Monthly Archives: December 2010

Monday Blues: The Phil Spector Songbook

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An earnest 1970 tribute to Phil Spector

Originally released in 1970 on the Vault label, this is the earliest known album tribute to the songs made famous by Phil Spector. Numerous artists had taken a crack at imitating Spector’s Wall of Sound, but this was the first, of what turned out to be many, album tributes to the Tycoon of Teen. The Monday Blues are more of a soft-rock vocal group in the Mamas and Papas vein than a pop group, and the arrangements have more in common with the then-emerging singer-songwriter sound than the Brill Building. But this all works in the record’s favor as it creates a tribute to Spector’s songs rather than his inimitable production technique. The song list is drawn almost entirely from the works of the Ronettes and Crystals, but their best known hits are augmented by a few of their later songs, including “Do I Love You” and “Is This What I Get for Loving You?”  Nothing here substitutes for the original singles, but as the first tribute to Phil Spector, it’s a sweet reminder of his artistic genius. [©2010 hyperbolium dot com]

Various Artists: Rockabilly Rhythms

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Original artists, not original hit recordings, but still interesting

Like hundreds of other MP3 compilations on the market these days, this one is filled with recordings of unknown origin. But unlike compilations that try to fake the hits, this one’s got some interesting live performances and alternate arrangements. These recordings may or may not date to the original sessions, but fans will get a kick out of hearing Bill Haley sing “Rip it Up” live and Gene Vincent strut his way through a slower, bluesier version of “Be-Bop-A-Lula.” A number of the tracks don’t even graze rockabilly, including Gene Autry’s trail-rhythm “Back in the Saddle Again,” guitarist Billy Mure’s instrumental take on Hank Williams’ “Kaw-Liga,” sax-man Ace Cannon’s cover of “Little Bitty Pretty One” and the horn-fed R&B of Jackie Kelso and Willie Egan, but there are some nice finds for rockabilly fans, including Joe Seneca’s “Rick-A-Chick.” Many of these tracks fail to live up to the collection’s title (not to mention that cover boy Chuck Berry doesn’t appear at all, and Little Richard’s “Long Tall Sally” is presented in awful, pinched audio), but there are a few treats to be picked out. [©2010 hyperbolium dot com]

Dolly Parton: Wanted

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Rare and previously unreleased early Dolly Parton tracks

Though the first three tracks of this collection are sung by an unknown vocalist, the remaining sixteen are by all accounts sung by Dolly Parton. More importantly, seven of these tunes (tracks 4-10) are rare, previously unreleased tracks that appear to be from Parton’s years with Monument. The remaining ten tracks are drawn from her out-of-print Monument albums Hello I’m Dolly and As Long as I Love. Though no credits are provided, the seven newly discovered tracks sound as if they were recorded during the pre-RCA years in which Parton tried out country ballads and honky tonk, often with pop, jazz, folk and blues inflections. Several of the songs were recorded by other singers (George Morgan recorded “Not From My World,” Kitty Wells issued a single of “Only Me and My Hairdresser Knows” and Tammy Wynette waxed “Send Me No Roses” for a 1967 album), but this appears to be the first time that Parton’s versions have been widely released. Though the audio quality is variable (better for the unreleased cuts than the previously released album tracks), this is a real treat for Dolly Parton fans, and one that may not be on the market for long. [©2010 hyperbolium dot com]

Towerbrown: Let’s Paint it Brown

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Throwback ’60s R&B, Boogaloo and Freakbeat sounds from France

This recently formed French quartet has got the sounds of 1960s British R&B, Boogaloo and Freakbeat down, from their punch-in-the-gut mono mix to stellar organ and Fender Rhodes and tasty guitar solos. The Animals, Spencer Davis Group, Pretty Things and early Rolling Stones are obvious antecedents, with an emphasis on bluesy go-go beats that surely make Towerbrown a favorite for the dance floor. Three vocal tracks and the hard-swinging organ-and-guitar instrumental “Let’s Paint it Brown” make up the band’s 4-song debut EP. Available as a limited edition 7” single (email the band for info) or digital download, this one’s sure to keep you grooving. [©2010 hyperbolium dot com]

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Happy Birthday Phil Spector

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It’s still difficult to reconcile the harrowing portraits of Phil Spector presented by Mark Ribowsky and Mick Brown with the heart-tugging legacy of the Wall of Sound. The awe-inspiring images of the teen tycoon depicted by Tom Wolfe and Richard Williams now seem whitewashed, but they make lovely companions to the heart and soul still heard in Spector’s records.

