Tag Archives: Rock

The Everly Brothers: Songs Our Daddy Taught Us

EverlyBrothers_SongsOurDaddyTaughtUs2014 expanded reissue of the Everlys’ deepest roots

The Everly Brothers second full-length album is extraordinary in many different ways. In addition to its basic triumph as roots music, its exposition of traditional folk and country songs was a nervy artistic statement by a duo that was helping build the foundations of rock ‘n’ roll. A string of hit singles written by Felice and Boudleaux Bryant, including “Bye Bye Love,” “Wake Up Little Susie,” “All I Have to Do is Dream,” “Bird Dog” and “Problems,” had made the Everlys international stars, and after an eponymous album that also included tunes from Little Richard, Ray Charles and Don Everly, a simply arranged and tenderly sung collection of songs learned from the Everlys’ father was far from the obvious follow-up.

A decade later the pair would record Roots, another album of country standards, but in a country-rock vein that was of its time. In 1958, amid the explosion of rock ‘n’ roll, the acoustic guitar, stand-up bass and harmony duets of Songs Our Daddy Taught Us, reached back to both the material and performance style that were the Everly’s actual roots. These are the songs that Ike Everly sang with his sons on their 1940s radio show, and the boys’ affection for the material is evident in the gentle harmonies they lay upon lyrics of deep sentiment and surprisingly dark themes.

Varese’s reissue adds alternate first- and second-takes of four of the album’s titles and an eight-page booklet of photos and liner notes by Andrew Sandoval. The alternates range from slightly imperfect performances of the same arrangements used on the masters to an electric-guitar backed idea for “Down in the Willow Garden” that didn’t make the original album. It’s a mark of the Everlys’ deep background as live performers that the alternates are basically good enough to have passed as masters. Snippets of studio dialog and strumming give a feel for the dynamic between the Everlys and producer Archie Blyer, the latter of whom seems to have mostly let the brothers roll.

Songs Our Daddy Taught Us didn’t sell in large numbers at the time of its issue, but neither did its artistic detour interrupt the brothers’ string of hit singles for Cadence. The album’s been reissued many times, including a 1962 retitling as Folk Songs of the Everly Brothers that landed in the middle of the folk revival. Late last year the album was reissued with a second disc of earlier and original recordings, and the album’s track list was re-recorded by Billie Joe Armstrong and Norah Jones as Foreverly. The on-going attention received by the album further demonstrates the brothers’ artistic prescience and the project’s continued resonance. Varese’s expanded reissue is a great introduction and a worthy upgrade. [©2014 Hyperbolium]

The Everly Brothers’ Home Page

Mount Carmel: Get Pure

MountCarmel_GetPureOhio power-trio riffs on heavy ’60s and ’70s blues-rock

This Ohio power-trio’s got the riffs, chops and swagger to make you wish for a triple bill at the Agora. Rock may no longer be popular music’s prevailing tide, but Mount Carmel’s heavy bottom end, powerful drums and scorching lead guitar sound like a day hasn’t passed since Cream, Grand Funk, Rory Gallagher, Blue Cheer, Ten Years After, Mountain and others ruled the hard rock roost. Even with tasty guitar solos, the songs are concise (only two weigh in at over four minutes) and the playing is tight. Matthew Reed fronts the band without overdoing the machismo, and his guitar playing is supported by a solid rhythm section that features his brother Patrick on bass and James McCain on drums. There’s a hint of hippie-jam in their instrumental passages, but no twenty-minute Fillmore excess – at least not in the studio. If today’s popular music doesn’t have the muscle and grit to get you moving, this is one to check out. [©2014 Hyperbolium]

Mount Carmel’s Facebook Page

Fearing & White: Tea and Confidences

FearingAndWhite_TeaAndConfidencesStriking collaboration between Irish and Canadian singer-songwriters

Singer-songwriters Stephen Fearing and Andy White have released numerous albums under their own names and in groups (notably Blackie and the Rodeo, and ALT), but this turns out to be only their second as a pair. Now living on opposite sides of the globe (Fearing in Halifax, White in Melbourne), the album was written in a two intense face-to-face sessions and recorded six months later with Gary Craig on drums. The material ranges from strummed folk songs to mid-tempo pop and to surprisingly heavy guitar rock, with moments that recall the Warren Zevon, Eric Clapton and Rockpile.

