Daily Staff Writer

“Dosage”

Collective Soul

Neck and neck with Stone Temple Pilots, Collective Soul is vying for the title of the most unrecognized, underappreciated rock band of the ’90s.

Like Scott Weiland and his Pilots, Ed Roland and his Soulmates possess the key element in post-Zeppelin rock — songs that catch your ear in an instant.

“Shine” will forever be instilled in the heads of the next generation of Woodstockers who saw young bands like Green Day and Collective Soul celebrate the 25-year-old freedom fest on commercial-sponsored MTV replays.

“December” had the same effect a few years later, as did “Precious Declaration” in ’97.

One critic once put it: “Collective Soul makes every note count.”

If that explains the incredibly clever hooks and arrangements running rampant on all four Collective Soul records, then so be it.

Roland’s passion for Elton John and Beatles records, paid tribute to in the “Dosage” single “Run,” has gotten him a long way, but his comforting voice is the true security of Collective Soul.

On the group’s latest effort, songwriting is further explored as Roland teams up with brother/guitarist Dean on “Slow,” a harmony-heavy pop tune, and guitarist Ross Childress contributes “Dandy Life,” a boy-band ballad with a rock-band twist.

Guitars definitely play a bigger role on “Rampage” than past Collective Soul records, “Generate” and “Heavy” serving as the most obvious testimonies.

“Generate” captures the signature Collective Soul break-away chorus and proves the power of a guitar pause in pop rock.

“Needs” is the Roland-style ballad of the record, reminiscent of Semisonic’s “DND.” The “I don’t need nobody” chorus may be grammatically incorrect, but it sure is catchy.

By far the most memorable number on “Dosage” is “Not the One,” which uses a piano waltz to keep the pace for a brave lyrical adventure.

Collective Soul may never make history books, but the band is bound to make a few “Sounds of the ’90s” compilations.

And rightfully so.

4 stars out of five

— Corey Moss

“The Living End”

The Living End

The new, self-titled release from Australian trio The Living End is like a sonic shower for the brain pan.

All of the tracks are full of attitude and remind one of post-punk power trio Green Day, with a little “Peter Gunn” thrown into the mix.

The guitar work is atmospheric with a touch of rock-a-billy sensibility. This is aided by the stand-up bass and simple drum work heavy on the snare.

Some may remember this unique sound from old episodes of “The Kids in the Hall” (The Living End did the theme music).

The album reverberates with a ’50s rock sensibility modified with ’90s punk attitude and sound effects.

The band plays with heavy echo and reverb, making three simple instruments sound much bigger and harder than one would expect.

The opener, “Prisoner of Society,” is full of punk angst with simple yet defiant lyrics: “Well, we don’t need no one to tell us what to do/ Oh, yes we’re on our own and there’s nothing you can do/ So we don’t need no one like you … to tell us what to do!”

The beat is frantic, the lyrics barely keep up and the energy level is high like good punk should be.

Quite a few of the tracks reflect this sense of urgency, but this band has a slower side too — which gives it a wonderfully schizophrenic feeling.

One second you’re listening to Green Day Jr., and the next you’re hip deep in a ’50s retro soundtrack.

One such track is “Bloody Mary,” which struts out of the CD player and into your head just daring you to take it on like a really hot slutty chick at a smoke-filled bar. And dare you must.

The Living End definitely has a unique sound which touches the borders of a variety of genres, yet takes firm root in none of them.

Syncopated beats mix with wistful guitar riffs and driving bass rhythms to create an atmosphere which beckons the listener to roll around in it for a while.

This is the kind of CD you play two or three times before putting it away.

4 stars out of five

— Greg Jerrett