Tag Archives: Music

Nov 04 2012
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Songs & Singles

Flaming Lips & Tame Impala Collide On “Children of The Moon”

In my review of the latest Tame Impala album, LONERISM, I noted that Tame Impala sounded a bit like Oklahoma freak-rockers The Flaming Lips.  I think that both bands share a common 60’s-LSD-Beatleband strand of DNA, but what would happen if the two bands were to meet?  Would a rainbow-colored funnel of sunshine spew trippy death all over existence? Or would they just make a  really nice song?

The Flaming Lips are good at a lot of things, but spelling is not one of those things.

Turns out they’d just make a really nice song.  The Flaming Lips put out an album of collaborations this year called THE FLAMING LIPS AND HEADY FWENDS (sic) which features Tame Impala.  The song, “Children of The Moon,” might not be as epic of mind-blowing as one would hope…but it is really good.

The song leans more towards the Australian rockers mellow-gold rather than The Lip’s more purple nurple sound.  Still, you can definitely hear how The Flaming Lips magnified Tame Impala’s more understated vibe (to great effect I think).

Check it out:

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Nov 04 2012
5 Comments
Album Reviews

LONERISM by Tame Impala

Australian daytrippers Tame Impala burst onto the collective consciousness in 2010 with their fantastic debut album INNERSPEAKER.  That record, which I once described as perfect Sunday morning chill-out music, set the bar pretty high for the band.  I honestly didn’t expect to hear from Tame Impala so quickly, especially after lead singer/songwriter Kevin Parker released an album of similarly psychedelic (but far woolier) tunes under the name Pond in March of this year.  Much to my delight, however, Tame Impala is back with their new album LONERISM.

In case your’re wondering, the sign on the gate reads: “Dogs, even on a leash, are not admitted beyond this point.”

What I find most interesting about the album is that it’s both a leap forward and a step back.  Sonically, the album is lightyears ahead of INNERSPEAKER, which itself was hovering at the very finge of our soloar system.  The band pushes the band’s sound even further into space with it’s  heavier use of synthesizers.  Parker has said in interviews that LONERISM is more prog/indulgent that the last record.  And while that typically is a negative, in this case the songs on LONERISM run wild without running completely away (the longest song clocks in at just over six minutes).  The band’s vast, spaced-out sound is pushed to the limits on such tracks as “Mind Mischief” and “Apocalypse Dreams.”  Both tracks sound like a calmer, mellower, less cartoon version of The Flaming Lips.  LONERISM also recalls Todd Rundgren, whom the band has cited as a major influence.

That said, LONERISM is also a bit of step back in that lyrically the majority of the songs deal with personal issues of loneliness, isolation, and social awkwardness.  The best example of this is the woe-is-me jam “Why Won’t They Talk To Me?” in which Parker sings about being alone and only thinking he’s happy. This material would probably seem whiny, self-pitying, and immature except that it’s swathed in a big bouncy beat.  The trippy vibe takes an emo kids lament and transforms it into the inner musings of a stoned philosophy major.  The albums themes of isolation are also represented on the album’s cover, which is a photo taken by Parker at a French public park.  I think the shot of the happy people viewed through the bars works best with “Why Won’t They Talk To Me?”  Tame Impala was smart to both expand their telescope sonically while at the same time write more personal songs. It keeps the band from floating away entirely into the stratosphere where the listener is unable to relate to them.

Sitting amongst the green.