The duo’s songs are rife with accumulated wisdom and the craft that comes from practice. Their experience as performers is evident in the multiple ways their music supports their words. The strummed guitars and confident vocal of “Secret of a Long-Lasting Love” remain buoyant as the lyric’s loneliness and desire lead to reunion and consummation. A sense of optimism sees failed relationships as pauses rather than endings, and lost souls find paths back home. The funky shuffle “We Came Together” opens with riffs that suggest both T. Rex and the Everly Brothers, and the growling electric rhythm riff provides bedrock for “Sanctuary.”

The album’s ballads suggest the bittersweetness of Nick Lowe’s solo material. “Another Time Another Place” (which seems to give an unconscious nod to Bob Seger’s “We’ve Got Tonight” with its opening vocal hook) meditates on missed opportunities, “Think of Me Like Summer” and “Save Yourself” are pained in their separations but generous with their wishes, and the heartache of leaving in mirrored by the possibility of a new start in the “Emigrant Song.” Fearing and White are each sophisticated troubadours in their own write, but there’s extra magic in their collaboration. [©2014 Hyperbolium]

Fearing and White’s Home Page

X-Ray Harpoons: Get Attuned to Our Tyme

XRayHarpoons_GetAttunedToOurTymeTerrific throw-back garage fuzz psych

Though they’ve been kicking around in one lineup or another for eight years, this Bonn-based quintet has only now recorded and released their debut LP. That’s given them plenty of time to hone their fuzz guitar, whining organ and solid garage rock beats. The band cites vintage touchstones in the Music Machine, Brogues and We the People, as well as the sounds of 80s revivalists like the Fuzztones and Gravedigger V. The strong organ presence also brings to mind Country Joe & The Fish, the Doors, Lyres, Rain Parade and Chesterfield Kings. The band’s eleven originals mix easily with two finely crafted covers (the Daybreakers’ “Psychedelic Siren” and Sonny Flaherty and Mark V’s manic “Hey Conductor“), as the band plays Eastern-tinged psychedelia, buzzing garage punk and organ and drum-driven rave-ups. The vocals are swaggering, snotty and with the Mellotron effect of “City of Light,” trippy. The album is well stocked with catchy melodies, sharp hooks, fuzz-powered riffs and inventive production touches that will really please garage and psych aficionados. [©2014 Hyperbolium]

The X-Ray Harpoons’ Bandcamp Page

Hypercast #3: Americana

A collection of recently released country, Americana, rock and folk, plus a few reissues. Click the artist names below for associated album reviews.

The O’s “Outlaw”
The Coals “Dirt Road”
James Booker “If You’re Lonely (Alternate Take)”
Owen Temple “Johnson Grass”
Tim O’Brien & Darrell Scott with John Prine “Paradise”
The Everly Brothers “Long Time Gone”
Jimbo Mathus & The Tri-State Coalition “Shine Like a Diamond”
Jonny Two Bags “The Way it Goes”
Moot Davis “Use to Call it Love”
Steve Poltz “Song for Hawk”
David Frizzell & Shelly West” “You’re the Reason God Made Oklahoma”
Sid Selvidge “Wild About My Lovin'”
Fearing & White “Secret of a Long-Lasting Love”
Marah “The Falling of the Pine”
James Booker “Yes Sir, That’s My Baby”
Terry Waldo “I’m Just Wild About Harry”
Holly Golightly and the Brokeoffs “Trouble in Mind”
Old 97s & Waylon Jennings “Iron Road”
John Anderson “These Cotton Patch Blues”

