Two-Minute Trucker Reviews
Northern State
Can I Keep This Pen
You can't stand these chicks, yeah, I get it. I'm sure they ARE probably "whack emcees." But at least they are not hyper-masculine stereotypes. I mean, it's perfectly OK to be thuggish and use broken English, but it's also OK to expose influences like Le Tigre, Fannypack, Peaches, Ladytron, Luscious Jackson, and even the Beastie Boys. Yeah, I said it…and I'm fully aware how uncool it has suddenly become to mention anything from the Grand Royal era, but I for one miss Grand Royal, and that is exactly why this CD is such a blast of fresh air in my ears. Maybe you should just do some stretches to loosen up and relax before you listen to it. 7/10
Aesop Rock
None Shall Pass
So, on one hand you have the "EL-P crowd" and on the other hand you have the "Atmosphere crowd" and between the two stands Aesop Rock, juggling the hearts of tastemakers high and low. Yet plenty are just finding out about him, just as his nerdy folklore approaches its apex. Although he has released several multimedia projects since his last full length, the highlights of his career have been "Float," "Labor Days," "Daylight EP," and "Fast Cars, Danger, Fire, & Knives." I guess Aesop knows that, because he's back to basics this time around, shedding both the musical eccentricity as well as the hook-laden lyrical approach of his last ill-received full length "Bazooka Tooth." Unfortunately I am that one cat who preferred that “Bazooka Tooth” shit and not that cat who's into Atmosphere. 7/10
Bat for Lashes
Fur and Gold
While the deceiving single "What's a Girl to Do?" may lead many to believe rabid Portishead fans have come full circle and turned trip hop to indie, the remainder of the album is oriented towards those people who once loved Tori Amos but now hide her in shame. Equal parts eerie atmospheres and steely eyed female voice/piano (even while she covers Springsteen's "I'm on Fire"), but you won't find much drums at all outside of the single. Many compare her to Kate Bush, but I would go for an example more like "From the Choirgirl Hotel" or Bjork's slower material like "Vespertine" or "Selma Songs"…maybe even PJ Harvey's "Songs from the City, Songs from the Sea." If you are into a couple of those albums then I can confidently recommend the whole album, but for the rest of you…go to Youtube right now and watch "What's a Girl to Do." Your mind will ache. 8/10
M.I.A.
Kala
Can I even review this? I mean, she has her own ringtones (who doesn't?), but I still like her despite that. I can admit that I don't always "get her" the way DJ G-Force or Maralie (from Soophie) do, but it's the way she is so "beyond me" that stimulates. As I listen to this I wonder how long Gwen Stefani would last in Trenchtown, because M.IA. kills off Gwen and S.O.V. both after just the first ten minutes of this album. Tribal drum patterns mixed with lo-fi grit, and the odd blend of timbale with vintage drum machines, little samples and synthesizer stabs all make her seem like she would be at home in a trendy New York club, or at a renegade island dance party, or at a street fair for revolutionaries in India. Her last album bored me after a few listens, but this time I can't get enough. Load this on your ipod and imagine yourself as a militant on an African prairie with a dusty boom box thinking "the Gods must be crazy." 9/10
Rob Sonic
Sabotage Gigante
Possibly the most underrated talent from Definitive Jux records, Rob Sonic explores his own very specific style. Calling him "battle rap" is selling him way short. His rapid witty wordplay paints a tangled portrait of modern society with shrapnel-like riddles propelled by very distinct robotic production, seemingly indicative of some mysterious new electronica or IDM sub-genre, rather than merely recycling hip-hop's golden age. Thank goodness though, because underground hip-hop IS dead if it can't move forward. While neither his cadence nor his beat style mirror Beans from Antipop Consortium or Busdriver (who appears), he somehow still seems woven in the same progressive cloth, and competitive as such. Rob's last album was a lot like this, except this one seems more palatable, plus it has some distorted vocal effects, a dash of piano and turntable, and one beat that is almost like UK Grime. Give him a try. 8/10
The Reds, Economy of Motion
Max Recordings, Little Rock AR
First there was Johnny Mac. The head-shaven bespectacled songwriter performed solo quite often for several years before finally putting out a four-song EP, Four Songs EP (it boasted the superb “Numbers,” which can still be heard on the band’s MySpace site). Although he was the only musician featured on the album, he released the EP under the moniker, Johnny Mac and the Reds. Soon after, he assembled a full band to recreate the songs on the album in a live setting. After a half-dozen various lineups, Graham Cobb appears to be a permanent fixture on guitar and Jason Thompson handles the percussion. Now they go by simply, The Reds. But Johnny Mac is still their bassist/singer.
