Tag Archives: Pop

Various Artists: The Beautiful Old – Turn-of-the-Century Songs

Various_TheBeautifulOldTurn of the twentieth century songs revisited

The turn of the twentieth century was a tumultuous time for the music industry. The sheet music boom of the 1890s was giving way to the sale of phonograph records, and records would in turn be challenged by radio. But through these transitions, one thing remained constant: hit songs. But hit songs were becoming increasingly transitory idols, one replacing the next in a procession of quickly forgotten multi-platinum (that is, multi-million selling) favorites. A select few managed to stick in the public’s long-term memory, but many more remained extant only in printed form, waiting to be rediscovered by musical explorers. Such explorers are producers Paul Marsteller and Gabriel Rhodes, who have reanimated nineteen turn-of-the-century songs – both familiar and obscure – with a hand-picked crew of singers and instrumentalists.

Unlike a tribute that reconsiders a songwriter, performer, label or scene, this collection aims at framing an era of music making. It’s not a slavish reproduction – the vocals occasionally shade to phrasings that didn’t exist at the time these songs were written – but by limiting themselves to instruments in use at the time, the producers have created a general impression of the times in which these songs were originally heard. And by cherry-picking their vocalists, Marsteller and Rhodes have nicely matched voices to song. Richard Thompson and Christine Collister open with one of the collection’s most easily remembered tunes, “The Band Played On.” Listeners will quickly discover that while the title line flows easily from their memories, the lyrics seem brand new to their ears. Thompson’s theatrical vocal is a perfect fit for the circus-style melody, and Garth Hudson adds terrific accordion flourishes.

Other familiar songs, “The Flying Trapeze,” “Come Josephine in My Flying Machine,” “Let Me Call You Sweetheart,” “Home Sweet Home” and “I Love You Truly,” will tickle your memory with their melodies and titles, and “Ah! Sweet Mystery of Life” will be especially familiar to fans of Young Frankenstein. Kimmie Rhodes adds a whispery fragility to three numbers, Jimmy LaFave draws deeply upon the wistfulness of “Long Time Ago,” and Kim Richey sings the original, nostalgic lyrics to “Beautiful Ohio.” The themes are genteel and timeless, with love discovered, courted and lost, risky adventures, faddish technology, and the longing of those far from home. The set’s 20-page booklet includes lyrics, and the accompanying website provides song histories, original sheet music covers and more. [©2013 Hyperbolium]

The Beautiful Old’s Home Page

Lord Sitar: Lord Sitar

LordSitar_LordSitar1968 sitar-pop cash-in

The discovery and popularization of the Indian sitar in Western music, most famously through the recordings of George Harrison with the Beatles, and bolstered by the introduction of Danelectro’s electric sitar, led to numerous hit singles and album tracks sporting sitars. A small subgenre of sitar pop and jazz sprung up and led to full albums that included Vincent Bell’s Pop Goes the Electric Sitar, the Folkswingers’ Raga Rock, Big Jim Sullivan’s Sitar Beat, Gabor Szabo’s Jazz Raga, and this relatively uninspiring entry for EMI/Capitol. Produced by John Hawkins, and with Sullivan manning the sitar, the arrangements aren’t particularly sympathetic to the resonant drone, sounding instead as if they were lifted from one of the instrumental covers albums that clogged job-racked shelves in the late 60s. Unsurprisingly, Harrison’s “Blue Jay Way” works reasonably well, as does the Beatles’ “I am the Walrus.” A horn-heavy arrangement of the Who’s “I Can See for Miles,” with the sitar singing the lead, is schlocky fun, and the closing cover of Los Bravos’ “Black is Black” manages to really take flight mid-song. There are far greater ‘60s cover albums to be found, but if you’re a devotee of pop sitar, this is something you’ll need to add to your collection. [©2013 Hyperbolium]

Sonny Bono: Inner Views

SonnyBono_InnerViewsSonny freaks without Cher

Sonny Bono’s one and only solo album was released in 1967, just as Sonny & Cher’s hits and Cher’s solo success were entering a three-year drought. The obvious touchstone for this 5-track, 33-minute experimental outing is the Beatles Sgt. Pepper’s Lonely Hearts Club Band, which Sonny quotes in the album’s title track. But the acid-tinged lyrics (including quotes from both “The Battle Hymn of the Republic” and “A Day in the Life”) and pseudo-psych musical freakouts have neither the expanded consciousness nor musical inventiveness of the Beatles. The anti-drug Bono might have heard Sgt. Pepper’s, but he didn’t really seem to understand it. The drums, likely played by Wrecking Crew ace Hal Blaine, sound as if they were lifted from a Phil Spector session, and the sitar noodling and tuneless harmonica blasts are indulgent and irritating, especially at the jam-session length (12’45) of the opening track.