Emerson Hart: Beauty in Disrepair

EmersonHart_BeautyInDisrepairA superbly wrought album of modern power pop

Seven years after his album debut as a solo act, and more than a decade after relocating to Nashville, singer-songwriter Emerson Hart is back with his second album. Hart first came to notice through his band Tonic, but was heard even more broadly with the crafting of “Generation” for the Dick Clark-produced television show, American Dreams. His latest, produced by David Hodges, has a bigger sound than 2007’s Cigarettes & Gasoline, and the arrangements are more dynamic and dramatic than the singer-songwriter vibe of his earlier work. Hart’s voice fits well into these beefier backings, carving a human-sized emotional channel through Hodges’ powerfully constructed productions.

Like more recent Nashville transplants, Hart connects to the power balladry of modern country, rather than the city’s twangy musical heritage. There are worn down moments, such as the troubling reminders of “To Be Young,” and introspective “Mostly Gray,” but the album first grabs listeners with the soaring chorus of “The Best That I Can Give.” Beyond the latter’s instantly hummable melody, Hart communicates the song’s conflicted emotion with the tone of his voice and the top-range notes for which he reaches with every last ounce of strength. The apologetic lyric turns out to be icing on a perfectly bittersweet cake, and offers a preview of the album’s themes of uncertainty and unexpected repercussions. The exasperated questions of “Who Am I,” though not as venomously bitter, will remind listeners of Matthew Sweet’s Girlfriend, and “Hurricane” finds a similar middle ground between intellectual dissection and emotional flight.

From the number of songs of separation, one might assume this album is the product of a fresh break-up. But as a relative newlywed, it’s more likely that Hart is a romantic who’s collected a lifetime of emotional scars into the realization that life isn’t just full of ups and downs, it is ups and downs. The disappointments of “Don’t Forget Yourself” and sad inevitability of “Hallway” are the tail-end of experiences worth the suffering and lives that aren’t fatalistic. Hart’s mood turns celebratory for the twang-tinged love song “You Know Who I Am,” and the album closes with “The Lines,” an uplifting song about the growth that springs from inexperience. It’s a fittingly hopeful and inspirational ending to an album that dwells, inventories, analyzes and finally draws direction from the highs and the lows that give each other dimension. [©2014 Hyperbolium]

Emerson Hart’s Home Page

Monkees on Tour!

The three surviving Monkees, Mickey Dolenz, Michael Nesmith and Peter Tork will be regrouping for a fourteen date tour along the East Coast and into the Mid-West:

5/22 HAMPTON, NH  Hampton Beach Casino Ballroom
5/23 ATLANTIC CITY, NJ  Borgata Hotel Casino & Spa
5/24 NEWARK, NJ New Jersey PAC
5/25 HUNTINGTON, NY The Paramount
5/27 BETHLEHEM (PHIL.), PA Sands Bethlehem Event Center
5/28 GREENSBURG (PITT.), PA  The Palace Theater
5/30 DETROIT, MI Fox Theater
5/31 MERRILLVILLE, IN  Star Plaza Theater
6/1 MILWAUKEE, WI Riverside Theater
6/2 MINNEAPOLIS, MN Weesner Family Amphitheater
6/4 KANSAS CITY, MO Uptown Theater
6/5 ST. LOUIS, MO Fox Theater
6/6 CINCINNATI, OH PNC Pavilion at Riverbend Music Center
6/7 NORTHFIELD/CLEVELAND, OH Hard Rock Live

More info at www.monkees.com.

The Presidents of the United States of America: Kudos to You!