Now that we’ve cleared all of that up, you should know that The Reds have released their first full-length on Max Recordings, entitled Economy of Motion. It’s a fun, three-chord garage-pop romp that is guaranteed to make you shimmy. The simple, infectious, bass-driven hooks and playful vocal harmonies that at first seem routine sound smarter with every listen. The first song that sticks out is the contagiously cool “Summer,” with its la la la’s that truly evoke images of youth unrestrained and unrepentant, living it up in the sun. One listen, and this song (if you somehow manage to not listen to it again) will not leave your head.
“When I Was Around You” instantly grabs your attention, moseying through the verses with a bouncy bass line reminiscent of the Clash with its choppy guitar riffs. The lyrics are a remembrance of simpler times now gone, when a close friend was all that mattered. “When I was around you/we’d shout the words until we couldn’t breathe/we’d sing it straight up until they made us leave,” Mac sings. The song finishes with a light accordion thrown smartly into the mix.
A true pleaser is the album’s centerpiece, “Red Martians!” from which the album’s title is lifted (a la the Pixies, their MySpace page boasts). Like many great rock-n-roll songs, it’s about the joy of playing rock-n-roll songs, neighbors and cops be damned. Along with the ebullient “Will It All Come True?” and “The Sliding Glass Door,” this ten-song outing is a must-have for fans of light-hearted rhythm rock. I mean, who isn’t?
!!!, Myth Takes
Warp Records, London
Myth Takes begins with a mysterious introduction that quickly rambles into a witty and sometimes psychedelic rhythmic fusion of new wave disco and funk—a mutt of influences, but therefore compatible to a large audience. There is a certain amount of New York City fire and grit in every song, but I especially enjoy it in “Must Be the Moon” (see the video). As unique and off-beat as !!! can seem, this album is quite harmonious. Even in the second half of the album, which is a bit more experimental than the first, the sense of unity that any album requires is maintained. !!! carries a playful attitude that is only violated by the more distant and dark track, “Infinifold,” the last song on the album: "the line is thin between sad and funny and i can only really speak for me but i didn't see no one laughing." Older brothers everywhere should be introducing their younger siblings to this music. Growing up I used to think my brother was so cool cause he listened to 90's rap and Van Halen. More than anything I think this album radiates that mashup of style and energy. There's no mistaking Myth Takes; it makes you feel like the indie rocker you wish you were.
Jim Mize, Release it to the Sky
Fat Possum Records, Oxford MS
Jim Mize has delivered another volume of dependable Southern sojourns, this time from hallowed Delta label Fat Possum Records. Mize has admittedly spent a lot of time in the juke joints of the lower Mississippi, especially for a Conway boy, and he has clearly put that exposure to work on the canon of American anthems of the highway. The result is an album of thoughtful tonic fit for the barstool or the driver’s seat. As an insurance man, Mize has been following natural disasters for decades, but you get the idea that Katrina struck an especially heartbreaking chord for this musician. “After the Storm” is perfect. It is reverently mournful of Nature’s wrath, but determined to return to routine and permanence. “Acadian Lullaby” is a rooted romp, along with the rest of the album. Closing out the dance, though, is the sublime “Delta Land.” This sweaty hymn applies an ear for journalistic detail to the Southern landscape, resulting in portraiture that is honest like a spot of blood on a cotton boll. Mize claims to be launching his career at full speed after he officially retires from travelling insurance work, but I think the travelling has suited him thus far. Before long, we’ll all be calling him “The Bawss,” so settle in for a long ride.
