," which, come to think of it, is a sweet, three-minute blast of melody and groove that is more than ready for radio.


- Timothy Finn, The Kansas City Star

- The Kansas City Star

A bright new face on the power pop scene is Kansas City's The ACB's, with a self-titled debut that should bring a smile to the face of power poppers old and young alike. Fans of classic bands like Cheap Trick and The Cars as well as fans of newer bands like Rooney, Waltham and The Fags should find a lot to like here; in fact, in many respects they remind me of The Fizzies and their fine Contest Popularity disc released earlier this year.

Highlights on this disc are many: Opener "You Did It Once" sets the tone, establishing their high-energy no-nonsense power pop; "Windows Up" brings the tempo down a notch but the melody quotient a notch up; "Sometime" adds falsetto and a bit of funk; "Suzanne" captures their essence perfectly, a sing-along that rocks; the gorgeous "Everyone Wants to See"; and the closer "Oo Jane", in which I can swear I hear a hint of Collective Soul. Great stuff all around, and making the choice to pick this one up should be as easy as A-C-B.

http://absolutepowerpop.blogspot.com/2007/07/cd-of-day-72507-acbs-acbs.html - Absolute Powerpop

A bright new face on the power pop scene is Kansas City's The ACB's, with a self-titled debut that should bring a smile to the face of power poppers old and young alike. Fans of classic bands like Cheap Trick and The Cars as well as fans of newer bands like Rooney, Waltham and The Fags should find a lot to like here; in fact, in many respects they remind me of The Fizzies and their fine Contest Popularity disc released earlier this year.

Highlights on this disc are many: Opener "You Did It Once" sets the tone, establishing their high-energy no-nonsense power pop; "Windows Up" brings the tempo down a notch but the melody quotient a notch up; "Sometime" adds falsetto and a bit of funk; "Suzanne" captures their essence perfectly, a sing-along that rocks; the gorgeous "Everyone Wants to See"; and the closer "Oo Jane", in which I can swear I hear a hint of Collective Soul. Great stuff all around, and making the choice to pick this one up should be as easy as A-C-B.

http://absolutepowerpop.blogspot.com/2007/07/cd-of-day-72507-acbs-acbs.html - Absolute Powerpop