Special mention should be made concerning the band, specifically Kevin Parker’s affinity for John Lennon.  John Lennon’s ghost looms large on LONERISM, specifically on the albums best songs “Feels Like We Only Go Backwards,” “Sun’s Coming Up,” and “Elephant”.  Parker’s vocals eerily channel the former Beatle throughout the album, but on “Feels Like We Only Go Backwards” sound like a lost PLASTIC ONO BAND track.  “Sun’s Coming Up” sounds like a sleepy/boozy Lennon demo for one of his piano ballads. “Elephant” which is my favorite track on the album, sounds like “For The Benefit of Mr. Kite” merged with “I Am The Walrus.”  It’s a lumbering rocker that wouldn’t stick out too much on MAGICAL MYSTERY TOUR.   The homage/influence of Lennon will probably turn off as many people as it switches on.  I don’t think it’s 100% fair to give Tame Impala too much grief about this because:

1. The dude can’t help who he sounds like

and

2. There are worse things to be like than John Lennon.  Do Tame Impala rip off The Beatles? No.  Do they re-invent the wheel? No, but what they create vast sonic murals of trippy space rock and they do it well–end of story.

Ah. Freak. Out.

Tame Impala have forged a solid second record with all the big, epic sound you’d expect from the band that brought us INNERSPEAKER.  However, more than just delivering more of the same, the band has stretched their legs and dug a little deeper for LONERISM.  The album, while not as top-to-bottom perfect as INNERSPEAKER, still manages to capture the imagination and delight the listener.  To say that LONERISM is a headphones album would be the understatement of the year.  Switch off the lights, pop in your ear buds, and close your eyes.

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Oct 29 2012
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Ramblings, Songs & Singles

“Fats Domino” by The Features

Tennessee rockers The Features have become one of my favorite bands through double-osmosis: I dragged my wife to a Kings of Leon show a few years ago and they were one of the opening acts.  So impressed with their sound, my wife did something she never does and actually went out bought some of the bands CD’s.  The Features are probably one of the hardest-working bands I’ve ever had the pleasure of seeing–six times in less than 4 years.

Beyond the endless touring, however, The Features also consistently release an album every year (give or take) that’s really good.  The band’s song writing has not only been solid as a rock, but they’ve done that rare thing in rock where they’ve stayed true to themselves while still managing to grow artistically AND appeal to an increasingly wider audience.  Most recently, the band was featured in a national TV spot for a big American car company.

WILDERNESS, the band’s latest album is fantastic…but you should hear them all.

The Features seem to be a band on the verge of breaking big, and when that day comes I’m going to feel very smug.  But because I’m a Hipster-Soothsayer, I’m going to be a bit sad, too.  I mean, can a band so down-to-Earth and workman-like endure the harsh spotlight? I wouldn’t think so, but then I heard “Fats Domino” from the band’s most recent album WILDERNESS.

“Fats Domino” is a soft battle-cry, but a battle-cry nonetheless.  It’s about all the things we need, or don’t need.  It’s a list of everything not needed…and the one thing that we can’t live without: Rock ‘n Roll. “You can take everything except my rock ‘n roll, my love, put down Fats Domino.”  The song, which is in the context of a relationship ending, on the surface is about a dude asking for his records, but beyond the surface “Fats Domino” is about nourishing, enduring magic of rock music.  We live in a modern world full of so much crap that, quite frankly, none of us need.  “Fats Domino” is a song written by a band that has it’s priorities in order and their heads on straight.  That it’s called “Fats Domino” and not “Elvis Presley” or even “Chuck Berry” is both telling and extremely comforting. Not only do The Features know where they as a band are going, they know where rock has been.

I think this sort of musical literacy and historical awareness is not only endearing but also very comforting. I’m comforted that The Features love rock music.  They don’t just live it, eat, sleep, and breathe it–they know it intimately.  The Features aren’t rock stars, they’re craftsmen.  The albums they make are strong, sturdy chairs like those built by master-carpenters; beautiful to look at but also very functional.

So I don’t worry about The Features getting success and losing their heads.  The only thing that I worry is that the success will remain elusive for them, not for their sake….but yours.

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Oct 29 2012
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Album Reviews, Ramblings

TSAR Returns with THE DARK STUFF Ep!