Two-Minute Trucker Reviews
Rilo Kiley, Under the Blacklight: Oddly sterile pop departure with a surprisingly radio-friendly mix of late 80's soft rock and disco country…as if the slow jams on Magic 105 somehow constituted some new breed of secret underground retro. Kind of like a disco Fleetwood Mac. 7/10
Interpol, Our Love to Admire: Yes, better than the previous disappointing album. No, not quite as good as the first album. Yes, showing earmarks of their major-label transition, including a more grandiose feel with mild orchestrations, a more glossy/overproduced quality, and chord structures that try a little too hard to be ornate. Yes, overall a near flawless album if I had never heard this group before. 8/10
Minus the Bear, Planet of Ice: Although loyal fans may be divided regarding the new more blues-oriented guitar styles being integrated (considering this group previously utilized the tap guitar style almost exclusively) overall this is one incredibly lush album and a great example of pop not being typical or over-the-top with fake happiness nor obsessed with being particularly catchy. This is a plain-spoken and very pleasant album conducive to every kind of activity or location, from a pool-side picnic to shoe-gazing in the corner with your I-pod. Imagine a cross between The Lemonheads, Death Cab for Cutie, and Rush…this group sounds nothing like that, or do they? 10/10
PMtoday, And Then the Hurricane
Pure Volume/MA
PMtoday, a band out of Jacksonville, Arkansas, has a new album out on Pure Volume. And Then the Hurricane is a punchy, energetic release that boldly addresses the perils of youth, set to a whirling speed of sound akin to bands such as Fall Out Boy or PMtoday’s label mate, New Found Glory. Fans of their boisterous live sets will not be disappointed. They pull no punches on this recording. Lead vocalist Connor Brogan’s emotive voice commands attention and the band’s proficient chops are greatly accentuated by Andrew Maysilles expert production at Mayday Studios.
“I used to be a king at one point in time/ Now I live in exile” Brogan sings in a near-whisper on opener, “Celebration.” This short-lived gentleness is the proverbial quiet before the storm. As soon as the next song, “Doctor!” begins, the album’s title makes immediate sense. PMtoday barely stop for a breath throughout the remainder of the disc, blending intoxicatingly catchy pop hooks and punk approach with a tinge of metal. While the liner notes do not credit any one member of the band with lyrics, whatever member of the band does the writing has quite a bit to say. Nearly every song contains a lot of words, with the title track and “We Learn as We Grow” including upwards of 300 words. The lyrics on most of the songs found here read like love notes written never to be sent.
The recurring themes of love, medication, and fear of the future once again make the album’s title an appropriate one, the hurricane being the onslaught of reality and uncertainty of growing up. The only song that is out of place on the album is the “hidden” track, “Dreams in America,” which is a straight up hardcore song. And while the song isn’t their best by any means, it may be evidence of earlier hardcore roots, which would explain their dexterous musicianship. PMtoday is a young, talented band that will doubtlessly only get better. Let’s see what they sound like after they’ve weathered the storm.
The Contingencies, Viva Ole
Max Recordings/AR
The first notes of Viva Ole hit the ear with promise, clearing the way for Dan Johnson’s fluid vocals. The Contingencies come in the wake of a pop tradition that has lately grown more reverent of its late 70s-early 80s ancestors, but they are noticeably more comfortable with a broader reservoir of sound. The artistic elements of the album remained precisely balanced throughout, a fact acutely illustrated by “A Love”. Here the politely driving guitar and brooding bass prop up the excellently produced vocals, never overshadowing them. “Up in the Clouds” is a euphoric ode to joy that seems almost youthful compared to the rest of these songs. The Contingencies distinguish themselves from their peers in the pop world by allowing their sound more breadth than a lot of major record companies would be comfortable with. The last track, “Window Unit (Head Mix)”, leaves us in a pulpy setting more sparse than we might have expected from the beginning. Imagine dusty roads and windblown locals all equally beaten down, day after day, by an excruciating, dry desert heat. At risk of beating a metaphor senseless, I can’t decide if this album is a cool drink or a bucket-in-the-face of ice water for the current rhythm rock establishment. After the last track fades away, though, either one is welcome; so I just start the album over.
Boondogs, A Thousand Ships
Max Recordings/AR
A Thousand Ships is a lovely album. I saw their live show at Easy Street one night and hoped that the CD would be as good as the live version; I wasn’t disappointed. However, it wasn’t until a little birdie told me that it was meant to be a conversation about the ebb and flow of a relationship between the two lead vocalists, Indy Grotto and Jason Weinheimer that I truly came to appreciate it. I have a lot of favorites from A Thousand Ships, but the stand-out tracks are definitely “Things You’ll Regret” and “I Do.” Note to all guitarists: Using the slide on any song will get you into any girl’s pants. Perfect example: “Things You’ll Regret,” where the slide riff makes the hairs on your arm stand up. The refrain in this song, “Don’t you know it’s my thing to do things you’ll regret” sets the stage for the rest of the album. “I Do” is a sweet song that highlights Grotto’s soft, melodic vocals. The song is about falling in love and getting hitched. The Boondogs deliver this track with perfect pop sensibility: “So there’s more to this than meets the eye, And there’s nothing else I have to hide. After all the things that we’ve been through, All my wishes have come true.” Lyrically, the songs are thoughtful and solid. Musically, the Boondogs combine catchy guitar riffs, engaging melodies and solid drum treatments creating an unforgettable album.
