Though it’s been more than a decade since she waxed an album with a rock ‘n’ roll band, Holly Golightly has been active with her clanking, ramshackle country blues duo Holly Golightly and the Brokeoffs. Her new LP reunites her with her UK mates – Ed Deegan, Bradley Burgess, Matt Radford and Bruce Brand – and picks up where they left off, with kittenish jazz (“Frozen in Time†and “Empty Spaceâ€), sultry rock ‘n’ roll (“Seven Wonders†and “As You Go Downâ€) and a terrific cover of Barbara Acklin’s “Fool Fool Fool (Look in the Mirror).†Throughout the album, the guitars buzz and snake, the double bass adds deep tone, and Golightly multiples herself into a one-woman girl group.
When last we met Mr. Keene, on 2013’s Excitement at Your Feet, he displayed unerring taste in cover songs, and a knack for applying his own sound without obscuring the sources. Two years later he’s back with a new set of original songs, and while the covers album left Keene to write this album from scratch – no leftover material and no jump-starting a return to the studio with a resurrection of an earlier work – the album builds on both his trademark sound, and his sojourn through other people’s songbooks. Keene’s guitars and vocals have never sounded better, and the overall mood of the album retains the irrepressible excitement of early works like Places That Are Gone.
San Franciscan Vince Guaraldi had already established himself as a pianist and composer, first with Cal Tjader and then as a leader of his own group, when producer Lee Mendelson came knocking. Mendelson had been enchanted by Guaraldi’s 1963 surprise hit single, “Cast Your Fate to the Wind,†and asked him to write some original music for a documentary to be entitled A Boy Named Charlie Brown. Though the program didn’t air at the time, Guaraldi’s music so perfectly captured the mood and character of Peanuts, that he was invited to write the soundtrack for the first Peanuts special that did air, 1965’s landmark A Charlie Brown Christmas.
There were so many unlikely elements to the Christmas special (including the overt religious theme and the use of child actors to voice the characters), that Guaraldi’s literate, mirthful and sophisticated jazz score didn’t feel at all unorthodox. Bringing along key pieces from the unaired documentary, most notably “Linus & Lucy†and “Charlie Brown Theme,†Guaraldi’s music was as important in lifting the characters off the comics page as was the animation. Guaraldi continued to provide music until his passing in 1976, scoring a total of seventeen Peanuts specials and the feature film A Boy Named Charlie Brown.
The surprisingly extensive catalog of Nashville’s first surf band
On the surface, Ronny and the Daytonas’ “Little G.T.O.†is a classic mid-60s California surf & drag hit. The song is super-stocked with a driving beat, period hot rod lingo and a falsetto hook worthy of Jan & Dean. But the song wasn’t produced in California, nor was it even the product of an actual group. The eponymous “Ronny†was actually John Wilkin, son of country songwriter Marijohn Wilkin (“Waterloo†“Long Black Veilâ€), the Daytonas were an ad hoc aggregation of Nashville studio hands, and the session’s producer was Sun Records alumni Bill Justis. Even more surprising, “Little G.T.O.†was Wilkin’s first foray as an artist, and it launched a recording career that lasted into the early 1970s and spanned multiple record labels.
The Pontiac G.T.O.’s 1964 debut proved to be a pivotal moment in automobile history, igniting a muscle car craze that engaged all four American car makers and spread quickly to popular culture. Wilkin was a high school student when his dual interests in music and cars were catalyzed by an article in Car and Driver. The result was the #4 hit, “Little G.T.O.,†with Wilkin’s nylon-stringed classical guitar providing the unusual solo. With a hit single on his hands, more originals were recorded, an album was put together, and a touring band was assembled to hit the road. The follow-on singles, “California Bound†and a cover of Jan & Dean’s “Bucket T,†charted, though without the nationwide impact of the debut, and “Little Scrambler†and “Beach Boy,†despite their teen effervescence, failed to gain any commercial traction.
The lack of follow-on hits didn’t deter Wilkin, and working with Buzz Cason, he released the bouncy single “Tiger-A-Go-Go†(b/w the instrumental “Bay Cityâ€) under the names of Buck & Buzzy. The duo had more success with the Daytonas’ second (and final) major chart hit, 1965’s “Sandy,†developing a softer sound with folk tones, lush backing vocals and strings. The corresponding album offered more introspective lyrics than the earlier surf songs, and reflected the sort of growing sophistication heard in the Beach Boys’ contemporaneous releases. Strangely, 1966 started up in reverse with the non-charting single “Antique ’32 Studebaker Dictator Coup,†a track lifted from the 1964 Little G.T.O. album.
