A Tale of Two Sophomores...

Sophomore albums, that is...

The idea for this post came to me after fourth spins for both of these records.  That's right, four listens.  "But hey, Mad, you've sworn to three spins before writing.  What gives?"  These two CD's were separated by a couple of others in the changer, so over a few weeks it finally dawned on me that I had not committed the first note about either to the recorder.  That is highly unusual for my opinionated ass, but I realized that subconsciously I must have been awaiting certain expectations I had for both.  So let's begin with the best of the two, and of course, the least known.

Liam Finn, son of Neil Finn of Split Enz and Crowded House fame.  Been playing with dad since he was a kid.  This is another in the "like father, like son" musical edition, and for you who know me, that is mighty high praise.  My favorite songwriting team?  Lennon/McCartney.  Second favorite?  Tim & Neil Finn.  It also goes without saying that any one of those four names as a solo composer has had my full attention over the years, too.  Add Liam Finn to that list.  Couldn't do that with the Lennon boys.  Mark my words, Liam Finn will be very famous soon enough. 

This album, much like the debut in 2008, "I'll Be Lightning", took three spins before the genius began to grab hold.  "...Lightning" was a manic, aggressive, youthful slab of pop bombast, with Liam playing damn near everything on 13 of the 14 tracks.  That album had Split Enz sensibilities throughout.  FOMO (Fear of Missing Out) also has LF playing the majority of instruments, with a strong blast of studio perfectionism and an obvious sense of heightened maturity.  He has now morphed from dad's bands' influences into the actual influences.  That's correct, FOMO strikes me as a record one John Lennon could have made.  There are a couple of tracks here ("Roll of the Eye" for certain) that could be "Double Fantasy" outtakes.  I'm sure he'll take his female musical partner, Eliza Jane Barnes (yep, Jimmy is her daddy), out on tour again to handle the higher vocal registers, though Liam is doing the parts on the record.  There are also several 60's-era sounding pieces, one being the first single, "Cold Feet."  I'll let you search for the video on your own.  It's not going to help sell anything here in the States.  I will give you a link to his domestic label's YT account and the audio-only track "The Struggle."  Read the comments and you'll see I'm not the only one who gets it.  This track is closer to the aggressiveness of the first album, but FOMO simmers more than boils.  The album has been out a couple of months now and has had some buzz.  Most reviewers mention the Shins as a comparison, and I've seen TV on the Radio in others, though I don't get that one at all.  Therein lies the difference between the younger music journalists (Shins, TVonR) and my old arse (Enz and Lennon). 

I felt like the first five tracks from this new album by Fleet Foxes were merely an extension of the debut record a couple of years ago.  Not a bad thing, of course, but I expected more from the intellectual beard-rockers than that.  Here's one of those early tracks played live for the Jools Holland show in Britain (boy, could we use a program like that in the US or what?).



See?  It's fine.  My wife thinks she's listening to Neil Young until I correct her, but I believe she's slowly growing to appreciate a new band, an unusual feat for one so rooted in Classic Pop/Rock.  Finally, at track 6, the title song, I started to hear the musical growth I had so hoped for.  Four tracks later, the eight-minute "The Shrine/An Argument", and you have the Foxes greatest song yet, complete with its blast of avant-garde jazz that I guarantee will jolt the unenlightened. 

"...Blues" finally delivered in its last thirty minutes.  Can't fault the band for mining what works and cashing in (Top 5 album).  If I was entertaining a group of friends at the homestead, I'd put this record on low volume and have it blend into the background.  FOMO is just the opposite, a
front-heavy collection of brilliance that I would play for my guests at a louder volume, gently compelling them to hear the innovative, adventurous pop of a future star. 

Ginger Trees "Along With the Tide"

The only reason I sampled this was because it was listed as "progressive rock" and I liked the band name.  Remember when you used to do that...buy an album because you liked the band name or the cover art?  Yep, a long ago and far-away time.  I enjoyed what I heard in the 45-second intros and decided it was worth a try.  So after repeated spins it is time to share with you what may be a fresh, positive beginning to a new movement in rock...or so I hope (more on that in a minute). 