Soul Hop Legacy, Legacy of Soul, Vol. 1
Soul Hop Legacy Music Group/TX
If the 3rd coast took a piece from everything it had to offer, cut and packaged it, and hand delivered the product to the world in CD form, what you'd have is Soul Hop Legacy, Vol 1—A little bit of old school trunk music, a dash of gangster, and a whole lot of soul coming live from the grid iron. The City of Swangas, as its known, that once birthed the likes of Geto Boys and DJ Screw, gives us Izreal, Kozmic Tunes and "The Surgeon" C. Garmon (the Little Rock-born producer who operates on the tracks like the doctors of the past). They'll remind you of a time when the elements of hip-hop reigned supreme and every MC had to possess mad skills to hold his throne. If you've been settling for a cheap high in the form of mediocre rappers with simplistic skills, switch lanes and take a voyage through the legacy of soul. Soul Hop raises the bar, literally. It's a masterful collection of meaningful lyrics with a hip-hop and jazz undertone that marries the two genres in a way that reminds us of former GangStar member GURU. They have something for the MC with the single, “Roc the Mic,” paying homage to the original masters of the ceremony. They have something for the gangsters and hustlers—the disheartening “Algorythm” tells of a struggle all too familiar to the young black male and how it rains even on the just. Soul Hop Legacy is the return; they bring back the days when you'd listen to a CD and actually feel as if you were getting a piece of an artist's soul.
Valencia Robinson, Soul Searchin
Twin Records/ TN
The songbird Valencia Robinson has brought Memphis blues and soul to the hearts of Little Rock for years. The Memphis sweetheart speaks a universal language of love and heartache that most anyone can relate to. But it's this preacher's daughter's deep, raspy moan and vocal acrobatics that draw us back to the Southern Baptist church, on the pews beside Patti Labelle and Aretha Franklin. She has feel-good music—music that makes you want to stand up and shout "Good things are real!" right along with the track. Her voice seems to know no barrier as she shifts effortlessly into different ranges. The songs and the tracks are decent, but it's her vocals that make it a stand-out album. The music is easily relatable; there are songs of joy and songs of pain that speak on infidelity and broken trust. Soul Searchin is a quest. You won't listen to this one—you’ll experience it.
The Big Cats
On Tomorrow
Buy this record. Wait for a warm spring Saturday. Put the disc in your car stereo, and drive to no place in particular around Central Arkansas. If you need help making driving decisions, do what I used to do in high school: flip a coin at every fork in the road. Roll your windows down and avoid anything resembling an Interstate.
Maybe you'll make it Scott or Greenbrier or Wye Mountain. Wherever you end up, hopefully what you'll feel is a synesthesia of sound and sight that will present you with a new perception of where you live. Leave it to Max Recordings honcho Burt Taggart and his Big Cats to craft a record that makes a perfect soundtrack for driving around Central Arkansas. The music of On Tomorrow reflects the scenery of our region: well-worn dwellings amid bountiful natural beauty. The roads may be wretched and the homes may be dilapidated, but the hills are still green and the fields still wide.
The songs feature Arkansas-specific references throughout: "Minor Decay" mentions the "geese in the park right down from my home" at War Memorial Park, the titular tintinnabulators of "Woodlawn Bells" no doubt belong to Pulaski Heights United Methodist Church on Woodlawn Drive (and those bells are actually the first sound you hear on the album, during the intro to "Little Windows"), and Taggart sets the story of "She's Not Lost" in the Delta while revisiting the line "a place I call home." And of course, "Country Lanes" is a song named for the routes that make driving in Arkansas so appealing.
