Posts Tagged ‘The Byrds’

CD Review: Various Artists, “Where the Action Is! L.A. Nuggets 1965 – 1968″

Where the Action Is! L.A. Nuggets 1965 - 1968Just a week or so after tackling Rhino’s massive Big Star release, Keep An Eye on the Sky, I’m back writing about another huge effort from Rhino, Where the Action Is! Los Angeles Nuggets 1965 – 1968. Once again Rhino has released a beautifully constructed, painstakingly researched, and essential four-disc set, this time covering a crucial period in the evolution of rock and roll in Southern California. Few if any other labels are doing this sort of thing these days. If they have the resources, they don’t have the interest, and if they have the interest, they often don’t have the resources. Rhino is presently in the position of having both, but as I said in my Big Star story, we will have to wait to see what the future brings for the label.

At first glance, Where the Action Is!, would seem to be an all-star assemblage of early tracks from bands that went on the bigger things. Disc One (”On the Strip”) features songs from a veritable “Who’s Who” of ’60s California bands who made a name from themselves on L.A.’s Sunset Strip. They include the Byrds, Iron Butterfly, the Doors, the Buffalo Springfield, Sonny & Cher, Captain Beefheart, and Love. Then there are surprises from the Bobby Fuller Four, the Leaves, the Standells, the Seeds, and the Music Machine, bands often written off as one-hit wonders. Finally, there are the tracks heretofore known only to hard-core pop junkies. These efforts come from bands like the Palace Guard, the Sons of Adam, the Joint Effort, and the Guilloteens. Of particular historical interest are songs from a young Lowell George with his band The Factory, and The Rising Sons, led by Ry Cooder and Taj Mahal. There’s the Association with a wonderful cover of Bob Dylan’s “One Too Many Mornings,” and a typically offbeat, and typically compelling track from Spirit, “Girl in Your Eye.” (more…)

Pop Goes the World: Icecream Hands, “Sweeter Than the Radio”

Let’s get the hyperbole out of the way early, shall we? This, for my money, is the best album Crowded House never made. And it pisses me off to think that I very easily could never have heard it.

The early aughts were dark, dark times for fans of what is now called classic pop. Radio was a wasteland, and online social networking was in the zygote stages – chat rooms, eeeek! – so it was quite difficult for most bands to find their audience, and vice versa. I subscribed to CMJ Monthly for the CD of the month and the dozens of reviews, and when I needed a power pop fix, I went over to NotLame, Bruce Brodeen’s utopia for all things Beatle-y. It was there that I found a three-year-old album by an Australian trio that did a wicked impression of a certain New Zealand trio. I could only hear the songs in 30-second samples, but they did the trick. I plunked down the coin for Sweeter Than the Radio (1999), and suddenly felt like I had been let in on the best-kept secret in the world. That’s what every band wants, right? To be the best-kept secret in the world? What? They all want to sell millions of records? Ugh. Fucking musicians. It’s all about them, isn’t it?

All kidding aside, Charles Jenkins, the singer and primary songwriter for Icecream Hands, wrote one hell of a batch of songs for this album, with bassist Douglas Robertson contributing a few key tracks as well. Of all the tributes to Crowded House that grace Sweeter Than the Radio, though, there is none more Finn than “Dodgy,” a bouncy slice of guitar pop with a fittingly neurotic lyric to counter the joy (”Feels like it wouldn’t be right if it were wonderful” is the opening line to the verses). Even the guitar solo sounds like it was ripped straight from Crowded House’s first album. “Rise, Fall and Roll” plays like a reworking of the “new” Beatles song “Free as a Bird,” while Robertson’s “Yellow and Blue” borrows a riff from the Squeeze catalog. Here is a side-by-side comparison of the riff in question, for the curious. (more…)

CD Review: The Jayhawks, “Music From the North Country: The Jayhawks Anthology”

Jayhawks - Music From the North Country: The Jayhawks AnthologyThe Jayhawks, Music From the North Country: The Jayhawks Anthology – Deluxe Edition (Sony Legacy)

In the grand history of pop music, there haven’t been all that many voices that blended perfectly. Oh sure, there’s been lots of harmony singing, but what I’m talking about is two voices that just sound like they were born to be together. There were the Louvin Brothers, the Everly Brothers, and the Wilson brothers, but those are kin. In the non-related category, I’d offer Bobby Hatfield and Bill Medley of the Righteous Brothers, David Crosby and Graham Nash, and John Lennon and Paul McCartney as examples. I’m sure that you can add your own favorites. Since they were not related, they had to find each other, and the stories of how that happened are often the stuff of music history.