Spector apparently loved the celebration of Christmas so much that he claimed to have been born on December 25th, but most reliable records now date his birth to December 26, 1940, making today his 70th birthday. Happy Birthday, Mr. Spector.

Favorite Albums (& DVD Box Set) of 2010

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2010 was another great year for reissues, new issues of archival material and new albums by heritage artists. Far and away the most revelatory listening experience of the year was the 15-CD set of Hank Williams’ Mothers’ Best radio transcriptions. The earlier musical excerpts (released in 2008 as The Unreleased Recordings) was a revelation in its presentation of a parallel Hank Williams performance catalog, but the unedited programs brilliantly flesh Williams out as an entertainer, band leader, friend and human being.

Artists, particularly those on indie and self-made labels, continue to provide on-line streams and track downloads to catch listeners’ ears. Aggregators like Hype Machine and Elbows provide a quick way to hear what bloggers are writing about. Unfortunately, the major labels continue to shy away from this promotional avenue, and an affordable, legal licensing scheme for bloggers and podcasters continues to be elusive for commercially controlled music.

That said, here (in alphabetical order) are my favorites from among what I heard in 2010. Click through the album titles to find full-length reviews.

#1 Release of 2010
Hank Williams – The Complete Mothers’ Best Recordings… Plus!

Top New Albums of 2010
Elk – Tamarack Mansion
Derek Hoke – Goodbye Rock ‘n’ Roll
John Meeks – Old Blood
John Mellancamp – No Better Than This
Marty Stuart – Ghost Train The Studio B Sessions
Peter Wolf – Midnight Souvenirs

Top Reissues of 2010
Chris Bell – I am the Cosmos (Deluxe Edition)
Hot Tuna – Live at the New Orleans House, Berkeley, CA 09/69
The Plimsouls – Live! Beg, Borrow & Steal
Elvis Presley – On Stage (Legacy Edition)
Otis Redding – Live on the Sunset Strip
Ola Belle Reed – Rising Sun Melodies
Paul Revere & The Raiders – The Complete Columbia Singles
The Runaways – The Mercury Albums Anthology
Various Artists – British Invasion (DVD Box Set)
Various Artists – Remember Me: Cameo Parkway Vocal Groups Vol. 1

Honorable Mention New Music of 2010
Reno Bo – Happenings and Other Things
The Clientele – Minotaur
Paul Collins – King of Power Pop!
Andrew Combs – Tennessee Time
Hacienda – Big Red & Barbacoa
Eilen Jewell – Butcher Holler: A Tribute to Loretta Lynn
Andy Kim – Happen Again
Raul Malo – Sinners & Saints
Christine Ohlman & Rebel Montez – The Deep End
The Mad Tea Party – Rock ‘n’ Roll Ghoul
Manning-Dickson – Drive
Stonehoney – The Cedar Creek Sessions
Twilight Broadcasters – Evening Shade
Dale Watson – Carryin’ On

Honorable Mention Reissues of 2010
The Clefs of Lavender Hill – Stop! Get a Ticket
George Jones – The Great Lost Hits
Phil Ochs – On My Way: 1963 Demo Sessions
Dolly Parton – Letter to Heaven: Songs of Faith and Inspiration
The Poppees – Pop Goes the Anthology
Sorrows – Bad Times Good Times
Roland White – I Wasn’t Born to Rock ‘n’ Roll

