© the other press e Culture July 2003 Pilgrim Roger Dean Young & the tin cup Culture Editor Amanda Aikman Never Mind the Coppertone, 2003 is shaping up to be the summer of copperspine. It seems that the majority of interesting music I have heard this summer has been affiliated with this young Vancouver outfit. Roger Dean Young, along with the assortment of tal- ented musicians known as the “tin cup,” is certainly no exception. I have a theory. I haven't completely worked it out yet, but essentially it contests that Young is the product of a secret affair between Bob Dylan and Hank Williams, possibly with Johnny Cash pulling Godfather duty. Now I realize this may be difficult to prove, but trust me, after hearing Young sing, even the most steadfast skeptics are likely to come around. What a voice. It has recently been brought to my attention that my reviews are “a little soft,” so in response I really did set out to write a scathing critique of this album. I was fully prepared to rip it apart regardless of whether it deserved it or not. But once I started listening to it, I realized that just wasn’t going to happen. This album is beautiful—beautifully written, beautifully sung, beautifully played, beautifully recorded, even the artwork is beautiful. I suppose the only criticism I have is that there is nothing to criticize. Seriously, they could- n't have tacked on one shitty song to make my job easier? My reputation is at stake here. But no, instead Pilgrim is filled with song after song of pull-up-a-barstool, get-under-your- skin, break-your-heart type of classics like “Pebbles,” “Helicopter,” and “Alberta.” The sul- try vocals of Rebecca Till and Sam Parton work magic when paired up with Young and the dreamy musical accompaniment of tracks like “Pilgrim” and “Ravenna.” The bastards even have a banjo. I could never say anything bad about a band with a banjo. So I give up. I admit it; I love this album. If it doesn’t make you want to grab the nearest cowboy or cowgirl and light out for the territories—well, there’s something wrong with you. Visit for more information. Payday Millionaire tte aiean Jeremy Todd Culture Editor If you're anything like me—and, admit it you wish you were— you're tired of listening to music that all sounds the same. Well, we're in luck my friends, because Jeremy Todd has ’ arrived and he definitely doesn’t sound like anything we've ever heard before. His debut Payday Millionaire CD Payday Millionaire contains such memorable and slightly warped gems as “Don’t Worry About Being Ugly,” “Listen Peppy!” and “You Need Love Like I Need Money Honey.” The clever lyrics of all 15 tracks, along with Todd’s distinctive lounge singer-cum- folk singer vocals (imagine an “In the Ghetto” era Elvis if he had gone to art school and hooked up with a “Little Boxes” era Pete Seeger) make Payday Millionaire one of those infectious collections of songs you unconsciously find yourself singing while at work or in the shower. The irresistible “Listen Peppy!” in particular, makes me grin like an idiot from start to finish. Talk about addictive; every time that song comes on I have to physically restrain myself from incessantly replaying it (at present, I have managed to get it down to about three repeats per album listen). The entire CD is loaded with similarly amusing and insightful songs, with standout lyrics such as “I wanna go out, I wanna go downtown/I'd like to get drunk and dance around/But I get uptight feeling kind of dumpy and old” from “I Get Uptight,” or “Don’t worry about being ugly/Yourre beautiful when you don’ try” from “Don't Worry About Being Ugly.” The casual atmosphere of these acoustic songs, in addition to the laid back recording style, provides an intimate and comfortable sound that helps make Payday Millionaire the perfect hangin’-out-in-the-living room-with-a-few-friends-and-a-few-drinks type of album. Destined to become one of those infamous recordings you pass on to friends for years to come, Payday Millionaire is currently being ridiculously undersold at just five dol- lars per copy. For more information on the album or its creator, contact Jeremy Todd at or visit . And if you get the opportunity to check him out live, be sure to take it. You just may get lucky and catch his cover of “Stop Me If You Think You've Heard This One Before,” one of the more creative and successful interpretations of the Smiths classic that you are ever likely to hear. Page 18 e http://otherpress.douglas.bc.ca