Brian Jay Cline
understands that the cornerstone of popular music
is the song. It's been the bread and butter of artists from
TheReplacements to Wilco
to Squeeze, and in his own stylized way,
Cline knows that his musical career begins with the quality
of his songwriting. Blending
together hook-driven pop with the wit of Alt/rock and the
passion of Americana, his songs stand out like the neon
desert of his hometown - Las Vegas.
East Coast born,
it was on the streets of Brooklyn where Cline
got his start. "I bought my first guitar at 15, it was
this 'glam metal 101' thing, cost me $130. I delivered doorknob
fliers 'forever' to pay for it."He started writing songs
at age 17, cutting his musical teeth with a series of local
bands including The Rip-Offs and The
Bedlam Boys, and going through more than a few guitars
in the process. In 1992 he moved out west, finding a new home
in the Sin City desert.
Aside from working
on his solo gigs, Brian found time to become a key member
of the Vegas-based Mark Huff Four. Netting
5 co-writing credits on the MHF album "Skeleton Faith"
(Voted Local Album of the Year by Las Vegas CityLife)
and opened for the likes of Chris Isaac,
Rick Springfield, the Smithereens,
and Austin Texas' Derailers. In the late
90's, Cline dabbled in the punk rock scene as a short lived
but influential member - singer and songwriter - of the venerable
band - Twisted
Nixon
On
his 5th and 6th full length releases in under 5 years, Brian
once again has has struck POP ROCK gold.
Ready to Raveup and One for the Road
offers listeners all the things they love about pop music.
Finely crafted gems that'll make you feel good all over and
offer a glimpse into the mind of one today's most prolific
writers.
Listen
to "Round and Round"
off the new "One for the Road " album
FAST
TRAIN TO BROOKLYN -
On his sophomore effort,
Brian Jay Cline shoots down a poppier road than on his slightly
twangier debut, Twisty Town. The songs on Fast Train To Brooklyn
hark back to the bright pop sounds of the early ‘80s,
particularly the work of Marshall Crenshaw and Nick Lowe.
Bolstered by Peter Radd’s keyboards, Cline works up
punchy numbers laced with a little urban soul. Although now
a Las Vegas resident, Cline still retains a feel for his native
New York City as revealed on tunes like "Double Parked
Heart" and, naturally "New York City". -- (Self-release)
Miles of Music 2002
FAST TRAIN TO
BROOKLYN - Listen
to the sweet sounds of Brian Jay Cline and you’ll hear
echoes of British artists like Elvis Costello and Squeeze.
But he’s not from Brixton, he’s from Brooklyn
and his current release is the appropriately titled Fast Train
To Brooklyn. I suspected I would like Cline (who now lives
in Las Vegas) simply because one of his songs had this wonderful
title: “Double Parked Heart.” I wasn’t the
least bit disappointed in this track. The heartache he sings
about is earned and well-documented with lines like, “Why
am I always the last in line/to be the first one on your mind?”
I played Cline’s album as I was driving and was totally
smitten with the fifth song. But, I thought the title was
a little cliched: “Angel In The Skies Above Me.”
It seemed a tad on the nose on an album that really aimed
for more clever ideas and turns of phrase. Suddenly, I picked
up the CD case and realized that wasn’t the title at
all: the song is actually called “Angel In Disguise.”
Cline had outfoxed me by tiptoeing up to a cliché,
sidestepping it and coming up with something truly original.
(By the way, I don’t recommend reading CD song titles
when you’re behind the wheel. I missed two turns and
almost got into a couple of accidents by paying more attention
to what I was listening to than what I was driving.) My vehicular
mishaps notwithstanding, this is an exceptionally swell album
and Cline is a truly gifted singer-songwriter. -- Tony
Peyser (Santa Monica Mirror, 2002)
FAST TRAIN TO
BROOKLYN - Best
Squeeze and classic sounding Crowded House inspired disc we've
heard in a long time. Elements of Elvis Costello and Matthew
Sweet linger in various spots, too. Blending together hook-driven
pop with the wit of Alt/rock and the passion of roots-pop,
his songs stand out like the neon desert of his hometown Vegas.
"Shoot, pick a song and you're likely to find a worthwhile
gem. "Fast" is well worth the ride"-Amplifier.
"Listen to the sweet sounds of Brian Jay Cline.. this
is an exceptionally swell album and Cline is a truly gifted
singer-songwriter. "- Santa Monic Mirror. Free of shallow
pretense and covered in sincere passion for songwriting, Brian
Jay Cline is sweet, masterfully excels at beautiful melodies
and is waiting for warm place in many pop fans homes. A great
record to drive to no where special with and just enjoy its
simple, but memorable charms. -- Bruce Brodeen Not
lame records 2002
THE BIG ISSUE
- Not
Lame carries two other utterly enjoyable releases from Cline
that we strongly recommend, but on his third solo album, this
2002 release is the one that really connects the dots and
puts all his talents into a clear fish bowl that make for
easy viewing and ultimate listening pleasure. His roots pop
is akin to Walter Clevenger, a connection we don't drop that
often because few folks can write a hook like Sir Clevenger.