The band is from Sweden and this is their second album.  I'm going to list their stated influences straight from the Facebook page:  Led Zeppelin, Pink Floyd, The Beatles, Rolling Stones, Van Morrison, The Doors, The Incredible String Band, Cream, Neil Young, Jimi Hendrix, Eric Clapton, Robert Plant & The Strange Sensation, Tom Waits, Roky Erickson, Audioslave.  How's that for a list?  And the one band I actually heard a direct link to was Black Sabbath, and they weren't included.  My buddy, Bob K., said it sounded like a Geezer Butler/Greg Lake mix.  Try really hard, and you will hear each and every one of the influences in some form or fashion.  I also thought I sensed some early Scorpions and Budgie, as well.  But these influences aren't just panels of a quilt, if you will, they are threads through the panels in the quilt, creating this retro/strobelight/lavalamp/back...back into time rock sound that doesn't clone any of the listed influences but creates its own.  If you have eight minutes to spare, check this song out from their label's YT channel    You see the other bands listed that weren't mentioned earlier?  I love Porcupine Tree and now I hear the Uriah Heep after reading the name.  How about Vanilla Fudge for you real old souls out there?  That's what this album brings to the aural table, a sampling of a plethora of musicians respected worldwide, it just depends on your personal musical history.  I had one of my favorite obscurities pop into my brain courtesy of the organ lines sprinkled throughout the record, Boston-based Lyres, though "...Tide" has a much cleaner, structured sound than Lyres dirty, garage-rock. 

Well, I've spewed all the positives I have time for.  There isn't much info on this band domestically but the record is available on iTunes for $9.  The few reviews I've seen were all written shortly after the album's release in February, and each was in agreement that "Along With the Tide" was an excellent trip and future works would be eagerly awaited.  There lies the problem.  As of early June, Ginger Trees is no longer performing.  Believe me when I say, THAT SUCKS!  I learned that all the members lived in different cities, making it difficult to practice, play, etc..  Now the guitarist/vocalist is teaching English in a village in Nepal and loving it.  As a matter of fact, I just found a post he put up last week about the album.  Here's the link to his own thoughts.  He's right, I didn't mention one thing about the lyrics, but you can link to them yourself now. 

The Mad Rocker highly approves of the record and you retro-rooted rockers need to part with the nine bucks before the band disappears.  What a travesty if that should happen...

Robin Trower "The Playful Heart"

This is album #13 in my vault's Robin Trower collection.  I don't know what it is, but I always seem to be in a better mood after listening to his music.  I knew this was released late last year, but I didn't pull the trigger on it until my most recent buying spree, and it's another keeper.  Trower's recordings are certainly not a "you've-heard-one-you've-heard-them-all", but there is a similarity/familiarity to them that has pleased my ears for over thirty-five years, and this album follows suit.  RT is 66 years of age and his guitar still sounds wonderful.  Hey Robin, please leave the singing to Davey, though.  Davey Pattison has been singing for him off and on for the past twenty-five years, and he's got to be somewhere in the neighborhood of RT's age.  If Pattison's name sounds familiar, he got his start singing with another mighty fine guitarist named Ronnie Montrose and his band Gamma.  He doesn't use the power he displayed back then, and maybe doesn't have it anymore, but his voice is warm and perfect for RT's songs.  Here is a link to a very recent concert as the band plays the closing track from "Playful Heart", and Davey looks as if he's reading the lyrics!  It doesn't matter, the audience is there for the guitar...

Bob Geldof "How to Compose Popular Songs That Will Sell"

I've read where this was an actual manuscript Geldof found in a library.  Funny as hell, isn't it?  Not once did his band Boomtown Rats ever break into the Top 100 LP chart in America (highest was #103) and his first solo record in 1987 peaked at #130, and that was 24 years ago!  OK, I can hear some of you screaming now...Band/Live-Aid!  His baby but lots of help.  Enough to get him nominated for a Nobel Peace Prize.  Ah, how the British love their music & politics.  BG has never been one to shy away from an opinion, but by golly, you have to respect him for it.  It will never translate into sales in the US, but he knows that.

So let's get into "...Songs That Will Sell"... it's genius, as usual.  Since you, the readers of my blog, are extremely wise and obviously of higher intellect, please reward your brain with this recording.  This is even suitable for you, JK, you musical Mensa maven (only man to ever beat me in Trivial Pursuit RPM Edition... twice, no less).  One of the best ways to "sell songs" is to borrow from others that actually do sell, and track one mines the Lovin' Spoonful's "Summer in the City."  The anticipated new single features Roger Taylor of Queen on drums and vocals and uses a George Harrison guitar riff.  Yeah, I think those guys have sold some records.  Beatles' White Album production is apparent; Pink Floyd stylings are apparent (lest ye not forget that BG played "Pink" in the movie version of The Wall); one track puts the listener in a French cafe; track #2, "Blow Fish," could be one of the best rock songs of the year; and the first single (seen here in full band, live mode) should have been on dance floors worldwide and could have had a Donna Summer vocal kick in at any moment.