PresidentsOfTheUnitedStates_KudosToYouAnother round of rock and rye

This Seattle pop-punk band had a brief blaze of fame with a pair of albums in the late ’90s and promptly consigned themselves to a cycle of retirement and reunion. They call their commitment “full-time part-time,” reconvening every four or five years to put together an album of rocking irreverence that finds their creative batteries recharged and their band chemistry fully intact. The band’s material brings to mind Jonathan Richman, Ben Vaughn and They Might Be Giants, but they’re less child-like than Richman and less pathos-filled than Vaughn, which leaves them in a pure-pop place to write about such shared interests as insects (“Slow Slow Fly” and the wonderfully overblown “Flea vs. Mite”), cars (“Crown Victoria”) and the work-a-day world (“She’s a Nurse”). Kids will love “Crappy Ghost,” but may cry when they find out it’s not the theme song to a beloved 1970s Saturday morning cartoon they can stream on Netflix. Several of the songs rework earlier material from the Presidents, their predecessor Egg and Chris Ballew’s post-PUSA Giraffes, but all are given a completely new kick in the ass. Fans will also want to track down the live album Thanks for the Feedback, released simultaneously as part of this album’s Pledge Music campaign. [©2014 Hyperbolium]

The Presidents of the United States of America’s Home Page

Various Artists: Canine Classics, Volume 1

Various_CanineClassicsVolume1Clever dog-themed remakes of pop hits

Bay Area music legends Dick Bright (Bammies, SRO, Dick Bright Orchestra) and Tommy Dunbar (Rubinoos, Vox Pop) have teamed up to produce an album of dog-themed treats. Each track re-imagines a popular song – including tin-pan alley classics, ’50s rock and doo-wop, ’60s pop, ’70s soul and ’80s new wave – as it should have been, written in the voice of, or about, a dog. There are a few Singing Dogs-styled barks, but mostly Bright and Dunbar draw upon their talented human friends for the vocals. For the most part, these songs retain their original mood, but with the subject shifted a dog’s perspective. The Irish ballad “Danny Boy” retains its sense of loss, longing and renewal as “Chewy Toy,” and the Vapors’ bouncy “Turning Japanese” is transformed into the equally catchy “Turning Pekingese.” The collection’s most clever trick is Maurice Williams & The Zodiac’s doo-wop “Stay,” a song whose title clearly anticipated this collection. Shirley Ellis’ “The Name Game” is just as dance-worthy when riffing on classic dog names  and the Champs’ “Tequila” stays South of the border as “Chihuahua.” Dunbar has previously dabbled in both covers and childen’s music with the Rubinoos, and Dick Bright etched his name in the mash-up cover song hall of fame with “Gilligan’s Island (Stairway).” Their combined humor and musicianship makes this collection fun for kids without wearing out its welcome with the elders. The CD is delivered in a Hugh Brown-designed, hard-bound 30-page book that features lyrics, photos and even a dog advice column. All in all, it’s a howl. [©2014 Hyperbolium]

David Serby: David Serby and the Latest Scam

DavidSerby_AndTheLatestScamL.A. honky-tonker goes power-pop

David Serby’s Honkytonk and Vine revisited 1980s Los Angeles’ honky-tonk with its cowboy-booted country twang. Serby’s follow-up, Poor Man’s Poem, turned from honky-tonk to folk-flavors, but still kept its roots in country. So what to make of this double-album turn to the sunshine harmonies and chiming electric guitars of power pop? Well first off, the change in direction works. Really well. You can hear influences of both ’60s AM pop (particularly in the faux sitar of “You’re Bored”) and late ’70s power pop and rock, including Gary Lewis, the Rubinoos, and the Records. Serby’s quieter vocals are full of the romantic yearning one would normally ascribe to a love-sick teenager; it’s the bedroom confession of a twenty-something who’s finally enunciating out loud what’s been confusing him for years. Disc two rocks harder and more country than disc one, but even the two-step “I Still Miss You” is set with chiming 12-string and wistful answer vocals. The country-rock “Gospel Truth” brings to mind Rockpile and the Flamin’ Groovies, and the cheating-themed “Rumor of Our Own” connects to Serby’s honky-tonk background. Each of these ten-track discs would have made a good album on their own, but together they show off a terrific continuum of pop, rock, country and a touch of the blues. Serby’s reach across country, folk and rock were evident in his earlier releases, but the pure pop side is a welcome surprise. [©2014 Hyperbolium]

David Serby’s Home Page