If there’s one thing that I love, it’s finding out that a band I really love has put out new music.  But what I love even more is when a band I’ve completely written off as “disbanded” returns with new music. LA rockers TSAR put out two phenomenal albums that really didn’t get the attention they deserved.

Image

Their self-titled debut album is more than worthy of a CLASSIC ALBUMS REVISITED post and their last record, BAND GIRLS MONEY was worthy follow-up that proved the band wasn’t a fluke.  But then something happened, I don’t know because I’m not in LA and I don’t follow that scene…but TSAR went away.  Then, a few days ago, I was prepping my iPhone for a trip and what do I see on Spotify? Brand-spanking new TSAR music.

THE DARK STUFF is an Ep of five songs; all killer, no filler power-pop perfection.  Upon first listen, I was surprised at how dark THE DARK STUFF really is.  Sure, the music is still sugary and fun; but TSAR aren’t pulling any punches–these songs have a real bite to them.  The first song, “Punctual Alcoholic” is a demented, spooky song that appropriately name-checks Stephen King.  The phrase punctual alcoholic  is one of those really good TSAR-isms that I’ve been missing over the last few years.  

Despite being really well-produced, the song was a bit of shock in that it wasn’t as hyper-produced as the songs from BAND GIRLS MONEY.  It’s a really good, really catchy song that instantly reminded me why I love this band.

The second track, “Police Station” is a more straight-forward rocker and sounded more akin to the songs from the band’s last album, but toned down and more thoughtful.  I especially like the reference’s to “Teen Wizards,” another of the band’s songs.  “Little Woman” returns to the darker, melodic quality that gives the Ep it’s name.

The best song on THE DARK STUFF is the last track, “Something Bad Happened To Me.”  Like “Punctual Alcoholic,” it’s more restrained than the band’s previous album but edgier.  It’s like a haunted-house where the music is provided by Cheap Trick by way of George Harrison, The Cars, and Steely Dan.  It’s a very cool, multi-faceted song that seamlessly morphs from acoustic noodle to electric monster.

TSAR is still a great power pop band, but with THE DARK STUFF the band seems to be moving away from the endless-partyrock sensability and more textured, mature rock.  I didn’t think it would be possible for TSAR to come back and actually be more interesting than they already were, but with THE DARK STUFF the band has proven that not only are they back but they’re better than ever.  I only hope that we don’t have to wait long for the full album.

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Oct 24 2012
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Songs & Singles

My Favorite U2 Song

A few weekends ago I was in a crepe restaurant waiting for some breakfast.  I was holding down a table for a group of my friends; the place was packed, with a line wrapped around the counter.  Sunday (bloody Sunday) morning was in full effect: I was mildly hung-over and the prospect of a new work-week loomed large.

And what did I hear?  What did I hear while my head ached and I waited for my corn beef hash?  Irish rockers U2 wailing out “Vertigo” on the restaurant’s sound system.  I whipped out my iPhone, and as I do from time to time, I posted something snarky and nasty on Facebook about the song and the band. Almost immediately I got feedback, the general consensus: What the hell is wrong with you, Jason? U2 is awesome.      

A long time ago, I used to fall to peer pressure when it came to what was hip or cool,  but those days are long since passed.  I like what I like and I don’t give a fuck.  I purchased the first two Lady GaGa albums, and I’m admitting it! On my Axl Rose-themed music blog!!! So believe me when I tell you, I like you but I could care less what you think of what I like or don’t like. When it comes to U2 I’m so torn.  On one hand, I love classic U2.  I think THE JOSHUA TREE is an amazingly, triumph of an album.  On the other hand, “Vertigo” is pretty much the worst U2 song ever.  Their current output has left me cold at times, though I did finally come around on their last album.

I remember in the early 1990’s when U2 came to Kansas City to film a music video for “Last Night On Earth” and how all the people who interacted with them said nothing but nice things. I remember when I thought U2 was lame and over-the-hill…and then ALL THAT YOU CAN’T LEAVE BEHIND came out and proved me wrong.  

