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Kids In Philly

Marah

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Album Review

Kids in Philly is stunning in its diversity, and even more stunning in its ambition. The album forges its own confident, note-perfect rock & roll sound, while practicing the type of effortless stylistic hopping that hadn't been executed to such wonderful effect since the heyday of the Fab Four. It is a relentlessly infectious and mature album that displays an uncommon artistic authenticity. You would be hard-pressed to pinpoint Marah's direct precedents because their music is an entirely singular innovation. There are moments that recall both Bob Dylan (particularly the lyrical insight) and Bruce Springsteen, the roots rock and the white soul of early solo Van Morrison, while "Round Eye Blues" has the same slinky beat that lurks in "Every Breath You Take." Sonic touchstones pulled from the great eras of rock music's hallowed past — bone-crunching acoustic guitar runs, punchy soul horns, block-party gospel background vocals, and ever-present banjo — are boldly injected into the songs without reservation, but the album exhibits a vision that is quite personal and entirely unique from anything that came before it. David Bielanko's smoke colored, wisp-and-whine voice alone is the type of hallmark that is impossible to forget, but more impressive is Marah's musical invocation of Philadelphia, from the clever lyrical references to Todd Rundgren in "Point Bronze" to the shaggy-eared Philly soul beat of "My Heart Is the Bums on the Street." The city is not, however, just a colossal sonic influence on the album. Marah is spiritually and psychologically connected to every nook and cranny of its hometown, and Kids in Philly is literally a portrait of and homage to the city in the same way that Hotel California encapsulated mid-'70s Los Angeles. When listening to the album, every street and alley becomes crystal clear due to the band's mind-boggling lyrical gift. There is a real and complex viewpoint and storytelling acuity running through the album, whether it be the bus ride heartbreak of "Faraway You" or the staggering depth of "Round Eye Blues," on which a bitter Vietnam veteran tells his tale, an astonishing piece if one stops to consider the observations being spoken actually come from the mouths of twenty-somethings. The album contains one gem after another, and it leaves you feeling like you have just listened to one of those landmark musical achievements.

Customer Reviews

Suprisingly awesome, diverse, unique & engaging sound

Great CD, very diverse and awesome band and are even better LIVE. Start with this CD then buy all the ones if you like.

You'll love yourself in 20 years.

Honestly, this album deserves a better review than I'm going to give it now. But at the very least it deserves at least one customer review, and I'm glad to be the first. So to get right to the bone and gristle, this is one of the ten best albums of the last 20 years. Maybe 30? Maybe ever. I don't dare qualify that, or give you comparisons or analogies, because they would fall short of an accurate description. So I'll tell you the only three things that will stand out as a bit akward 20 years from now. "Catfisherman" will sound a bit dated, with its sample-sounding, flirtation with white boy rap. "From The Skyline..." will still be, as the band themselves describes, a "mysteriously weak song." Sometimes it sounds really cool, lots of times it falls flat. The rest of the album is bonafide rock and roll gold. Classic stuff that will hold up, no matter what. The third thing that will be akward twenty years from now is that you will still be telling your friends with bad musical taste that you'll never listen to their music recommendations because they don't like Marah. If you buy this record and you love it like I do, you might lose a little respect for those who don't, and that's always akward. So hopefully you get it, and try to forgive those who don't.

The Last Rock n Roll band

Sad to think that this record (and the white-hot live shows that surrounded it) is now approaching ten years old. Dave Bielanko continues to lead a multiply-fractured Marah into this next decade, but it's hard to say if the band's self-destructive tendencies will allow them to again reach their previous heights. Regardless, this will always be a magnificent record brimming with heart, pathos, and Philly soul. There are the obvious E street comparisons to be made, but mostly because this is the brothers Bielanko leading a band at the peak of its talents distilling the details of its beautiful and broken city into a heart-breakingly joyful noise.

Biography

Formed: 1993

Genre: Rock

Years Active: '90s, '00s

Philadelphia's eclectic, rootsy rock quartet Marah consists of singer/songwriter/guitarist/banjoist David Bielanko, guitarist/vocalist/harmonica player Serge Bielanko, bassist Danny Metz, and drummer Ronnie Vance. Dave Bielanko, Metz, and Vance formed the group in 1993; brother Serge was so impressed with their sound that he wanted to join Marah, which he did in 1995. The band found an unofficial fifth member in producer/engineer Paul Smith, who was similarly taken with Marah's Replacements-meets-Springsteen...
Full Bio
Kids In Philly, Marah
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