Category Archives: MP3 Review

Jonny: Jonny

Teenage Fanclub meets Gorky’s Zygotic Mynci

Teenage Fanclub’s Norman Blake and Gorky’s Zygotic Mynci’s Euros Childs have more melodicism in the tip of their respective pinkies than most musicians create in their entire careers. Paired together for their first full-length collaboration, the results are a brilliantly crafted cocktail of their respective bands, ‘60s British invasion and garage pop, canyon country, ‘70s power pop, pub and light rock, and ‘80s post-punk psychedelia. Like XTC’s Dukes of Stratosphear, there’s an element of spot-the-influence here, but the references are more fully digested and fleeting: a vocal harmony that suggests Curt Boettcher, CS&N or America, a melody hook that recalls the Kasnetz-Katz bubblegum factory, a stomping rhythm you’d have heard from Brisnley Schwarz, or an organ riff that lodges the Monkees in your ear.

The opening “Wich is Wich” would have made a terrific theme song to an H.R. Pufnstuf spin-off, and the nearly eleven-minute “Cave Dance” could be, for those who remember that Pufnstuf lived in a cave, both a stoneage dance sensation and a low-key escape from the powers of Witchiepoo. Unsurprisingly, the pair create buoyant, winsome music, but with just enough melancholy and angst to keep the sweetness from dissolving your teeth. Even the album’s first single, “Candyfloss,” crosses its lyrical dream woman in a duet vocal whose Motors-like harmony is laden with discontent. There are a few lesser tunes, but they quickly disappear as you indulge in the yearning of “Circling the Sun” and “I Want to Be Around,” tap your toe to the country-inspired “I’ll Make Her My Best Friend,” and glory in the duo’s irresistible melodies. [©2011 hyperbolium dot com]

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Apex Manor: The Year of Magical Drinking

A power-pop singer/songwriter recovers from a not-so-magical year

There’s something exciting happening in Los Angeles; singer/songwriters like Bleu and Adam Marsland are breaking out once again, but instead of rolling down from the communal experience of the canyon, they’re holing up in homes and hobby studios. Such was the inspiration for former Broken West guitarist/vocalist Ross Flournoy, whose relocation to Pasadena after a band breakup severed his daily musical connection, and left him casting about for direction. Amid writer’s block and a daily beer habit, his lifesaver was an NPR song competition that afforded only a weekend to write, record and submit a song. The external pressure turned out to be just what he needed, documenting his denial, admission, inventory, acceptance and recovery as a songwriter in “Under the Gun.” With one under his belt, dozens more tumbled forth, some written alone, some with Adam Vine.

Apex Minor on record – Flournoy and former bandmate Brian Whelan, along with help from Andy Creighton, Derek Brown, Rob Douglass and Dan Iead – is reminiscent of Broken West, similarly propulsive and tuneful, but warmer and looser. The album begins at Flournoy’s nadir, looking up from the bottom of a half-drunk mason jar in “Southern Decline.” Producer Dan Long layers on buzzing rhythm guitars, demonstrating just how deeply Flournoy was buried in depression. His salvation as a songwriter leads to emotional re-emergence, self-awareness and on “I Know These Waters Well,” the twelfth-step desire to pass along new found wisdom. The album alternates rave-ups and soulful ballads, with Flournoy’s voice particularly expressive on the latter. Despite the detour, Apex Manor marks a terrific new phase, predicted by the Broken West, but ignited by a fresh start. [©2011 hyperbolium dot com]

MP3 | Under the Gun
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The Belmonts: Cigars Acappella Candy

Classic ‘50s doo-wop sound applied to pop classics and ‘70s hits

Though typically thought of as the second half of “Dion and the Belmonts,” the group came together before their two-year stint backing Dion, and continued for decades afterwards. In addition to their immediate post-Dion records, the group continued into the 1960s with their own label and releases on United Artists, ABC and Dot. When the oldies revival of the early ‘70s caught back up to them, they released this fine album for Buddah in 1972, applying their a cappella street corner harmonies to pop classics and then-contemporary hits. The ballads are richer than the up-tempo numbers, giving the vocalists more room to stretch out and intertwine, but a cover of the Crystals’ “Da Doo Ron Ron” will remind you of the Belmonts’ swaggering days with Dion. Their cover of B.J. Thomas’ “Rock and Roll Lullaby,” with its soaring falsetto lead and lush harmonies, is terrific and the closing “Street Corner Symphony” takes a four-minute stroll through the history of doo-wop riffs. This is a sweet, nostalgic album that’s weathered the years a lot better than the group’s velveteen jackets. [©2011 hyperbolium dot com]