I saw U2 in 2001 a month after 9/11 and Bono had me in near tears projecting the names on the side of our local arena–so when I tell you that U2 is one of the most disappointing bands I’ve ever known, realize that comes form a place of love.  What disappoints me about them? The same things that I find disappointing in myself: they’re lazy.  U2 used to consistently put out fucking life-affirming, kick-ass rock music. Music that was not only bad-ass but had a clear message either about how fucked up our world was or how it could be a better place.  This year? I’m listening to U2 sing in Spanish about what? 1-2-3?

What’s wrong with “Vertigo”? Where to start…how about it’s not nearly as good as “Another Day.”  I bet you’ve never heard “Another Day.”  Don’t feel bad if you haven’t, it just means you got laid in High School and aren’t crippled by your obsession of obscure rock music like I am.  The song came out in 1980 just before U2 released their first album BOY, and it’s my all-time favorite U2 song.  The song, which features a memorable punky-yodel from Bono, and vaguely recalls a Steve Miller song, is great for none of the reasons I like U2.

Only 2 luftballons…

It’s not particularly political and doesn’t make any large point.  The song is super-unique musically (again, I swear there’s a Steve Miller song that sounds just like it).  So why do I love it?  “Another Day” is pure and fun.  There’s a simple, but awesome guitar lick and Bono sounds like he’s having fun.  The song also has a bit of a tough-edge (pun intended) near the end with the Edge’s guitar solo…but it’s not an over-the-top wank-fest.

“Another Day” is a young, hungry band having a blast…”Vertigo” is an bunch of old men resting on their laurels.  If you can honestly listen to “Another Day” and tell me “Vertigo” is a better song…then you’re completely delusional and need professional help.

Seriously though, “Another Day” is a lost classic that I love dearly.  Long live U2.  Fuck “Vertigo.”

EDIT 10/25/2012: So while I was writing this I was trying to figure out which Steve Miller song “Another Day” reminded me of.  Today at work it came to me, like something from a dream–“Swingtown.”  It’s the vocals, nothing else really is similar.  Anyway, mystery solved.

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Oct 22 2012
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METAL MONDAY, Videos

Bonus METAL MONDAY: New Dethklok “I Ejaculate Fire” Video

Have I told you I like cartoons? I do.  I remember falling in love with Cartoon Network’s ADULT SWIM block of adult-themed cartoons way before it was cool.  Metalocalypse is probably my all-time favorite.  It’s a hilarious send-up/love letter to all things metal.  The show follows the trails and tribulations of Dethklok, the world’s most famous and beloved band.  All the members of Dethklok are insane/over-the-top rock caricatures…and that’s what makes me love it.

Oh, they’re real…real awesome!

The show is also extremely gory and violent, which is probably  a turn-off for a lot of people, but understand: the violence is ironic.  Anyway, the band’s real-life counterparts are on tour to promote their third album which came out this month.  The video below is for their latest “single” which is distrubingly titled “I Ejaculate Fire.”

This is not high art by any means…but nonetheless awesome.  Oh, yeah: WARNING THIS VIDEO IS NSFW.

 

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Oct 21 2012
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Ramblings

Aping The Beach Boys

 

Last month, Ben Folds Five released their first new studio album since 1999.   After reading a few favorable-to-glowing reviews, I decided to check out the new album despite being a casual fan of the group.  To my great joy, THE SOUND OF THE LIFE OF THE MIND is a really fantastic album that’s chock full of really good pop songs, I encourage you to seek it out.

The opposite of “Rire and Rain” but not PET SOUNDS.

One song, though, really stood out to me: the second track “Michael Praytor, Five Years Later.”  The song, which begins with drums and very familiar-sounding vocal harmonies instantly made me think of Jellyfish.  Particularly their second album SPILT MILK which my mom got me into durin the 1990’s.  Hypnotized, I found myself listening to the song over and over.