This is BG's first solo record in ten years as he has been busy with another charitable music organization.  Upon first listen, I had figured it was chocked full of impressive guest contributions, but no, it's his long-time band and only the Roger Taylor appearance.  It reminded me of  Robert Plant solo efforts before he discovered Country or a T-Bone Burnett recording. 

You wise readers should have enough RIYL's now to invest the $10 - $12 necessary to help fulfill BG's prophecy...

snicker

Dredg "Chuckles and Mr. Squeezy"

I, like 90% of the band's loyal fans, absolutely HATED this record after the initial spin.  The fan base had become used to some shifting in style over the four studio releases of the century's first decade, but this was just too much.  WTF was Dan the Automator of Gorillaz fame doing behind the production board?  A hip-hop knob-turner?  Oh, hell no, guys, come on!  The Gorillaz was the death of another great band, Blur.  I was not happy...

But I so love this band that I couldn't stop there and throw it all out the window.  I've actually paid MY OWN MONEY to see them live...twice!  I still say that "El Cielo" and "Catch Without Arms" are my favorite two records, though their album of 2009 (Pariah Parrot somethin') was the biggest sales and critics winner.  I should have been leery of the short span of approx. twenty months between records.  Dredg followers typically wait three years + for new music, so I can't say I was too eager for "Chuckles..." to replay...

But replay is what I do, and on spin two some of the hooks started peeking through and Gavin Hayes' vocals seem more prominent than usual, which is not a bad thing.  The guy has an incredible voice.  And Dredg fans know the lyrics aren't the "I love you, you love me, we love Oreos" kind of crap prevalent in domestic contemporary music.  I'll let you research a few of their prose on your own.  Prepare to be enlightened.  But I will link to their website and the current video for you.  Hit the play button on that baby and be sure to stay the entire four minutes.  If it's your first encounter with their visual sensibilities, then I would invite you to look for more if impressed.  These guys aren't just musicians, they are artists in a much bigger sense. 

By the time I've ended the third rotation, my hope was that the rest of their fans had offered second and third chances as well.  I must believe that an audience which "gets" this band has a maturity and understanding to appreciate the end product.  Those who leaned on the guitar as base are unhappy, I'm sure, as it has been relegated to intros and subtleties and keys and electronics dominate.  Prog rock before, lazy looped beats for this one.  Where previous albums were best consumed in their entirety, this one is better a bite or two at a time. 

Someone has asked me for a rating like other reviewers have, so I'll give this a 7 on a 10 scale.  I miss the power guitar and don't quite get the obvious push for credibility by using Dan A.  The final two songs of the album are so out of character for the band that I had to check to see if I had added somebody else to my CD to fill up space.  My vote for next single is "Somebody is Laughing", a slice of U2-ish pop if I ever heard it. 

I will go see them again when they tour.

The Strokes "Angles"

I was surprised when I heard they had a new album.  I thought they had finally dried up and blown away.  Around the turn of the century, The Strokes arrived about the same time as The Vines, and my staff and I had a Stones vs. Beatles-type disagreement for the following several months.  By now, you should know my affinity for music Australian, and the Vines just had more moxy than the Strokes.  The Strokes were unjustified in their cocky swagger.  What's funny is that as far as sales and chart position were concerned, the Vines debut smoked the Strokes, yet the New Yorkers became critics' darlings and remain so today. 

So when early reviews for "Angles" screamed "maturity and growth", I figured what the heck, they couldn't get any worse.  They were playing the summer festivals, doing TV appearances, all the right things.  And sure enough, two songs deep into the record and I am stunned.  The two best tracks the band has ever done in my jaded mind.  Ah, but reality sets in afterwards and it's all downhill from there.  I believe I may have raised an eyebrow once or twice through the remainder of the record, but that was it. 

I will note that the big money bought a nice clean, crisp piece of production, very impressive indeed, worthy of a Top 5 record.  Too bad the ingredients are mediocre.  Top 5?!  Americans buy way too much hype...