Emory Quinn: See You at the Next Light

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Tuneful country-rock with influences of Dylan, Petty and Knight

If you charted the Texas trio Emory Quinn amid the circles of a Venn diagram, you’d find them at an intersection that neatly combines twang, beat and melody. For those who like their country to rock, and their rock to sparkle with catchy melodies, these ten original songs will have you humming along as you imagine yourself moving to the band’s guitar-bass-drums in a Texas dance hall. Clint (Quinn) Bracher sings with enough rootsy emotion to keep country radio at bay, but in a world where the Eagles and Wallflowers once had hit records (and numerous Nashville acts are only a pace or two away from rock), one can hope this sort of musical hybrid could again find a mainstream audience.

Bracher’s an ace wordsmith who employs a mix of detail and allusion, setting concrete moments amid more ephemeral thoughts. The group’s melodies are often misleadingly upbeat, hiding the dark murder and unhinged smile of “Holes Through the Windows” behind Byrds-like jangle and harmony. The banjo closer “Falling Down Again” is among the more chipper songs about detoxing you’re likely to hear, and though Dylan and Petty are obvious touchstones, there’s also the wariness and foreboding of Chris Knight in “Tear Down the Walls.” Bracher explores both sides of a vagabond’s life in a pair of songs; the rootless party times of “Moving On” offer contrast to the enduring loneliness of constant motion in “Finds Danger.”

Emory Quinn is a talented band with impressive original material and the musical chops to bring their vision to fruition. They create fuller arrangements in the studio than the basic sound of their stage performances (such as heard on Live at Gruene Hall), but they never overdo it. Nathan (Emory) Rigney adds finely played touches of guitar, violin, banjo and pedal steel, bassist Case Bell offers up a tasty keyboard solo on “When I Dream,” and touches of strings add atmosphere without overshadowing the group’s basic sound. Here’s hoping the band finds a way to break out of the Texas dance hall and college circuit!  [©2010 hyperbolium dot com]

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Jesse Dayton: One for the Dance Halls

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Heartfelt Texas dance hall honky-tonk

The Texas-born Jesse Dayton was weaned on classic country, taking particular interest in the sounds of George Jones and Lefty Frizzell, and the firebrand individualism of Waylon, Willie and the boys. He developed a presence in the alt.country world as his 2001 release Hey Nashvegas seemed to both critique and court Music City. The album’s mainstream touches couldn’t hide lyrics more deeply personal than the typical Nashville songwriting appointment could produce, and his underlying fealty to rockabilly, honky-tonk, Cajun and latin sounds was similarly out of step with country radio hits. Though he released an album of soul-tinged country in 2004 and an album of covers in 2006, he dropped off of many country music fans’ radar. But Dayton didn’t stop making music.

In 2005 Dayton released Banjo & Sullivan: The Ultimate Collection 1972-1978 as a fictional aside to Rob Zombie’s Devil’s Rejects, went on to contribute songs to the Halloween 2 soundtrack, recorded a follow-on as Captain Clegg, and released a superb album of hardcore honky-tonk duets, Holdin’ Our Own, with Brennen Leigh. Dayton doubles-down on the honky-tonk roots on this latest album, cranking out the sort of shuffles, two-steps and waltzes that make Texas dance halls such special places to listen, dance, romance and drink away one’s problems. The opener perfectly captures the magical feeling of a Saturday night, spinning away your aches and pains, taking a smoke break in the dirt parking lot, and tipping the band (with cash or a drink) for that special song.

The rhythm section sets the pace, but Warren Hood’s fiddle and Nat Flemming’s pedal steel supercharge the performances. Dayton revs things up with the freewheeling hoe-down “Camden Town,” and though he might be a quart low on love, he hangs on to his optimism with “Pretty Girls Make the World Go ‘Round.” Things aren’t so sunny for the bloodshot morning-after of Nick Lowe’s “Lately I’ve Let Things Slide” or the chilly relations of Billy Donahue’s “Back to Back.” Damon Bramblet’s “Falling Apart” is given a two-step beat that improves upon the Johnny Cash train rhythm of the original, and Bramblett’s anniversary waltz, “The Years,” is sung with an emotional quaver aside Mickey Raphael’s harmonica.

