Blogs
  • Go! 3/7-3/9
    06:00PM 03/07/08
  • R.E.M. Accelerate: An Advance Review and Song-by-Song Analysis of the Band's New Album
    04:06AM 03/08/08
  • Buffalo Brewing Co.
    12:21PM 03/10/08
  • This Is Hawkwind -- Do Not Panic
    06:08PM 11/09/07

National Features

  • Houston Press
    "It Was Like an Armageddon Movie"

    For days after Hurricane Rita, a Texas prison was hell on earth.

    By Chris Vogel
  • SF Weekly
    The Candidate

    Our columnist knows Ralph Nader's running mate all too well.

    By Matt Smith
  • The Pitch
    How Not To Be a Rap Star

    First of all, lay off the Ecstasy.

    By Nadia Pflaum
  • Village Voice
    Project Runaway

    What becomes a gossip columnist most?

    By Michael Musto

After fifteen years and eight albums without a single shift in personnel, Sloan obviously feels empowered enough to exercise its ambitions. That's evident on Never Hear The End Of It — 30 tracks crammed onto a single disc (which makes the title somewhat of an understatement). Owing to its distinctly '70s sound — a retro approach that's inextricably tied to established pop concepts — End suggests a game of name-that-tune, with each song echoing a vaguely familiar melody from some earlier era. The vibrant, effusive "Flying High Again" sounds suspiciously like something once sung by Sister Sledge; the chugging rhythm of "Who Taught You to Live Like That" mimics Norman Greenbaum's "Spirit in The Sky"; the acoustic strum of "Listen to the Radio" bears an uncanny resemblance to ELO; and the lethargic, ballad-turned-perky-pop song "Fading into Obscurity" taps Paul McCartney's early m.o. Whether these similarities are intended as some sort of inside joke is a matter of conjecture. But that's no matter — these comparisons may be obvious, but so is Sloan's savvy.

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