Cobalt Party Revolution
"Slave to the Groove"

(Self-Released 2003)Cobalt Party Revolution - Slave to the Groove

If there is such a thing as white boy stoner hip hop, Cobalt Party Revolution might be it. As it is, the Beastie Boys might be the closet comparison although influence is probably more accurate. "Slave to the Groove" is fun, sometimes too much so, but generally has trouble getting from point A to point B, lacking a cohesive plan.

Old school beats, like an old friend, characterize "Hip Hop Don't Stop," an upbeat party anthem kind of song. Verbose lyrics over slower beats a la the Beastie Boys' style and then a poppy sing-song chorus makes up "Underneath Ladders." Distorted, aggressive vocals are the focus of both "White Boy (Just Like Me)" and "Nothin'll Do But The Best." The previous has stronger instrumentation while the latter has a laughingly ironic chorus where the band challenges you not to judge them but for you to "try to write a hip hop song." Casual and straightforward, "CPR Crew" is laid back and grooves as "Keep Your Receipt" has a bouncy summertime feel coupled with an overly simplistic sing song chorus. Cobalt Party Revolution, or CPR, as they seem to prefer, go less poppy and more serious with heavier beats on "Hit the Deck."

Cobalt Party Revolution mix things up with an instrumental, "Axel F in the Key of G," accented by crackling effects. Hand claps and wood block user you into "Learning to Drive," an up tempo and somewhat happy tune. Leaning towards electronic, "Discowhore" has heavy, rough beats making the song unique for the album. "You might not like us," CPR sing smoothly on the harder, more serious song of the same name. Throwing you for another loop, "Blues and Moonman" is an instrumental that includes, among others, "Mr. Sandman," on xylophone. From one extreme to the other, CPR, mockingly, go too serious on "Who'd Of Guessed?," even adding organ to the instrumental mix. Softer, attempting introspection, "Revolution's End" says good bye.

It is the lack of focus and seriousness that the band shows, making at least half the tracks goofy throw-aways and that cross the line from having fun to amateur. The instrumentation used on the songs is familiar but one of the album's strengths. CPR need to focus on the "revolution" part of their moniker and less on the "party."

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