Thursday night gigs at Austin’s Broken Spoke have honed Dayton into the very thing he most admired as a child: a country singer. His voice has deepened and weathered favorably over the years, getting him closer to Dale Watson territory. Brennan Leigh provides the perfect vocal foil, particularly in duet on “Falling Apart.” The album has the arc of a live set, mixing two-steps, ballads and closing with the Western swing of “Texas Bound.” You can easily imagine the dancers taking one more whirl around the floor before heading out to their pickup trucks, the band packing up, and everyone going home feeling satisfied. [©2010 hyperbolium dot com]

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Brian McKenzie: Resolution

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Country-rock singer-songwriter with a ‘70s vibe

One time metal guitarist (with the group Kilgore/Smudge) Brian McKenzie was drawn to singer/songwriter roots music as a mental escape from tours “packed like damned sardines in a cargo van.” He transitioned from electric guitar to acoustic relocated from Rhode Island to Nashville for a couple years, and honed his songwriting with the city’s pros. Now returned to the Ocean State, he’s cut this 7-song release. Judging by the retro country rock of the first two tracks McKenzie seems to have been listening to some classic B.J. Thomas sides, along with radio hits from one-time stars like Gallery, Lobo and the Stampeders. The productions are modern, but the melodies and harmonies sport a terrific ‘70s vibe. The remaining tracks are solid, hinting at Chris Isaak’s romantic croon and the thoughtful style of Gordon Lightfoot. [©2010 hyperbolium dot com]

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The Rubinoos: Automatic Toaster

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Power-pop, soul and garage-rock from the Rubinoos

Few groups have had as strong a second wind as the Rubinoos. After releasing two beloved albums in the late ‘70s (available together in a box set), the group went on hiatus for over a decade. But since their return to studio for 1998’s Paleophonic, they’ve dropped four albums of new material alongside numerous reissues, odds ‘n’ sods collections and live recordings. This latest album, their first since 2005’s Twist Pop Sin has been released initially in Spain (where the band has been warmly welcomed on tour) and features the longtime core of Jon Rubin (vocals/guitar), Tommy Dunbar (guitar/vocals/keyboard) and Al Chan (bass/vocals). Joining the trio on drums this time out is the album’s producer (and, yes, one time “Cousin Oliver”), Robbie Rist.

Dunbar’s nine original songs (including new versions of “Must Be a Word,” previously waxed by Vox Pop, and “Earth #1,” which appeared on the band’s Biff-Boff-Boing!) are complemented by a pair of covers: a sumptuous guitar-and-harmony take on Johnny Johnson’s soul side “Blame it on the Pony Express,” and a punchy run through Los Bravos’ “Black is Black.” The new tunes celebrate the basics of four-piece rock ‘n’ roll, the early days of the Beatles, and the superiority of our third planet from the Sun. There are garage rock riffs, kid-friendly horror and humor, and the sort of heartaches that make the band’s early records so memorable. The terrific “Same Old Heartbreak,” released several years ago by the song’s co-writer Kyle Vincent as modern pop on Sweet 16, resounds with the romantic urgency of the Rubinoos’ earliest gems.

Jon Rubin’s voice is as sweet as ever, and Tommy Dunbar’s guitar and pen continue to turn out hummable melodies with clever, catchy lyrics. It’s a shame today’s teen singing stars don’t mine the band’s catalog for undiscovered gems of adolescent longing. Dunbar’s songs are more tuneful and true to teenage emotions than Disney’s factory writers typically achieve. The power and crispness of Rist’s drumming is a nice addition to the band’s sound, though a couple of cuts get overpowered. Heading into their fifth decade, the Rubinoos remain a potent rock ‘n’ roll band whose fine harmonies and guitar-bass-and-drums haven’t lost a step. [©2010 hyperbolium dot com]

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