Sunday, October 19, 2014

British Sea Power - Open Season (2005)

I found another good CD recently while rummaging through a used music store. It's the second album by a band I previously never heard of: British Sea Power, a six piece outfit base in Brighton, East Sussex, England.

The quirky band sounds distinctly English. Neither of the lead singers, brothers Yan and Hamilton Wilkinson, reveal any sort of British accent in their vocals but Americans never sound quite so cute while showing off eccentric songs filled with appealing, offbeat lyrics. Sonically, the album, Open Season, is full of loud, riff-filled, but melodic, modern rock with shimmering electric guitars.

The disc opens with "It Ended On An Oily Stage," a song previously called "Elegiac Stanzas." When the band decided that radio personalities may have trouble pronouncing the title they renamed it. Titles such as this one and the lyrics that go along with it prove their music is not the stuff top forty songs are made of.
"Everything you said was true
Everything you did was you
Everything I started with her
Ended on an oily stage where
I wrote elegiac stanzas for you
I hope and pray that they come true.

He found God in a parking lot, and you did not
I, I headed for the coastalry regions of mind to see what I'd find."
Another eyebrow raising title, "Oh Larsen B" is about a peninsula in Antarctica that collapsed several years before the song was recorded.

The album went to number 13 in the UK and it peaked at 38 on the American Heat Seeker's chart.

British Sea Power's sound has been described as a cross between The Pixies, Arcade Fire, and The Cure but to my ears they sound more like Squeeze or The Posies.

Find out more on the band's website.

Sunday, October 05, 2014

Paul Revere (1938 - 2014)

Freddie Mercury sang "Another one bites the dust" and unfortunately his words continue to ring true when it comes to rock stars of the 1960s.

This morning news broke that Paul Revere (no, not the colonial patriot) has died. The late keyboard player was the founder and leader of the mid-60s phenomenon, Paul Revere and The Raiders.

Because they included a lot of slapstick in their live shows and wore campy revolutionary war uniforms on stage many critics and rock music fans refused to take The Raiders seriously. Yet Paul Revere Dick (yes, that was his real name) and the band he led were a loud, hard rocking outfit that could blow many other rock acts of the era right off the stage. Unfortunately, their carefully cultivated image virtually obliterated the fact they weren't Herman's Hermits or The Monkees.

The Raiders were a favorite of Dick Clark and they appeared regularly on Where The Action Is, his TV show of the era.

Listen below as Revere, lead singer Mark Lindsay (another 60s pop star who made young girls swoon), and the rest of the band rock out on "Good Thing" and "Let Me."

Also, be sure to read this tribute to Revere posted by another cool music blog I just discovered, Iron Leg.

Wednesday, September 10, 2014

Philippe Margotin & Jean-Michel Guesdon - All The Songs: The Story Behind Every Beatles Release (2013)

All the Songs: The Story Behind Every Beatles Release is a thoroughly entertaining coffee table book that is a chronological reference guide about their recording career. It's a massive volume that is chock full of information that needn't be read as a cohesive whole. The five pound, 653 page, encyclopedia covers all of The Beatles' songs.

The inspiration behind every track is discussed, along with details of how each one was constructed and recorded in the studio, which Beatle played what instrument, and what support outside musicians contributed during their guest appearances. We also learn a lot of background and biographical information because quite often the quartet's personal lives fueled a song's creation. Also included are many photographs that you've probably never seen before.

The book begins in Hamburg where the band, recording under the name "The Beat Brothers" and with Pete Best still on board, served as a backup group for Tony Sheridan in 1961. It continues on, discussing the demos that led producer George Martin and Parlophone to offer The Beatles a one year recording deal. From there the book takes us on a tour of all 213 songs they released during their career, ending in 1970 with "You Know My Name (Look Up the Number)," the B-side to "Let It Be."

Author Philippe Margotin is the author of several books about music including biographies on The Rolling Stones, U2, and Radiohead. His co-author, Jean-Michel Guesdon, is both a producer and musician who owns a large collection of information about The Beatles that he amassed over the last thirty years.

The preface is by Rock and Roll Hall of Famer, Patti Smith, an unlikely Beatles fan if there ever was one but, as we quickly discover, even the "Godmother of Punk" succumbed to the charms of the ultra-famous Liverpudlians.

All the Songs is both very interesting and well researched but it's appeal is strictly for hardcore fans. Casual fans will view it as information overload.

Saturday, September 06, 2014

Annie Haslam - Annie Haslam (1989)

Some singers are outstanding in any format. They are the ones who can easily rise above the restrictions that are sometimes thrust upon them by record companies and popular trends. The great Annie Haslam, on this self-titled, eleven song CD that is her attempt at staying relevant after her time in the spotlight had passed, is one of them. Here, away from Renaissance, she succumbed to the very trendy synthesizers and electronic drums that took over pop music during the era this album was created. The electronics, of course, wash all musicality and originality out of her arrangements.

Fortunately, the English prog-rock singer uses her gorgeous five octave range to minimize the distractions. Haslam is so good here that the listener frequently doesn't even notice the mundane music behind her and by the album's mid-point she offers up two co-written tunes, "She's the Light" and "Celestine," that almost take her back to her roots. There are enough touches of violin, harp, and other sounds loved and used by her old band to keep the computerized musical demons in their places most of the time.

Despite the album's drawbacks there is still some good stuff to listen to. Haslam can still easily reach the upper registers. Listen to the end of "Wishin' On A Star" for proof.

She (not the band) supplies the melodies to "Moonlight Shadow" and "The Angels Cry" making both of them satisfying listens. Fellow British prog-rocker, Justin Hayward, a man who knows a little bit about composing melodies himself, wrote the latter and sings backup.

Mel Collins, former sax player for King Crimson, also helps out on "Let It Be Me" which is as close to R & B as a singer with Haslam's influences and track record can get without actually crossing the line.

The synths only get completely in the way on "When A Heart Finds Another" and on "One More Arrow."

The sessions were produced by Larry Fast who is famous for working with Bryan Ferry and Peter Gabriel.

Annie Haslam was the singer's third solo album and her first post-Renaissance effort.

Thursday, August 28, 2014

Forgotten Music Thursday & Great Cover Versions: Nilsson - Without You (1972)

Once in awhile a piece of music sounds so generic that you wonder what someone else hears in it but that's what makes some people musicians while millions of us without talent work in cubicles. They hear things in songs we never will. One of those blessed with such talent was the late Harry Nilsson who obviously heard something in Badfinger's "Without You" that no one else did, not even the song's composers.

The troubled British quartet released the original version of "Without You," written by the band's Tom Evans and Pete Ham, for their 1970 album, No Dice. However, their arrangement of this soon-to-be massive 1972 hit for Nilsson never got noticed by the public and it was destined to be just another deep track from a classic album.  Even Ham and Evans believed it was nothing more than album filler.

Badfinger's recording is quite thin when compared to Nilsson's more melodramatic take that appeared on his 1971 Nilsson Schmilsson LP.  The 45 RPM that was culled from his album reached #1 on the US pop charts and stayed there for four weeks in the winter of '72.

Mariah Carey also covered the song as a single in 1994 and she rode it to #3 on the Billboard Hot 100 in America. It also became her biggest hit in Europe. Carey's performance was based on Nilsson's record and because it lacked the originality that his did the critics were not as kind to her.

Today, it is Nilsson's version that still resonates while almost no one remembers the original Badfinger track.