CAMPER VAN BEETHOVEN
New Roman Times | Vanguard Records

Back in the mid ‘80s, Santa Cruz’s Camper Van Beethoven were mixing quirky lyrics, musical proficiency and forays into various genres of music before jam bands like Phish popularized the same formula across college campuses in the early ‘90s. After five releases, including their swan song, 1989’s Key Lime Pie, the eclectic band called it quits. Singer/guitarist David Lowery went on to have some success with his new band, Cracker, while three other former CVB members formed the progressive rock outfit Monks of Doom.

Though the group started playing together again over a year ago, the reformed band was in no rush to put out a flimsy, thrown-together reunion album. Despite the fact that it has been 15 years since their last recording, New Roman Times is among their best work.  Songs like “Los Tigres Traficantes” and “R n’ R Uzbekistan” are world music-sounding instrumental numbers that would fit nicely on any of their early releases, while the country-ish title track and “The Long Plastic Hallway” are some of the band’s finest recorded material.

As an added bonus, the sprawling 20-song release is a concept album about a disillusioned soldier and a conflicted America. With New Roman Times, Camper Van Beethoven proves that the dreaded “comeback album” doesn’t have to be something that makes listeners pine for the band’s past. (ST)

SOUL ASYLUM
After the Flood: Live From the Grand Forks Prom | Sony Legacy

The very end of the “replacement Replacements.” A very iffy “greatest hits” or summing up of their Sony tenure, this live collection of radio hits, misses and cover songs reveals Dave Pirner and Co.’s fatal flaw in spades: They didn’t rock.

Not unlike their true brethren, the also-Westerburg smitten GooGoo Dolls, once Soul Asylum had the brass ring of pop radio in their sights, they never stopped slowing down, slicking up and gooping away. But unlike the GGDs, Soul Asylum has only the most moderate ability to make compelling pop and unlike GGD’s singer Johnny Rzeznik, Pirner doesn’t have a vocal range he’s at ease in.

Kicking off with a weak “School’s Out” and ending with the unsalvageable “Rhinestone Cowboy” this is a prom night dream, assuming you’ve been mainlining Thorazine on “prom day.” Never up-tempo, never grooving enough to justify the sleepy downbeats, this is a testament to what is usually the lamest accusation hurled at a band: that they “sold out.” Well, every so often, that tired epithet is true.  This CD is currently available only at www.livefromthevaults.com. (JA)

THE MOORE BROTHERS
Now Is The Time For Love | Plain Recordings

Although when recording previous albums it may have seemed like a good idea to head into the studio with full back-up arrangements, The Moore Brothers have finally hit it with the minimalism of Now Is The Time For Love. Their craft of songwriting is at the same level as always but, because this time it’s realized with one guitar and two voices, it flourishes as only the most elegantly simple things can.

It is also a spotless reflection of the sound they’ve become known for at live performances: a sonic experience that registers somewhere between the Cocteau Twins and Simon and Garfunkel. It contains mostly new material but resurrects a few songs that have been around in one form or another for years. Specifically, there is “Schwinn” and their perverse masterpiece “Fascination,” both captured in a way that almost makes their live shows redundant. (MB)