The Daytonas’ finished their run on the Mala label with 1966’s “I’ll Think of Summer,†and debuted on RCA with “Dianne, Dianne.†The latter was co-written with Merle Kilgore, and carried on the soft sounds of Sandy. The flip, “All American Girl,†was a catchy Jan & Dean surf-rock pastiche that must have already sounded nostalgic upon its release in mid-1966. The background vocals and falsetto flourishes of “Young†quickly recall the Beach Boys, though the driving piano and drums give the song an original kick. The flip, “Winter Weather,†sounds as if it were drawn from an AIP teen film set in snow country. Wilkin also tried covers, turning Rex Griffin’s 1937 suicide themed, “The Last Letter†into a teenage tearjerker, venturing winningly into light psych with Mark Charron’s “The Girls and the Boys,†and crooning “Alfie†and Boyce & Hart’s “I Wanna Be Free.â€
The short version: A terrific collection that includes nearly all of the Four Seasons’ original albums and most of their biggest chart hits. Missing is an early Christmas album, a later album recorded for Motown, and a live reunion album. Also missing are a few hits and B-sides. All stereo, except for a handful of tracks. Rhino’s original release incorrectly substituted incorrect songs on two of the albums (see end of review for details). A worthwhile collection for those who want to get beyond the hits.
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More than fifty years after the Four Seasons first topped the charts with “Sherry,†it’s hard to remember just how incredibly successful they were. In addition to their manufactured battle with Vee-Jay labelmates, the Beatles, the group was an unstoppable hit-making machine through the end of the decade, and took a curtain call for a pair of 1975 hits. If that weren’t enough, their lead vocalist had a parallel career that saw him charting regularly as a solo artist, with his own encore for 1978’s “Grease.†Though they occasionally used material from outside writers, the bulk of the group’s hits came from keyboardist Bob Gaudio and producer Bob Crewe, and their arrangements were handled steadily by Charles Calello, who’d sung with Valli in the predecessor Four Lovers.
Between 1962 and 1970, the group released fifteen albums, including three each in 1963, 1964 and 1965, and despite the songwriting talent evident in the group’s hits, it was inevitable that the albums would be padded with lesser material. Which doesn’t mean that the album tracks were nothing more than an afterthought, but just that there are few – particularly on the early albums – that match the effervescent genius of the hits. The group’s harmonies and Valli’s leads are always superbly musical, and there are charming album tracks on every release. But listeners familiar with the hit-making Four Seasons of 1960s AM radio will only find that group scattered throughout this 18-disc collection. On the other hand, the albums reveal a compelling picture of the group’s growth from doo-wop roots to sophisticated conceptual material and adult contemporary pop.
Their debut album is bookended by the hits “Big Girls Don’t Cry†and “Sherry,†which takes a bit of the color out of doo-wop styled covers of the 1920’s standards “Yes Sir, That’s My Baby†and “I Can’t Give You Anything But Love,†as well as a cover of the then-contemporary theme from Never on Sunday. Still, there’s real charm in a cover of J. Lawrence Cook’s “Peanuts,†and the 50s-styled vocal drama of Neil Sedaka’s “Oh! Carol†is a hoot. The group’s early albums continued to follow the same template, with a couple of blazingly brilliant hits fleshed out with originals, Tin Pan Alley standards and covers of pop hits like “Silhouettes†(which, not coincidentally, was co-written by Bob Crewe in 1957), a peppy take on Frankie Lymon & The Teenagers “Why Do Fools Fall in Love,†and a rich vocal rendering of the Mello-Kings “Tonite, Tonite.â€
Many of the group’s covers are fairly obscure today, including Billy and Lillie’s “Lucky Ladybug,†the Shepherd Sisters’ “Alone†and the Snow White soundtrack’s “One Song.†Even when covering well-known material, the productions often added original touches, such as the whining organ and Latin rhythm on the Skyliners’ “Since I Don’t Have You,†the percussive backing vocals on Maurice Williams’ “Stay,†and a radically reimagined version of Fats Domino’s “Ain’t That a Shame.†Gaudio and Crewe wrote many interesting B-sides and album tracks, including “Soon (I’ll Be Home Again),†“That’s the Only Way,†“Melancholy†and “Don’t Cry Elena,†but occasionally dropped in filler, such as “Dumb Drum.â€
