 Brian
Jay Cline understands
that the cornerstone of popular music is the song. It's been
the bread and butter of artists from The Replacements
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.
View
"Road Map" Video
Buy
Brians Music
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
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