Gary Louris and Mark Olson belong in that category. The story of how they met is really nothing that special. Both were kicking around in different bands in Minneapolis, and when the timing was right in 1985, they got together. Along with bassist Marc Perlman and drummer Norm Rogers, they formed one of the most important roots bands in American music. Call it alt-country, Americana, or No Depression, The Jayhawks were pioneers in the movement. Together with Uncle Tupelo, and later Wilco, they forged the path that many, many artists have followed over the years. Named not for the fabled bird as many suspect, but as an homage to the Dylan-backing Hawks, who became the Band, the Jayhawks have been through some changes over the years, both in their music, and in the band’s membership. They’ve never really achieved the sort of success that they’d hoped for, but they have soldiered on.

Originally inspired by the Sweetheart of the Rodeo-era Byrds, the Flying Burrito Brothers, and anything else that Gram Parsons had to do with, the Jayhawks added something of their own to the stew, and eventually had a sound that defied categories, and ignored trends. They were originally signed to a local Minneapolis label, the legendary Twin/Tone Records, and in 1988 their early demos were spruced up and released on an album called Blue Earth. The beautiful sound of Louris and Olson’s voices blending together became their trademark, and the songs that the two co-wrote were no small part of the equation. In 1989 the august Village Voice called the Jayhawks “the only country rock band that matters.” (more…)

Popdose Flashback: Tom Petty, “Full Moon Fever”

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full-moon-feverWhile on a routine errand to buy a baseball mitt, Tom Petty pulled up to a stoplight and glanced over at the car waiting next to him. The other driver was uber producer Jeff Lynne. It was 1987 and Petty had been listening to George Harrison’s triumphant Cloud Nine, which Lynne had produced. So impressed was he by the sound and the songwriting of Harrison’s record that Petty had the former ELO frontman pull over in order to compliment him. Then he uttered the words that would change Petty’s life and kickstart the second phase of his career: “How’d you like to work on some songs together?”

At the time, Petty was in rebuilding mode. He and his storied band, the Heartbreakers, had just completed a world tour behind their album, Let Me Up (I’ve Had Enough). The Florida native was worn out from the constant battles with MCA, his record company, the tension within the band (in particular between Petty and drummer Stan Lynch), and just the grind of being on the road for most of the ’80s. Making matters worse, just before the tour an arsonist had burned Petty’s home to the ground. Literally, he was at a crossroads. The chance meeting with Lynne led to Petty co-writing Roy Orbison’s comeback single, “You Got It,” as well as the formation of the Traveling Wilburys, a laid back supergroup that included Petty, Harrison, Orbison, Lynne, and Petty’s old touring mate, Bob Dylan. Soon thereafter Petty and Lynne commenced on the landmark record, Full Moon Fever, Petty’s first solo recording without the Heartbreakers. (more…)

Listening Booth: Bruce Springsteen, “Working On a Dream”

Bruce Springsteen - Working On a DreamBona fides: I’m a Jersey boy, and a fan. I’ve got more than 50 Springsteen concerts under my belt. I’ve even met him once or twice, and no, I never call him The Boss. Now on with the show.

Someone on Twitter (follow us @popdose) recently wrote that Bruce Springsteen’s Oscar snub by the Motion Picture Academy was his punishment for “Outlaw Pete.” Maybe. I do know that the failure of the Academy to include Springsteen’s title song from The Wrestler in the Best Song category is one of the most egregious oversights I’ve ever seen in my years of following the Oscars. Are the Academy voters allowed to write in their choices?

I do understand the sentiment about “Outlaw Pete,” though. The song’s placement as the leadoff track on Working on a Dream (Columbia) is one of he most curious decisions in rock history. First of all, the thing is more than eight minutes long. Second, the story doesn’t make much sense. I suppose, based on his acknowledged respect for the iconic western films of John Ford, Springsteen was trying to create a widescreen western epic of his own. What he ended up with is more akin to the spaghetti variety.

I tell you this as someone who has listened to the track over and over in an attempt to understand its significance. I’ve done this because the balance of the album contains some of the best work that Springsteen has done in years. The E Street Band is in great form, despite the very noticeable lack of input from Clarence Clemons (wouldn’t a sax solo have been preferable to the whistling verse on the title track?), and producer Brendan O’Brien, working with Springsteen for the fourth time, has tamed most of his impulses toward the murky sound that nearly destroyed Magic for me. (more…)