The Four Seasons label, Vee Jay, continued to release their records well into 1966, even though the quartet bid them farewell with 1964’s “New Mexican Rose†and the album Folk Nanny. The latter had nothing to do with the folk revival in sound or material, and was composed almost entirely of previously released recordings. The group had been banking material in advance of their departure from Vee Jay, and arrived at Phillips ready for a blistering chart run. “Dawn (Go Away)†was released as a single in January, and quickly followed by the folk-flavored album Born to Wander and the showcase LP Dawn (Go Away) and 11 Other Great Songs. The former included covers of Pete Seeger’s “Where Have All the Flowers Gone†and Phil Ochs’ little known (but quite stirring) “New Town,†as well as several Bob Gaudio originals that deftly melded touches of twelve string and banjo with Brothers Four-styled harmonies. Also included was the group’s original version of Gaudio and Crewe’s “Silence is Golden,†which would become a 1967 hit for the Tremeloes, and the Beach Boys pastiche “No Surfin’ Today.â€
The Four Seasons’ dalliance with folk music lasted for just one album, after which they returned to their earlier pattern with Dawn (Go Away) and 11 Other Great Songs: a hit single, covers of earlier doo-wop and vocal group hits, and a sprinkling of originals. As before, there were original touches in the cover songs, such as the revised melody line and twangy guitar of Sam Cooke’s “You Send Me†the odd rhythm backing and instrumental flourishes given to “16 Candles,†and the doo-wop falsetto meets marching beat arrangement of “Breaking Up is Hard to Do.†The group finally broke free of the 1950s with 1965’s Rag Doll, an album written entirely by Bob Gaudio and various partners. In addition to three hits  (“Rag Doll,†“Save It For Me†and “Ronnieâ€), there are many fine album tracks, including “The Touch of You,†originally waxed by Lenny O. Henry, the sweetly longing “Funny Face,†and forlorn “The Setting Sun.†In the face of the British Invasion, the Four Seasons showed they had the writing, performing, arranging and producing talent to compete.
1965 found the quartet stretching out with strings and show tunes (“Where is Love?†from Oliver and “Somewhere†from West Side Story) and returning to the ‘50s (“My Prayer†“Little Darlin’â€) on The Four Seasons Entertain You. The hits continued with “Big Man in Town,†“Bye Bye Baby (Baby Goodbye)†and “Toy Soldier,†though none reached the top ten; the album tracks include Gaudio and Sandy Linzer’s emotional “One Clown Cried,†and a rare songwriting contribution from bass vocalist Nick Massi, “Living Just For You.â€. The group’s second album of 1965, The 4 Seasons Sing Big Hits by Burt Bacharach/Hal David/Bob Dylan, split its sides between material from Bacharach & David and Dylan. The interpretations do little to improve upon the better-known original recordings (though the Latin beat given to “Blowin’ in the Wind†is interesting, if not quite fitting), and suggest the group’s creative braintrust had run out of fresh ideas.
The Dylan cover “Don’t Think Twice,†with a bizarre falsetto vocal, was released under the name of The Wonder Who, and (somewhat incredibly) just missed the Top 10. But it was the non-LP single “Let’s Hang On†(not included here) that showed the group still had some ace material up its collective sleeves. Before the group could return to making more hits, they detoured for Live on Stage, a contractual-obligation faux-live album of standards for Vee Jay. Though “Little Boy (In Grown Up Clothes)†was released as a single (and was one of the few tracks that had the hallmarks of the Four Seasons sound), it didn’t chart, and the album remains a stylistic oddity in the group’s catalog. 1966 found the quartet returning to form with the hit “Working My Way Back to You,†and the associated album is a sleeper that’s filled with excellent new material and crisp arrangements.
Working My Way Back to You sounds re-energized on the up-tempo numbers, and the group’s dabble with folk music seemed to have a lasting impact on the songwriting of Gaudio and Crewe as they offer up the socially conscious “Beggars on Parade†and Dylan-esque “Everybody Knows My Name.†The latter works much better with Valli’s falsetto than the actual Dylan songs they’d recorded earlier. The album also includes an early version of “Can’t Get Enough of You Baby,†released a year before ? and the Mysterians, and there’s a hint of psych in the intro of “Too Many Memories,†showing, along with some of the album’s instrumental touches, that the group was taking in contemporary influences. Despite having only one hit single, and three tracks repeated from The Four Seasons Entertain You, this is one of the best albums in the group’s catalog.