But let's slot in Cline into that group as this clearly inspired
dose of classic Nick Lowe roots-power pop. And what a compliment
it is to extend that name-drop. Fans of 79-81 era Squeeze,
Marshall Crenshw and early Elvis Costello are sure to find
plenty to embrace here, as well. Spiffy, snappy upbeat melodies
abound as does a driving sense of pumping rhythm that makes
one want to shake some booty(see "Roamin' Holiday",
in particular). Grade: A -- Bruce Brodeen (Not Lame Records,
2002)
QUADRAPHONIC
DELUXE - Whoa! Is this artist prolific and
talented, or what? This is the fourth full-length disc in
the past three years from Las Vegas-based singer/songwriter
Cline. Quadrophonic Deluxe is just as tuneful as each of the
preceding albums, with the nifty "Rock'n'Roll Heart"
showing off chiming power pop guitar licks. Cline flirts with
the jangle'n'twang sound on many songs, but it's all wrapped
with mainstream pop melodies, lyrics and production. Brian
definitely falls into the "one of the best artists you've
never heard of" category. Long may you run, Sir Brian!
Eric Sorenson Fufkin.com Online music reviews
QUADRAPHONIC
DELUXE - Las Vegas-based singer-songwriter
Brian Jay Cline's fourth album, is a record recalling the
best of the late 70's. His roots pop deserves a niche of its
own somewhere near the efforts of Graham Parker, John Hiatt,
Joe Jackson, Squeeze and Any Trouble during the offshoots
of the first punk wave. Gorgeous jangly guitars and great
songs, all powered with that strange ability to make one feel
good in an instant. "One Way Street"for instance
is not merely a disguished Motown shuffle, it's also a perfect
little pop song. And the album's opening track "Everything
Is Coming Up Roses" is reminiscent of the best of Graham
Parker. While the haunting ditty "Baby's Got The Blues"
even had us thinking about "Blind" of our all-time
favorites The Replacements. Other highlights include "World
Gone Mad", coupling the lightness of the Traveling Willburys
to the dash of Michael Penn, the great "Rock & Roll
Heart", which wouldn't have looked bad at all on the
resume of let's say Tom Petty, or "Radio Days",
a thematical relative of John Hiatt's "Radio Girl",
having Cline in turn sounding like a younger Costello or Graham
Parker. Lots of names! Does that have to mean, that what we're
offered by Cline isn't particularly original? No, sir! Not
at all! What it does mean, is that the music of this guy is
bringing back to mind lots of very pleasant musical memories.
"Quadraphonic Deluxe" is the kind of record you
don't get to hear that often any longer. Uncompromising, great
roots pop, that's what it is..." Country e-zine (Belgium),
www.ctrlaltcountry.be,
September 2003)
QUADRAPHONIC
DELUXE - is what Marshall Crenshaw might have
sounded like as a 1960s staff writer in The Brill Building.
This fourth CD by Las Vegas-based Brian Jay Cline has his
signature melodies with great hooks and lyrics with snappy
lines. Whether he’s wistfully musing about fame in “Rock
N Roll Heart” or cranking it up on the hit-the-town
rave-up “Ready Steady Go,” Cline’s tracks
have the ease of a bottle of beer that slides down a long
wooden bar to a happy hour regular who grabs it without spilling
a drop. Tony Peyser - Mirror contributing writer : Santa Monica
Mirror
QUADRAPHONIC
DELUXE - release and his fourth in four years!
Brian Jay Cline is a favorite around Not Lame for many reasons,
but primary amongst them every single album is unpretentious
blast of pop, rock 'n roll fun that fans of Bill Lloyd, Walter
Clevenger or Marshall Crenshaw are so driven towards. This
new release is every bit as good, if not better, than anything
in his catalog and like those other releases, this one is
filled with spiffy, snappy upbeat melodies and a driving sense
of pumping rhythm that makes
one want to shake some roots-pop booty. Bruce Brodeen
Not Lame Records
QUADRAPHONIC
DELUXE - Just in for 2003 this is BJC's newest
release. Fans of Crowded House, Squeeze,and straight ahead
fun power pop will enjoy this album. This is well done pop
for the lost generation. All these songs are extremely radio
friendly and
sound like they could be hits in a world where things made
sense. It's top notch pop with no filler. The track "Rock
and Roll heart" is a should be hit by itself! This cd
is a winner! Jeremy Morris Jam Recordings - 2003
TWISTY TOWN - Is
it alternative country? Is it mainstream rock? Is it roots
rock? How can we possibly review an album without knowing
its format, target demographic and bin placement at Virgin
Megastore? Sheesh. To Brian Jay Cline's credit, we can't
tag him one way or another. The local musician, who played
in Mark Huff's Skeleton Faith band, is an anomaly in that
he doesn't make music to be in some other artist's company,
or, conversely, go out of his way to build cred with some
new rock hybrid. Judging by the straightforward guitar-pop
nature of Twisty Town, Cline has freed himself from pretense
to convey genuine thoughts and feelings. And without worrying
about external influence or conceptual storyboards, he easily
transfers his identity to his music. To draw a real loose
metaphor, Cline's Twisty Town is reminiscent to Smashing Pumpkins
guitarist James Iha's solo album, Let It Come Down. But before
you say, "Dude, that album sucked!" it should be
clarified that he and Iha really only have lyrical subject
matter (namely, love and relationships) and influences (namely,
Whiskeytown--hey, it even rhymes with Cline's album title)
in common. Plus, this is no vanity project, as Cline proves
his talents without crutch or precedence; his impressionable
melodies save him from making just another bar rock album.