Then, around the 30th listen or so, I had a realization: The Beach Boys.  In this modern age, where artists are paying homage to other artists who were paying tribute to other artists, it can be tricky to trace the musical genealogy of a group or song .  Now that I’ve thought abou it, it’s obvious to me that on “Michael Praytor, Five Years Later”  the band is clearly doing something that goes back to the 1960’s: they’re aping The Beach Boys.

The Beach Boys, as I’m fond of reminding you all, were pioneers in rock music and highly influential.  The band has a stuffy/boring reputation among many young people today, but nothing could be further from the truth.  I’ve written before about my deep love of PET SOUNDS, but beyond that monumental album, the band’s influence can be felt today.  Being such a cultural-touchstone, other bands have been making sly (and sometimes not so sly) references to The Beach Boys in their work.  That this has been going on literally since they achieved their initial popularity in the 1960’s only serves to underscore just how damn important they were/are as a band.

We don’t know how lucky we are, boys.

The first time I can remember thinking “this band is making fun/referencing The Beach Boys” was when I heard The Beatles self-titled double album THE BEATLES (also known as the “White Album”).  The first song of the first album is “Back in the USS,” which is a direct parody of “California Girls.”  The Beach Boy-esque backing vocals are a perfect copy of The Beach Boys, but more than that The Beatles also poke fun at the band’s Apple-Pie/Baseball American-ness with their song’s Soviet Union-theme.  The Beatles were not the first, and they were not the last to ape The Beach Boys however.

Growing up, another band that I was exposed via my parents was REM.  I remember to practically wearing out their cassette of OUT OF TIME when it came out in 1991.  I had no idea what any of the songs were about, but I really liked them all, in particular the fourth track “Near Wild Heaven.”  The song, co-written and sung by bassist Mike Mills, is pretty much a spot-on WILD HONEY-era Beach Boys song.  And like “Back in the USSR,” it’s not the just vocal arrangement that’s referential to the Beach Boys, the lyrics and chords are also reminiscent of the band.  Looking back on it now, I think it’s weird that one of my all-time favorite REM songs is really just them riffing ironically on The Beach Boys. 

Not near enough…

English rockers XTC recorded a series of albums as their alter-egos The Dukes of Stratosphear and recorded “Pale and Precious,” a song that channels Wilson’s PET SOUNDS and SMILE-era lush production so well it borderlines on plagiarism. I feel weird mentioning the song because The Dukes were sort of a jokey-novelty, but “Pale and Precious” is too good to ignore.  Many people think these over-the-top homages are cheap, easy ripoffs but the amount of detail and knowledge required to create what essentially amounts to a “lost” Beach Boys song is incredible.  Anyone who willing to disregard the artistic merits of “Pale and Precious” can should try their hand at writing such a loving tribute–I have a feeling it’s harder than Andy Partridge makes it look.

Alt-rockers Everclear started their third album, SO MUCH FOR THE AFTERGLOW, with a massive Beach Boys nod on the album’s title track “So Much For The Afterglow.”  The song has an opening so Beach Boy-esque that when it comes on when I shuffle my iTunes I always mistake it for an actual Beach Boys song.  Jellyfish likewise opened their second album, the before-mentioned SPILT MILK, with “Hush” a lovely lullaby that exists thanks to The Beach Boys.

Sounds like The Beach Boys drunk on everclear.

Much like there are for The Beatles, there are a large contingent of modern bands who’s primary influence is The Beach Boys.  I vividly recall when California rockers Rooney broke onto the scene and were hailed by (the then-still somewhat musical) MTV as the “modern Beach Boys.”  The comparison wasn’t completely off-base, though I don’t think Rooney is as strongly connected to The Beach Boys as say,  South Carolina rockers The Explorers Club.   The Explorer’s Club have managed to cultivate a small, but growing fanbase with their supremely Beach Boys-like pop sound.  I  particularly enjoy their song “Run Run Run” of their most recent album GRAND HOTEL, which sounds like an eerily like an early 1970’s Beach Boy number.