The surge of artistic energy seemed to pause for 1967’s New Gold Hits. The album’s major hit, “C’mon Marianne,†was accompanied by two minor singles, “Beggin’†and “Lonesome Road†(the latter credited to The Wonder Who), and though there are a few compelling album tracks, including the light soul “I’m Gonna Change†and tough B-side “Dody,†the album didn’t feel particularly fresh or coherent. Worse yet, Rhino’s mastering errors (or perhaps Curb’s on the mid-90s reissue) mistakenly left the latter two tracks off the initial release of this box set! The group would spend the next 18 months working on an answer to popular music’s shift to albums, and the result was the most adventurous long player of their career.
1969’s The Genuine Imitation Life Gazette is a concept album co-written by Bob Gaudio and Jake Holmes. Holmes’ 1967 solo debut, The Above Ground Sound of Jake Holmes, was a cult favorite, but contained two historically important tracks. Most infamous is his original version of “Dazed and Confused,†but it was the song “Genuine Imitation Life†that brought him into the Four Seasons’ fold. The resulting album’s adventurousness – both musically and lyrically – and integrity as a collection is unlike anything else in the group’s catalog. Gaudio and Holmes built a complete album, and the group performed with a continuity of expression and consistency of purpose that had never graced their singles-based long players.
The complexity and finesse of Gaudio’s production, particularly his integration of vocal harmonies, orchestral instrumentation and studio effects is truly impressive. The tip of the hat to “Hey Jude†on the title song’s fade is only one of the album’s many charms. The Who’s Tommy proved that concept albums could break through commercially in 1969, but Genuine Imitation Life Gazette was largely ignored, scraping into the Top 100 at #85, and failing to get into the singles chart with the pre-release “Saturday’s Father.†Most likely, the group’s AM radio fans weren’t looking for such adventurous music, and those open to these sorts of sounds and socially incisive lyrics weren’t looking to the Four Seasons to produce them. It’s very clearly the group’s high-water artristic mark, and remains an impressive record to this day.
The group’s last album for Phillips, Half & Half, benefited from their previous artistic growth, but alternating group harmony tracks with Valli solo cuts (hence the album’s title) yielded few memorable moments and little chart action. With the group’s inventiveness reigned in and Gaudio mostly giving way to outside writers, the results were polished and professional, but largely pedestrian. Highlights include Valli’s cover of Prairie Madness’ obscure B-side “Circles in the Sand,†the tight harmony vocal washes of “She Gives Me Light†and the group’s closing medley of “Any Day Now†and “Oh Happy Day.†With that, the group ended their association with Phillips, and two years later released Chameleon for the Motown subsidiary, MoWest. Though not a commercial success, and somewhat generically produced, it’s filled with Bob Gaudio originals, and worth tracking down, since it’s not included here.
While the Four Seasons’ hit-making had wound down in the first half of the 1970s, Frankie Valli’s solo career had been revived by 1974’s chart-topping “My Eyes Adored You†and the follow-on “Swearin’ to God.†But in 1975 the Four Seasons returned to the charts with “Who Loves You†and the chart-topping “December, 1963 (Oh, What a Night).†As per their earlier releases, the album Who Loves You was constructed around the hit singles (which also included an edit of the album’s rolicking opener, “Silver Starâ€), with new material from Gaudio and his wife Judy Parker. As the group’s last helping of commercial chart success, the hits are memorable, and Gaudio’s production is complemented by strong lead vocals split between Valli and drummer/vocalist Gerry Polci.
The comeback was not sustained, and the follow-on Helicon closed out the Four Seasons’ two album run on Warner Brothers without a great deal of inspiration. The modern production touches that had added a winning touch to “Who Loves You†now sounded a bit stiff and perfunctory. The growling bass, synthesized keyboards and piercing guitars sound sterile in comparison to the group’s earlier records, and at odds with their warm harmonies. The single “Down the Hall†made its way to #65, and though the lead vocal is fetching, the production is distracting. Even “New York Street Song,†with its opening streetcorner harmonies gives way to disco rhythms.