The one stylistic departure is "Pete Marsh," a brief Celtic-tinged instrumental named for an Iron Age man found preserved in a Cheshire bog. The other ten tunes on the disc are straight-up jangle-rock songs with a mature lyricism, gorgeous production sound, and a high singalong factor. Turn up On Tomorrow and let it mix with the breeze.
Steven Calhoun
Swagger
Listening to “Swagger,” Steven Calhoun’s first, and sadly, last release is like listening to the best punk bands from the last thirty-five years all rolled into one mad package. Simple three chord, 50s-sounding melodies laden with the occasional screeching, bluesy guitar solos make for an exceptional group of short, punchy songs that define the term, “no-frills rock.” However, it is the latter half of the album that illustrates Calhoun’s real pop prowess and ability to write more than brash punk songs with rough, shouted vocals. Songs like “Catching Stars” and the dazzling “Fall Down South” are much softer, airier tunes, accompanied by programmed beats, as opposed to live percussion. On these songs he trades in his abrasive vocals for a quiet, soothing croon that sounds utterly beautiful. I never knew Steven, but I will certainly miss his music. I wish there was a lot more of it.
Starcyde
As Seen on TV: The Mixtape
The Lil’ Rock Playas seemed to come out of nowhere with their national hit “Mrs. Jones,” back in ‘06. Now they are back with Mista Ye and producer Allstar on this very entertaining mixtape. Allstar, borrowing from a cross section of sound snippets ranging from game shows to sitcoms, produces beats that are catchy and clear. What may seem an ill attempt at nostalgia comes out an interesting remake of familiar melodies and hooks. With a whole new approach to the original content of the verses, Starcyde turns classic TV into ghetto tutorial. Classic spy TV show Get Smart advises others to step their game up and get smart on these streets. Cartoon Transformers warns us how a homeboy can switch on you, transforming into back-stabber or snitch. Other times the hook completely dismisses any original reference as in “Paparazzi Chic” an R&B tune by guest Charli, using the score from James Bond chase sequences. This loaded mixtape is worth a couple of full listens, but after you take it all in, you may find yourself skipping around to your favorites.
607
Heterostasis: Cerebral Scrapbook
After hearing Heterostasis you might be convinced that hip hop is not on its last leg. Deft lyrics, tight rhymes and slick beats characterize Heterostasis. Samples from Bjork, the Godfather and a reference to the Smurfs speak to 607’s range of taste in music and pop culture. “Send for Me” is one of the smoothest tracks on Heterostasis. The Casio keyboard and backup female vocals evoke a bit of nostalgia. 607 stays away from mainstream rap’s pitfalls: predictability, stale lyrics and formulaic song structure. “Russian Choices” has a heavy bass line and forceful lyrics that create a dark sense of KGB intrigue. In the chorus, 607 works in a few Russian words he picked up from a recent trip to Moscow. He tries his hand at singing on “Thinki Gotit” and while it is not as successful as some of his straight rap, it is a fun song. The best track here is easily “Out the Window” with its haunting chorus and lyrics like “Poverty was my protagonist|your excuse was the ghetto.” Overall, Heterostasis is definitely worth buying. 607 is a weird guy with lots to say and as long as he keeps putting out his CD’s, we’ll keep listening.
Conduit Fam
Theme Musik (compilation)
Conduit Fam, made up of duo Suga City, Epiphany, and DK, are nothing new to the Little Rock hip hop scene and unfortunately most of this comp isn’t either. It’s a real challenge for local artists, hip hop or otherwise, to keep it fresh for local fans when we are at all the shows and become familiar with the material, but that is where most of my criticisms end. Arkansas rappers take heed. Conduit brings original flavor and fresh lyrical flow to the redundant Dirty South subject matter. At times uplifting, other times schooling fakers on how to come new, the Fam does their own thing, always striving for more creative expression that is cooked in the environs of their southern experiences. Every other song is an Arkansas classic with original production by a mess of local producers, Big Keys, J-One, and Dat Heat to name a few. Arkansas Bo, one half of Suga City, lets the country know there is more to our state than “Bangin’ In Little Rock” on “Arkansas Sound,” the ultimate anthem to our humble land. The other half of Suga, Goines, unveils his meditative craft on “The Villain,” his tale of vengeance of the underdog, while Epiphany reminds us how it doesn’t take a lot to have a good time in his catchy sing-a-long, “5 Dollas.” For those of you who didn’t know, Theme Musik will be your introduction to some of finest the A-State has to offer.