The social commentary of “I Told My Girl to Go Away” might have drawn more attention had Bono been a more commercially compelling vocalist, or perhaps if Janis Ian’s scathing “Society’s Child” hadn’t exploded earlier in the year. The 32-year-old Bono sang with an air of defeat that couldn’t compare to Ian’s searing defiance. “I Would Marry You Today” might have made a nice light-pop folk-rock production for Sonny & Cher, and would have greatly benefitted from the latter’s ability to carry a tune. A few years earlier, and with a gender switch and some editing, “My Best Friend’s Girl is Out of Sight,” might have made a good tune for one of the New York girl groups, but sung as light-pop and stretched to over four minutes, it hasn’t the focus of Bono’s hits. The closing “Pammie’s on a Bummer” is more successful with its instrumental experimentation, though its message (prostitution leads to pot leads to LSD) isn’t particularly knowing.

The initial reissue of this album was produced by Rhino Handmade in 1999. That limited edition CD added eleven bonus tracks, including all of Bono’s singles for Atco: his 1965 releases “Laugh at Me” (in three versions) and “The Revolution Kind” along with their instrumental B-sides, and single edits of Inner Views album tracks that still couldn’t make these productions consumable by radio. A subsequent CD edition by Collectors’ Choice dropped the bonuses, and Rhino’s digital reissue restored everything but the shortened album tracks and session backing for “Laugh at Me.” This is by no means a masterpiece; Bono wrote much better songs for Sonny & Cher, and produced more compelling records when he stuck to the classic techniques he’d learned at the feet of Phil Spector. His vocals were never his strong card, and without a catchy angle, his record falls flat. [©2013 Hyperbolium]

Marshall Crenshaw: Stranger and Stranger

MarshallCrenshaw_StrangerAndStrangerSecond in a six-EP series features a new song, a remake and a cover

After a less-than-satisfying engagement with his last record label, Marshall Crenshaw’s taking his music straight to the people. Funded through a Kickstarter campaign, Crenshaw’s developed a subscription project that will turn out a series of six three-song 10” vinyl EPs, each featuring a new song, a cover and a remake from the singer-songwriter’s rich catalog. The EPs also include a code with which the analog-deprived can download digital versions of the recordings. The first EP was delivered earlier this year, and this second entry features a new A-side, “Stranger and Stranger,” filled with lyric uncertainty and underlined by Bryan Carrott’s  vibraphone. The B-sides include a superb acoustic remake of Crenshaw’s “Mary Anne,” that was originally recorded for the 2008 film God is Dead, and a fully orchestrated cover of the Carpenters’ “(They Long to Be) Close to You.” The latter is played straight, with smooth choral backing vocals and a trumpet solo by Steven Bernstein. The EP with digital download, as well as a one-year three-EP subscription, is available through Crenshaw’s on-line store. [©2013 Hyperbolium]

Marshall Crenshaw’s Home Page
Marshall Crenshaw’s Radio Show on WFUV-FM

Desert Noises: I Won’t See You

DesertNoises_IWon'tSeeYouModern-rock with roots in the ’70s

This Provo, UT quartet has a modern rock sound that usually suggests the The Shins, but the A-side, “I Won’t See You,” of their new EP is sweetly rooted in the 1970s soft-rock hits of Fleetwood Mac, Andrew Gold and others. The song’s melody and harmonies are warm and comforting, and it’s not until the song transitions into a more angsty chorus that you realize you’re not listening to a period piece. Even then, a short guitar solo once again captures the mood of ’70s radio and leads back to another gorgeous verse. The EP’s second track edges more towards Gin Blossoms territory, but the rhythm guitars could still bring you back to 1976. The closing “Birds” returns more to the modern-rock sounds of the Shins or Morning Benders, though the harmony vocals and blues-heavy undertow still tug at you from decades past. [©2013 Hyperbolium]