This is a fantastic album, you should check it out.

If imitation truly is the sincerest form of flattery, then Brian Wilson & Company must feel very flattered indeed.  It’s one thing to write a good song, it’s another thing to invent a unique style that others copy and build upon.  Below is a Spotify-playlist I’ve started for this interesting sub-sub-sub-genre of music, if you are a Spotify user please feel free to add songs you think fit into the category of Aping The Beach Boys. I’d be interested to see how massive the list can get.

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Oct 08 2012
13 Comments
Ramblings

Muse’s iPad Bass

One thing has been really bugging me lately.  Well, that’s not true: a lot of things have been bugging me lately…but the only thing that’s been bugging me lately that’s in any way related to music is Muse’s bass player.  See, I was minding my own business, watching Saturday Night Live (SNL) when these clowns come on.

I know, I know.  The fault is mine, I should know better to watch SNL, but it’s a habit that I just can’t seem to shake.  Anyway, I was lame and watching it live, so I couldn’t use the DVR to skip over Muse (whom I really don’t care for).  As I tried not to pass out from sheer boredom, I couldn’t help but marvel and be disgusted by the bass players retro-fitted instrument.

I know SNL is a bit boring these days, but seriously? Playing Angry Birds during your set? Not cool, bro.

Is that an iPad?  Seriously?  I want everyone who made fun of me for playing ROCK BAND to jump on the “Muse’s-iPad-Bass-SUCKS” bandwagon immediately.

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Sep 29 2012
36 Comments
Album Reviews, Ramblings

Robin Zander’s Secret Country Album: COUNTRYSIDE BLVD.

I’ve been on a roll with the country-themed posts, so I decided to do one more.  I’ve been meaning to reviewing COUNTRYSIDE BLVD.,  Robin Zander’s long-gestating (country) solo album with a complicated release history.  The record was supposed to come out a few years ago but has been stalled for reasons no one seems to know.  Apparently it was for sale on the Zune music service for two days before the record label spontaneously removed it. Since this is 2012, I of course have a bootleg copy of the album which I have been enjoying…

Robin Zander, a real rhinestone cowboy.

So why the delays? Well, it might have something to do with the fact that, on paper at least, a country album from the lead singer of Cheap Trick would be a train-wreck–an utter mess of twang and vanity, fit only for the most fervent Cheap Trick/Zander fan.  I adore Cheap Trick and think Zander can (almost) do no wrong, but even I was skeptical when I first heard about COUNTRYSIDE BLVD.  But after giving it a few listens I can honestly say that it’s really good.

The key to COUNTRYSIDE BLVD. not being an epic pile of shite is this: the album isn’t really hard-core country.  It’s a rock album with country overtones and twangy guitars (and some fiddling).  Robin Zander did not record a Garth Brooks record by any stretch.  Like many solo albums of those involved in major bands, there are many songs that sound as though they could have easily fit onto the next Cheap Trick record.  If like me, you’re starved for Cheap Trick, then this is a very good thing.  If Cheap Trick ain’t your bag, then you’re probably not going to find much to like on COUNTRYSIDE BLVD.

The album opens with “Every Dog,” which sounds like a weaker Traveling Wilbury’s number.  It’s not quite rock, not quite country  and right away there are Hare Krishna references.  It’s a good song and pretty representative of what lies ahead: Wilburys-esque rockers with an eccentric-lyrical bent. I’m sure Zander’s vocals have been touched up, but damn does he still sound good.  Even if it is a special effect, one can’t help but admire how great he still sounds.  I especially was impressed with his cooing on “Love Comes*.”  It might seem like a silly thing, but I don’t think it’s easy for most singers to belt it out one minute then come all the way down to a gentle coo.