Eight years later, Valli and Gaudio updated the Four Seasons sound once again for 1985’s Streetfighter. The mid-70s disco was replaced with competently synthesized mid-80s pop-rock, and though it would have fit easily into the pop mainstream, no one was biting. Sandy Linzer (who’d penned the mid-60s hits “Dawn (Go Away),†“Let’s Hang On†and “Working My Way Back to Youâ€) wrote many of the album’s originals, and though his melodies were filled with hooks and his lyrics winningly positioned Valli as a scrappy, love-lorn underdog, his production choices haven’t aged well. A remake of the Monotones’ “Book of Love†is particularly egregious as it reaches back to the group’s doo-wop roots and buries them in keyboards, synthesized drums and primitive samples. The album closes with a pair of ballads that survive their 80s-isms.
The group’s last album (to date!), 1992’s Hope + Glory, continued to chase modern pop styles with highly synthesized arrangements (and rap from guest Chuck Wilson), but as with Streetfighter, the album didn’t click commercially. Valli’s voice still offered its unique range and qualities, and Gaudio could still write fetching melodies, but neither the songs nor the electronic productions matched the era’s best. If you could strip these tracks of their 1990s productions, you’d no doubt find some emotional resonance in the songs (“You and Your Blue Heart†seems like a good bet), but awash in driving drumbeats and cold, angular synthesizers, there’s little to love here. Worse, circling back around to the start of the box set, you realize how far the Four Seasons had traveled from their down-to-earth streetcorner roots.
This box set is a terrific journey, filled with high points and reinvention. Those looking to relive the Four Seasons they know from the radio are better off with a hits collection; but those wanting to dig deeper will find many gems among the album tracks. That said, this isn’t nearly a complete rendition of the Four Seasons catalog, as it’s missing two key studio albums (1962’s The Four Seasons Greetings and 1972’s Chameleon), live albums (including 1981’s Reunited Live) and numerous non-LP singles and B-sides. Also missing (and anthologized in a separate box set) are Frankie Valli’s solo albums. Given the distinctive qualities of Valli’s voice, the use of the Four Seasons to back many of his solo tracks, and the intermingling of Four Seasons and Valli hits on the charts, listeners didn’t always separate Valli’s records from his groups.
Session players necessarily take a back seat to the artists whose music they help create. A few, like Jerry Reed and Glen Campbell, gain their own stardom, and others, such as Motown’s Funk Brothers and the Muscle Shoals Swampers, gain renown even as their work remains seen in fragmentary measures. It’s only the rare, credit-reading fan who pieces together the full breadth of a studio musician’s work, and traces the connections of a player’s career through otherwise unconnected sessions and records. And even then, there are surprises to be learned, as album credits and studio logs aren’t always complete or accurate. Documentaries have told the stories of the Funk Brothers, Swampers and Wrecking Crew, but for every studio player who’s gained a moment in the spotlight, there are hundreds whose stories are told only through records labeled with other people’s names.
This collection tells the story of how Nashville’s session players, songwriters and producers came to collaborate on a broader stage in the late ‘60s and early ‘70s. At the time, Nashville wasn’t alone in building a studio culture dependent on sidemen, but it had built one of the most effective vertically-integrated music making machines. Nashville combined writers, producers, engineers, record labels, studios and stars with a handful of A-list players whose speed and precision belied their agility and creativity. That system’s artistry was expanded by the injection of outside influences, spearheaded by Dylan’s 1966 sessions for Blonde on Blonde. In the wake of Dylan’s collaboration with Charlie McCoy, Kenny Buttrey and Wayne Moss, Nashville opened itself up to new partnerships and non-Nashville artists came looking to expand their musical horizons.
In 1969, Dylan and Cash’s mutual admiration resulted in sessions that yielded the commercial release of “Girl From the North Country†on Nashville Skyline, but they also seem to have stoked Cash’s desire to collaborate outside the Nashville sphere. Through his ABC television show, taped at the Ryman from 1969 to 1971, Cash brought numerous artists to Nashville, forging on-stage musical collaborations (such as Derek and the Dominos performance of “Matchbox†with Cash and Carl Perkins), and brokering introductions that survived the show. Most notable was Neil Young’s work with steel player Ben Keith, bassist Tim Drummond and drummer Kenny Buttrey, who can all be heard prominently on Harvest, including the hit single “Heart of Gold.â€
Several pop and folk artists, including the Beau Brummels and Ian & Sylvia, found artistic renewal in Nashville, and others, highlighted by Michael Nesmith’s “Some of Shelly’s Blues†(featuring the superb steel guitar of Lloyd Green), the Byrds’ “You Ain’t Goin’ Nowhere†and “Hickory Wind,†and Ringo Starr’s “Beaucoups of Blues†were freed to follow musical interests that had previously been held in check by various concerns. Simon & Garfunkel got sounds out of Nashville that were neither country nor what they had been producing back home. As with Neil Young’s long-term collaborative relationship with Ben Keith, Simon & Garfunkel developed a relationship with legendary guitarist Fred Carter, Jr. that continued long after they returned to recording in New York City.