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The Kingsmen: Louie Louie – Live & Unreleased

The Kingsmen lay it down live in late 1963

This stereo recording, excerpted from two live dates late in 1963, is of surprisingly good quality for its era. Kingsmen lead vocalist Jack Ely was not with the band at this point, so sax player Lynn Easton sings most of the leads, but no matter – this is club music for dancing, and the band lays down some mean beats. Much like the group’s iconic national anthem of garage rock, “Louie, Louie,” this is invitingly sloppy at turns, but the drums and bass will keep you moving, and the guitar and organ carve out passable, if not particularly inventive, jams. This isn’t a carefully rehearsed group recording a live album for posterity; it’s a rock ‘n’ roll band running through their repertoire for a club crowd. For maximum enjoyment, turn it up, have a drink or two, and dance. [©2011 hyperbolium dot com]

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Hot Club of Cowtown: What Makes Bob Holler

Austin trio salutes the King of Western Swing

Hot Club of Cowtown’s affinity for Bob Wills has always been a fundamental element of their sound, but the ad hoc covers of their early years have taken fifteen years to ripen into a full-fledged tribute. The trio long ago settled into their winning combination of Texas swing and gypsy jazz, but here they lean heavily on the former, with Elena James sawing her fiddle more sweet than hot, and Whit Smith swinging his guitar more polite than fiery. Both James and Smith sing in the style of ‘40s band singers, but without the steel guitar, drums or horns that helped define the Texas Playboys. The results haven’t the volume of a big band, but the resulting space is deftly used to showcase the underpinnings of Western swing – rhythm, vocal shading, instrumental phrasing and repertoire. All three players take turns in the spotlight; the long, drawn notes of James’ solo on “Faded Love” are heartbreakingly beautiful, Smith’s tremolo picking on “Maiden’s Prayer” suggests a mandolin, and Jake Erwin’s slap bass solos show off both his melodic and percussive abilities. Recorded live in the studio, the collection plays as if it were the group’s nightly set list, tight to the point that the players can relax and really enjoy the feeling of swing.  [©2011 hyperbolium dot com]

MP3 | Smith’s Reel
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Kate Jacobs: Home Game

A warm, musical letter from home

The girlishness in Kate Jacobs’ voice has always been perplexing. She sounds relaxed navigating the bossa-nova of “On My Monitor,” gliding along Astrud Gilberto-cool as she recounts the news of a young girl’s abduction; the everydayness of her delivery underlines the bland reaction one develops to the incessant nature of Internet-delivered instant alerts. Only at song’s end, as Jacob recoils from the constant provocation, does she react. But her reaction is to the news assault rather than the human one. Her own children take center stage for “All the Time in the World” and the album’s title track, but though her words of those of a mother, her voice retains its young tone. She continues to sound youthful as she cranks up the Kirsty MacColl-styled pop-rock “Make Him Smile,” and slides into the role of a jazz chanteuse for the ballad “A Sligo Lad.”

Six years since her last album, itself the product of a six-year hiatus during which she married and had children, Jacobs wrestles with the plenty of family life and the absence of solitary time, mutual attraction that doesn’t live up to the storybooks, and the ways in which children make time both stop and race. She’s a keen observer of her own life, dearly missing her years as a touring musician in “Rey Ordonez,” wistfully remembering the contrast of a cramped touring van and the imagination’s space of a baseball game on the radio. She recounts the joys and trials of parenting and marriage, but most deeply savors the rest that finally comes at the end of the day. Her longtime musical partner, Dave Schramm, adds blossoming notes of dobro, and surrounds Jacobs’ with guitars, drums, strings and backing vocals that turn her lyrics into a warm letter from a dear friend. [©2011 hyperbolium dot com]

MP3 | Rey Ordonez
Kate Jacobs’ Home Page

Soul Clan: Soul Clan

Legendary soul men cut one strong single as a quintet

Soul Clan – Solomon Burke, Arthur Conley, Don Covay, Ben E. King and Joe Tex – turned out to be more of a concept than a working concern. They waxed only one single as a group, pairing the Southern-styled “Soul Meeting” with the gospel-influenced “That’s How it Feels,” leaving their 1969 album to be filled out with two solo sides apiece. It’s a great set, highlighted by Conley’s transcendent “Sweet Soul Music,” but the two collaborative sides leave you wondering what might have been, if Atco could have coordinated more sessions together. Those with deep collections of the individual performers can now snag the two Soul Clan collaborations as individual digital downloads. Collector’s note: despite the stereo cover art, Rhino’s digital reissue is mono. [©2011 hyperbolium dot com]