Standouts on the album include the gentle ballad “Heart of Glass” and the barn-burner “Say You Will.”  The former being a countrified version of the epic tender-jams Cheap Trick are famous (notorious?) for.  “Say You Will” is a solid rave-up that finds Zander wailing á la Little Richard.

The best song, though, on COUNTRYSIDE BLVD. is “Pamela Jean.”  However, the first time I heard it I thought that my iTunes had skipped, or that the album was over, and I was hearing Cheap Trick.  “Pamela Jean” really stands out as a great song, but it doesn’t have much in common with the more countrified-songs on the record.   So here I am, saying that the best song on the record is the one that seems to fit-in the least.  I guess that’s a crappy backhanded compliment to both the song and the record, and perhaps this is the fatal flaw that’s doomed COUNTRYSIDE BLVD. from ever being properly released.

And so, while COUNTRYSIDE BLVD.  is a mind-blowing revelation,  it’s by no means the terrible album many have inferred it to be.  Hell, with all the hoop-la surrounding the album’s release (or lack thereof), the fact that it’s not an embarrassment comes as a relief.  I think this would be an awesome album to take along on a long, moonlight drive.  It’s a shame we all cant’ go to the store/iTunes and buy COUNTRYSIDE BLVD.  but in the meantime take a listen to “Pamela Jean”.  Just don’t tell the label.

Zander and his two best friends: his dog Buddha and the hat that hides his receding hairline.

*Which, all you hard-core Cheap Trick fans know is from the band’s 1985 album STANDING ON THE EDGE.

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Sep 26 2012
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Album Reviews, Ramblings

COUNTRY FUNK: 1969-1975

The British have a grand tradition of introducing Americans to American music.  When The Beatles landed in New York, the press asked the Fab Four what they most wanted to see in the States,  to which they famously replied: “Muddy Waters and Bo Diddley.”   Some intrepid reporter then asked, without irony, “Muddy Waters, where is that?”

America is a big place and I guess we sometimes have trouble keeping track of the really good stuff.  Regardless, I was sitting in a plane reading the latest issue of Mojo magazine, that glorious bastion of British rock, when I happened upon a postage stamp-sized album review for COUNTRY FUNK 1969-1975.   Intrigued, I added the compilation onto my “to-listen” list and went about my vacation.  When I got home I promptly forgot about COUNTRY FUNK, until I picked up another music mag and saw it featured again.  After reading yet another positive review for the damn thing, but unable to find it on Spotify,  I decided to just bite the bullet and order it.

COUNTRY FUNK’s packaging designed by artist Jess Rotter is pretty schweet.

Which reminds me–record labels take note, if you want me to buy your album keep it off Spotify.  I love having every album at my fingertips, but when I get it in my head that I want to hear something and it’s not on Spotify I tend to whine, stomp my foot, and then go on Amazon and buy the damn thing (meaning you get my money).  But I digress.

COUNTRY FUNK 1969-1975 is a reissue put out by Seattle indie/hipster label Light In The Attic Records.  Besides putting new music, Light In The Attic has thing about digging out really awesome, really obscure music.  I’d never heard of them, but after seeing the care and attention to detail they put into their releases (at least this one) I’m itching to buy some more albums from them.

Essentially, COUNTRY FUNK is a hodgepodge of artists that walk the line between country, blues, gospel, and rock. The majority of artists featured on the album hailed from the South but wound up recording in California.  This juxtaposition between the grit of the South and the glitter of Hollywood forms the compilation’s central theme–and the very definition of country funk as a genre. The music is polished but soulful.  The blending of the best parts of black and white music creates a reese cup of awesomeness that’s thoroughly American.

I was only familiar with one of the album’s sixteen artists,* but I won’t lie 1970’s country isn’t my strongest area.  I’m 99.999% certain that these artists are obscure by most standards.  After listening to COUNTRY FUNK several times I desperately want to explore all of the artists catalogues, but I’m discovering that might take a bit of work (read: illegal downloading) because unfortunately this is music that time has forgotten,  which is a shame because every single track is a winner.