Desert Noises Home Page

Three Hits: Pressure Dome

ThreeHits_RSD13Reissue of obscure 1985 Hib-tone single + bonuses

Three Hits was a short-lived mid-80s band with some very special credentials. The band was co-founded at Appalachian State University by Sheila Valentine and Michael Kurtz, the latter of whom later co-founded Record Store Day. The group’s jangly new wave fit easily into a North Carolina scene that included Glass Moon, Arrogance, X-Teens and others. The group’s second single, “Pressure Dome” b/w “Numbers” was produced by Don Dixon at Mitch Easter’s Drive-In Studio and released on Hib-Tone, a label better known for R.E.M.’s debut. The group played shows at CBGB and Maxwell’s, and recorded an eight-song LP, Fire in the House, with the Records’ Huw Gower producing several of the tracks. In celebration of Record Day, the Hib-Tone single is being reissued on a 12″ purple vinyl EP with the previously unreleased Dixon-produced “Picture Window,” and two Gower-produced tracks, “Cage of Gold” and “Lori (Last Girl on the Beach).” A digital download card provides two additional previously unreleased tracks: “Just One of the Guys” and “Wild Volcano.” A really welcome, and really obscure, blast from the past. [©2013 Hyperbolium]

Dave Armo: Poets on the Wall

DaveArmo_PoetsOnTheWallMesmerizing singer-songwriter pop and rustic Americana

Dave Armo is a Northern California ex-pat practicing law by day in Southern California, and chasing his musical dreams by night. He sings with a fetching uncertainty, and the guitars, mandolins and guitars that back him are played more for notes than chords or strums. There’s a dreamy quality to his tempos and a vulnerability to his alto singing that pull you in slowly and hold you tight. The effect is one of drifting with Armo through his thoughts as he serenades on “Lovers on the Beach” and buoys himself against uncertainty in “Destination Estimation.” He writes of declarations made too late to fulfill their promise, groveling lovers whose affection goes unreturned, emotional attractions weakened by distance, and on the stoner’s diary, “Blacked Out on Broadway,” he suggests a West-coast Paul Simon. Recorded over a two-year period, Amro lavished tremendous attention on his words, tone and expression, and the results are a hypnotic album of original material. [©2013 Hyperbolium]

Dave Armo’s Home Page

Hall of Ghosts: A Random Quiet

HallOfGhosts_ARandomQuietFinely rendered Americana modern-pop

The quality of music one person can create in a home studio is at times stupefying. The technology to make high-quality recordings can be bought, but the imagination to coherently layer instruments and voices over time is an almost otherworldly talent. Brian Wilson could hear complex productions in his head, but he relied on the talents of others to make them corporeal. Even a mastermind like Phil Spector was enabled by engineers, musicians and vocalists whose ideas, feedback and criticism fed into his final work. But there is a strain of lone wolf pop musician – Richard X. Heyman comes to mind – who are their own best company. They may also play well with others, but given the opportunity to hone their vision in solitude, over a long period of time, they can create something extraordinary.

Such is the talent of Shropshire (UK) singer-songwriter Jim Williams. After two albums with the Americana band Additional Moog, Williams launched this solo project and spent two years recording and refining, transforming the country sounds of his demos into the layered Americana-pop of these final mixes. Though this isn’t technically a solo album – Ben Davies plays drums and Gerry Hogan adds touches of steel – the heart and soul of the album is Williams. He plays guitar, bass and keyboards, and his voice is both the lead and backing chorus. What’s most impressive though, is that throughout the album the interplay between the instruments, between the instruments and lead vocals, and between the lead and background vocals all sound more like a band than a studio-bound construction.

Williams cites Whiskeytown as an influence, and his productions suggest the polishing leap of Strangers Almanac and Wilco’s Being There. His voice has some rustic edges, but is more often in line with the pop style of Matthew Sweet and Michael Stipe. His harmony arrangements suggest CS&N, and the album’s loping rhythms and pedal steel hint at Déjà vu. There are a lot of influences shoehorned into these eight tracks, and though the lyrics are mostly impressionistic, notes of melancholy, regret, resignation and hope filter through. The album’s calling card is the mood expressed in its melodic hooks, lyrical pacing and deft instrumental mix – a grand achievement for an artist recording and producing himself in a home studio. [©2013 Hyperbolium]

Hall of Ghosts’ Home Page
Buy A Random Quiet in MP3 or  lossless FLAC