Tel Aviv
Underwaters
Falling in line among the growing number of Arkansas’ finest releasing albums on Max Recordings, Tel Aviv gives us “Underwaters.” This ten-song outing is a keyboard-driven, brazen approach to straight-ahead rock and roll with a dash of electronica thrown in. The result is a haunting and captivating batch of songs that refuse to quit. “I can hear it coming/beating against the levee,” singer Justin Fernandez ominously howls on “Clipper Ships.” And that’s just how the song feels- waves of calculated sound driving the point home. The focus is more on the melodies than the actual lyrics, which isn’t a bad thing. They know where to direct our attention. “Black Marketeering,” one of the band’s earliest songs, is still the high point in their live set, and the decision to include it on this recording was a good one.
Adrian James
Das Gift
Not quite goth, not quite metal, this one-man project is monikered as "Das Gift" in the same fashion that Nine Inch Nails is really just Trent Reznor. Listening to this layered, remarkably realized vision, you wouldn't suspect it to be the brainchild of just one person. Adrian James is a multi-instrumentalist and former violinist for Evanescence (who knew they had a violin player?), and Das Gift's conception represents years of hard work without a band with which to collaborate. The end result is an album that sounds more like a symphony in several movements than a collection of individual songs. The trap of darker genres of music is that their predilection for melodrama renders them inaccessible to folks who don't participate in the genre's trappings. Das Gift, by contrast, sneaks up on you and ingratiates itself in an almost Toad the Wet Sprocket fashion. Perhaps the key is James's voice; there are no histrionics, no howling, no barbaric yawps, just a resigned and regretful rasp. Hopefully their brand of thoughtful dark melancholy will become a more frequent fixture in the area.
9th Scientist
Illatron Magnetic
9th Scientist is an underdog in the Little Rock scene. He completely dismisses the trends and keeps his style and flava marinated in the values and sounds of classic hip hop, which might explain why he is on a label out of Orlando. His cryptic flow can go over the heads of those not versed in the knowledge of Five Percent Islam or Egyptology, which is most of us. The Scientist goes deep and isn’t afraid to school us in the mystic realms. That aside, he’s just got real flow. The beats are reminiscent of the RZA and late 90’s bay area sound, giving Illatron a familiar feel and an enjoyable listen. Guest appearances by other Little Rock hip hop heads at times shine and other times don’t live up to the serious flow of the Scientist, but plenty of good tracks make this Little Rock hip hop CD a worth-while listen.
Ho-Hum
Let/Me/Wear/Your/Coat
The reigning kings of Arkansas pop are back with their tenth full-length album, Let/Me/Wear/Your/Coat. This previously “available on-line only” release finds Ho-Hum as clean, catchy and crafty as ever. Lenny Bryan’s vocals still have the warm, endearing quality we’ve come to love over the years and the tunes are instant classics that will remain in your head for days at a time. As per usual, the album’s sound differs slightly from their previous release, 2006’s Losty. Airy, acoustic-based ditties are the order of the day this time around, and they’re all pleasers. Songs like the title track and “I’m Free” are remarkably simple, yet profound, while “Damn People” is among the best songs in the ever-expanding Ho-Hum catalogue. We at Localist didn’t name them the “band of the decade” for nothing. It’s for real.
Thick Syrup Records
Arkansas Compilation
Travis McElroy, sole founder of Thick Syrup Records, brings us a thorough, eclectic look into the expanding Arkansas rock scene with his new 24-song compilation. As if that isn't impressive enough, he also managed to get nearly every said act to play a showcase at Whitewater Tavern in a single night—no easy task. Hearing this album makes you realize the breadth and variety on the local scene. From the barn-burner "Stolen Blues" by American Princes, the fragile warmth of Stacy Mackey's "Bowery," to the unabashed synth-pop of Browningham's "Award Winning Poetry," there is nary a weak track found here. Many of the Rock's most well-known bands appear, such as the afore-mentioned American Princes, Tel Aviv, Smoke Up Johnny, The Moving Front, Lucero's Ben Nichols, and Ho-Hum, and several of their contributions are previously unreleased. The final track, An A+ Setup's "What Do We Need the King For?" is one hell of an up-tempo, no-nonsense rock song that refuses to go unnoticed. Well done, Travis.