Twisty Town contains subtle nuances here and there that set
each song apart from each other. The musicianship on the album
in nearly flawless, thanks in part to a strong supporting
cast (Huff, former bandmates Dennis Osinski and Chris Nichols,
Rob Catalano, and Mama Zeus members Nicole Sottile and Vinnie
Castaldo, among others). Twisty Town could be a great companion
piece to Skeleton Faith. But to say that is to rob Cline of
the respect he deserves as a solo artist capable of standing
on his own. -- Mike Prevatt (Las Vegas City Life,2001)
TWISTY
TOWN - Sure, Brian Jay
Cline is about as country as cab fare--just check out that
accent. But the Brooklyn transplant has obviously spent plenty
of time studying the sounds of the heartland. Hell, he spent
a few years holding down the low end for Vegas troubadour
Mark Huff. Cline's solo debut, Twisty Town is a dusty cross-country
ride, complete with corn fields, crappy diners and sad stories.
And like Huff, Cline wraps it all up in a soulful blend of
roots rock and steel guitars. Just don't expect him to come
out sporting a Stetson anytime soon. -- Jeff Inman (Las
Vegas Weekly, 2001)
TWISTY TOWN - If
you look at the Cd’s cover (you know sometimes we’ve
been attracted only by an image and the content doesn’t
matter), you could think Brian Jay Cline is a real hard rocker,
not so susceptible to roots-rock charm. Obviously this is
a terrible mistake, because Twisty Town introduces with a
fine solo outset this young songwriter and guitar player from
Las Vegas, active on the local scene for several years as
a sideman in other rock bands. The record has a convincing
sound (even if the production is a little bit “unripe”),
maybe derivative, but with an undeniable personality. Pure
heartland-rock, where guitars (Brian in person and J.J.Johnson,
also the producer) run like a train, an unmistakable rock’n’roll
trip on the road that could place Brian into the great family
tree of American mainstream-rock, among Tom Petty melodies,
Mellencamp “cruel” sound and the country touch
of Steve Earle. Really, in these eleven songs you could find
some similar purposes with several Texan country-rock bands
like Loose Diamonds (do you remember?) or Reckless Kelly:
a mix of pop melodies, roots sound and a lot of “straight”
rock’n’roll. For example, listen to the opening
track, the brilliant Road Map, or to the roots-pop sound of
Happiest and Fading, even if above all it’s simple to
recognize Twisty Town “pop drive” in some ballads:
5Th & Nowhere, for example, rely on some keyboards arrangements
and soften with the female chorus by Nicole Sottile, while
the brighter Time Slips Through My Hands is a sort of pop
rock with some British influences. It’s Hard To Breathe
stands in the middle, because it combines rough guitars with
a catchy refrain; Brand New Star is just rock’n’roll,
maybe too ingenuous, but it sounds good and No Sympathy Tonight
drops the curtain leaving good chances for this young rocker
lost in Nevada desert: the harmonica gives a Springsteen feeling,
while on his back electric guitars and keyboards cross themselves,
giving to the track an epic touch. -- Roots Highway, 2001
TWISTY TOWN -
This is Cline's debut
album and, after the positive response we received from his
most recent disc, Fast Train To Brooklyn, we wanted to get
this one here, as well. It's classic styled chimey roots pop
in the strong, fat, purple vein of Walter Clevenger, Bill
Lloyd and Marshall Crenshaw. From a review in an un-named
zine on his site -- "Is it alternative country? Is it
mainstream rock? Is it roots rock? How can we possibly review
an album without knowing its format, target demographic and
bin placement at Virgin Megastore? Sheesh.To Brian Jay Cline's
credit, we can't tag him one way or another." Well, we
can.....it's roots-pop with a city/country flavor and an affection
for harmony-ridden, 12 string guitar-pop. And we dig it! --
Bruce Brodeen Not lame Records 2002