Frankie Lymon: Rock ‘n’ Roll

Teenager steps out for 1958 solo debut

After two successful years fronting the Teenagers, vocalist Frankie Lymon stepped into a surprisingly unsuccessful solo career with this fine 1958 studio album. Having lost his childhood soprano to adolescence, his 16-year-old voice still had plenty of punch, and continued to leap from the grooves. His out-of-breath delivery of “Waitin in School” has an adolescent everything-is-happening-at-once fervor that Ricky Nelson’s cool-cat style didn’t match. It doesn’t hurt to have an ace guitar player – Mickey Baker, perhaps – tearing thing up in the breaks. Producers Hugo Peretti and Luigi Creatore double the vocals on “Wake Up Little Suzie,” creating a more saucy mood than the Everly’s original, and though covers of the Rays’ “Silhouettes” and the Coasters’ “Searchin’” aren’t particularly inspiring, there’s still plenty here to impress. Lymon’s adolescence adds a note of sweet longing to Nat King Cole’s “Send for Me,” and the R&B “Next Time You See Me” and “Short Fat Fanny” give Lymon a chance to really wail. Most impressive are original approaches to “Jailhouse Rock” and “Diana” that pay each song its due without imitating the hits. Several of these tracks were released as singles, but none had the success of the early Teenagers’ sides; worse, with a heroin habit eating away his abilities, Lymon was dropped by Roulette in 1961. He’d record a few sides for other labels, but this album and a handful of non-LP singles for Roulette (that should have been included here as bonus tracks) represents the end of Lymon’s run as a bright thread in the rock ‘n’ roll tapestry. [©2011 hyperbolium dot com]

The Litter: Live at Mirage 1990

Legendary ‘60s garage rockers reunite for a 1990 live date

Twenty years after these ‘60s garage-punk legends packed it in, they got back together to play a one-off live gig at a club in their native Minneapolis. Reaching back past their hard- and psych-rock evolution to their punk-rock roots, the group, with original lead vocalist Denny Waite in fine voice, launches their reunion with the signature “Action Woman,” and then reels off a string of well-picked period covers, including British Invasion titles from the Who, Small Faces, Yardbirds, Zombies and Spencer Davis Group, and blues tunes from Otis Rush and Mose Alison. The band plays tight, hard and loud, just as you might imagine they did in 1967 when their first album, Distortions, was released. This sounds more like a talented, stylish and well-rehearsed cover band than aging garage-rockers reliving their glory years. It’s no “Substitute” for the band’s original albums, particularly the debut, but it’s a nice coda to their career. [©2011 hyperbolium dot com]

See The Litter perform “Action Woman”

The Flamin’ Groovies: Slow Death

The Flamin’ Groovies’ wilderness years (1971-73)

These ten tracks help fill in the five year gap between Roy Loney’s departure from the Flamin’ Groovies in 1971 (following the release of Teenage Head) and the band’s re-emergence in a Cyril Jordan-led configuration with the Dave Edmunds-produced Shake Some Action in 1976. In between the band took on singer/guitarist Chris Wilson and released the song “Slow Death” in 1972. It turns out that they recorded several more demos, including several Jordan-Wilson originals and a cover of the Rolling Stones’ “Jumping Jack Flash,” as heard on this collection’s first six tracks. Everyone turned up their instruments to eleven and thrashed, the bass was moved forward, the drums pushed the tempos, and the guitars and cymbals created an ear-piercing wall of sound that Chris Wilson still managed to break through with his high pitched wailing. A cover of Chuck Berry’s “Roll Over Beethoven” is drawn from a 1972 live television appearance, and another pair of demos include an early version of the group’s iconic “Shake Some Action” that features layered acoustic guitar and more Byrd-like harmony vocals than the better-known album track. The disc closes with a loud and loose cover of Freddie Cannon’s “Tallahassee Lassie,” recorded at the same Rockfield Studio in which the band would later record their mid-70s classics. [©2011 hyperbolium dot com]