It takes Greg Trooper less than ten seconds to stop you in your tracks. Accompanied by organ, upright bass and his own guitar, Trooper has only to sing his first note to grab your attention. His voice is so open, magnetic and soulfully heartfelt, that you can’t help but listen closely. It’s one thing to craft material that draws the fandom of other gifted songwriters, but delivering it with the vocal artistry it merits is often beyond even the most talented writer. But Trooper is a superbly talented singer and storyteller, and his live performances, even in recorded form, are as intimate and honest as personal conversations. As excellent as was 2013’s Incident on Willow Street, Trooper exposes even more emotional surfaces when performing his songs in front of a live audience.
The Dream Syndicate’s full-length debut represents a spectacularly quick climb to prominence. The band’s first EP (on Wynn’s own Down There label) certainly hinted at what was to come (not least of which for its inclusion of early versions of “That’s What You Always Say†and “When You Smileâ€), but the album, recorded only seven months after the band’s first public show, was something else again. In retrospect, the EP was the warmup, and the album was the full-on performance. When released in the Fall of 1982, the album was part of a banner year for L.A. bands, including discs from the Salvation Army, Three O’Clock, Bangles and Rain Parade. Though lumped together under the Paisley Underground banner, each band drew from overlapping but ultimately unique sets of influences.
Dream Syndicate’s roots in Dylan, the Velvet Underground, Crazy Horse and Television provided the obvious surface, but the band aimed for influence and homage, rather than slavish stylistic nostalgia, and grounded their sound in the new decade. The feedback laden guitar solos of this debut, particularly on the extended length title track, had the confrontational theatricality of punk rock, but the record’s expansiveness didn’t adhere to the two-minute ethos. Comparing the album to the contemporaneous live set The Day Before Wine and Roses, it’s clear that the group’s chemistry was that of a band that played together and fed off one another. Dennis Duck and Kendra Smith locked together as a rhythm section, providing a hypnotic backing for the penetrating, strangulated tone of Karl Precoda’s guitar.
Standing in front, pushed by the rhythm section and speared by the guitar, vocalist Steve Wynn sounded desperately engaged. His monotone was seasoned by the spittle of punk rock, and supplemented by slight, but highly effective melodic diversions that occupy their own seat in the house of Lou Reed. Early ‘80s college radio listeners are apt to remember “Tell Me When It’s Over,†“When You Smile†and “The Days of Wine and Roses,†but the rest of the album connects the dots with music that’s filled with dark, savage energy. “Definitely Clean†and “Then She Remembers†charge from the gate and never relent on their driving tempos, and the title track’s extended instrumental middle adds a harrowing new entry to the pantheon of guitar duets.
Omnivore’s reissue reconfigures Rhino’s 2001 reissue, dropping the pre-LP EP, early rehearsal tracks and a pre-Dream Syndicate single by 10 Seconds, in lieu of newly discovered vault entries. Heard here for the first time are the lengthy instrumental “Outside the Dream Syndicate†and forgotten title “Like Mary†from early 1982, the short jam “Is it Rolling, Bob?†and the complete song “A Reason,†from December 1982, and early rehearsals of Medicine Show’s “Still Holding On to You†and “Armed With an Empty Gun,†with Kendra Smith on bass. The latter two, recorded only a few months after the album, suggest what Medicine Show might have sounded like had the band not spent months recording in San Francisco for a major label with producer Sandy Pearlman.
It’s not surprising to find that this Norfolk, Virginia band has gigged for years before committing themselves to a first full-length album. Their passionate, throwback rock ‘n’ soul has clearly been honed for the stage and dance floor, and their combination of pop melodies, organ and horns brings to mind the Southern sounds of early Stax, but also the Northern rock ‘n’ soul of the Buckinghams, Rascals, Grass Roots, Southside Johnny, Tower of Power and Chicago. There’s a helping of the Band in “Somedays†and “Sunshine,†and the group’s instrumental flights suggest the jazz-funk bumper music of the Saturday Night Live band.
Holly Golightly returns to her retro UK roots
