Only in a musical context can something so perfect be born from an imperfection...ImpertinAnce: intentionally misspelled, but perfectly composed. Impertinently brilliant!

Subscribing to the time-honored practice of striking when the iron is hot, the Jonas Brothers put out Lines, Vines and Trying Times in June of 2009, making it their third album in one year. True, Lines and A Little Bit Longer were separated by a soundtrack to a concert film, but the flood of product is a true reflection of the peak of the group's popularity, just as how the over-produced, stretched-thin Lines is a reflection of their hectic schedule. Where A Little Bit Longer was built on a strong song foundation, Lines, Vines and Trying Times feels constructed from the outside in, with the concepts coming before the tunes, concepts that all take the Brothers Jonas further away from the fizzy, power pop fun. Lines is designed to showcase a mature Jonas Brothers, who wear their maturation in an increased stylistic range, and fussed-over arrangements that lend this a stiffness of a band well beyond their years. Pop classicists that they are, the Jonases are a bit more comfortable with immaculate arrangements than they are with the expansion, as they fumble through a couple of country songs and "Don't Charge Me for the Crime," a truly bizarre duet with Common where they gamely, lamely affect a hard-boiled pose. Tellingly, most of the forced moments were written in collaboration with outsiders such as Cathy Dennis and Greg Garbowsky, the latter being responsible for co-writing "Poison Ivy," a power pop tune so labored it reveals just how good A Little Bit Longer was. Overthinking and over-production are the primary flaws on Lines, where every point is hammered home by horns transported from the waning days of the Reagan administration. This oddly yuppified production is more Taylor Hicks than Taylor Swift, but the presence of Joe's former girlfriend is felt elsewhere, whether it's in the lyric's heartbroken love songs (as well as a couple of rocking accusations), or how Miley Cyrus stands in for Taylor on one of those country songs. But Swift also comes to mind because she and the Jonas Brothers are trying to do a similar thing: make teen pop that skews adult in its sound and form. The JoBros did it effortlessly on A Little Bit Longer but on Lines, Vines and Trying Times the seams are showing, which makes it a little bit harder to enjoy, even if there are certainly moments where all their craft and charm click, resulting in some fine pop that points out what's missing from the rest of the record.

- Allmusic

Smokie is an English rock band from Bradford who found success in Europe in the 1970s. Originally called The Yen, then The Sphynx and later Essence, the band was formed in 1965 at St. Bede's Grammar School in Heaton, Bradford. It was composed of Chris Norman (lead vocals/rhythm guitar/piano) born Christopher Ward Norman, 25 October 1950, Redcar, North Yorkshire), Terry Uttley (born Terence David Uttley, 9 June 1951, Bradford, West Yorkshire) (bass/vocals), Alan Silson (lead guitar/vocals) (born 21 June 1951, Bradford, West Yorkshire) and Ron Kelly (drums) (born Ronald Bruce Kelly, 10 February 1950, Winchester, Hampshire). As Essence, they toured small clubs in Bradford and the surrounding communities. The band became The Black Cats in 1966 and in Nov 1967 the band changed their name to The Four Corners.

A perfect melody, refined arrangements, spoken intro recorded by pure chance and a strong title found by Delanoe are the indispensable ingredients of "L'ete indien". The disc is released on June 6, the anniversary of the American troops landings in Normandy. A good omen. Plait is willing to kill three birds with one stone: on June 24 and 25, as usual in CBE studio, Dassin records German and Italian versions of "L'ete indien". Spanish and English versions follow. The latter is recorded in the Studio 92 on September 3. After ten years of singing career, Joe is holding in his hands something more than just another "summer hit". "L'ete indien" proves to be his biggest success. And not only in the country of de Gaulle and Giscard. On August 2 the song enters the Dutch hit parade and stays there for five weeks to acquire the 22nd position. The German version enters the Deutsche hit parade on September 22 to reach the 28th place in fourteen weeks. It vies with the French version which penetrates the German market only on October 20 and in two weeks arrives at the 47th position. But this is nothing in comparison with Spain and South America, where Joe becomes a cult figure. After all, the disc will be released in twenty-five countries to achieve unprecedented success as against the original English-Italian version.