Standout tracks include “Georgia Morning Dew” by Johnny Adams, a bittersweet song about growing-up and moving away from one’s small town for the hustle and bustle of the big city.  Big horns and fuzzed-out guitars sandwich Adams’ remembrance of his early days in Georgia as he looks out at the early morning in L.A.  By the end of the song he’s painted such a charming picture of life in Georgia you just want to shout “Move back home!” which is exactly what he ultimately decides to do.

Johnny Adams, his eyes were on LA but Georgia was in his heart.

“He Made A Woman Out Of Me” by songstress Bobbie Gentry is like demonic version of “Son of a Preacher Man.”  The song, which is about the deflowering of a young country gal, is damn sexy.  Jim Ford’s “I’m Gonna Make Her Love Me” is groove from the other side of the war of the sexes.  More soul than country, Ford’s voice wails intensity to pure I’m amazed he isn’t a household name. Both Gentry and Ford are two artists I’m eager to hear more from, hopefully I won’t have to look too hard.

Bobbie Gentry…some lucky SOB got to make a woman out of her.

“Hello L.A., Bye-Bye Birmingham” by John Randolph Marr and “LA Memphis Tyler Texas” by Dale Hawkins are both celebrations of rising stardom and relocation.  Marr’s song details the tribulations of a up-and-coming musician trying to get to Hollywood (spoiler: it’s a little difficult).  The song’s protagonist has to do all sorts of things like hitch a ride with a biker and *gasp* take a two day job to get his guitar out of hock! “LA Memphis Tyler Texas” is almost an Vegas-style Elvis number about the three cities where Hawkins recorded the song.  It’s pretty fun and pretty funny.

Jess Rotter’s postal ode to the bearded-one, Jim Ford.

COUNTRY FUNK has a few less-than-fun serious moments, like Bobby Charles “Street People” which tackles the subject of homelessness.  Link Wray’s “Fire and Brimstone” is a gospel number about the end of the world…which is also kind of a bummer.  Musically and lyrically Wray’s song reminds me of the Rolling Stones maraca-shaking ode to Satan, “Sympathy For The Devil.” It’s an epic, good vs. evil number, complete with a nice, understated guitar solo.

The most surprising song on the compilation, however, is “Light Blue” by Bobby Darin.  It’s a fantastic song about depression and oncoming gloom.  According to the (fantastically written) liner notes, Darin was there the day Robert Kennedy was shot and killed.  He was so moved that he sold all his possessions and bought a trailer in the California backwoods, where he wrote this deeply dark, intense song. It’s an awesome, scary song made all the more awesome when one hears the transformation of Darin.  This is, after all, the man who co-wrote and sang the bath-time classic “Splish Splash.”  It’s cool to be able to actually hear something with depth from the man.  So, Mr. Darin, you’re officially redeemed.

As I’ve said, I’m really impressed with the care and attention Light In The Attic Records has taken with this release: the artist/song selection is magnificent,  the album artwork is really cool, and the CD booklet has a fantastic essay written by Jessica Hundley (whom I believe contributes to Mojo). This is far and away the best album that I’ve heard this year, and more importantly it’s introduced me to so many really cool artists that weren’t on my radar.  Hell, it introduced me to a whole genre.  In that regard, COUNTRY FUNK 1969-1975 breaks my heart and fills me with hope. It breaks my heart, because I’ve been living all these years without these wonderful songs! I’ve wasted so many years without “Hawg Frog” and “Piledriver.”  But it fills me with hope because as I get older, I become more jaded about the existence of “good” music.  Releases like COUNTRY FUNK prove that I haven’t heard everything and that there is still a lot of really cool old records for me to find.

I can’t recommend this record enough.

 

 

 

*And that was Bobby Darin of “Mack The Knife” fame, listed on the album as Bob Darin.

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