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Up
the Junction
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September
2001
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Issue
4
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Volume
1
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Digital |
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DIGITAL
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3 's
= good, shows promise |
4
's
= very good, you won't regret it |
5
's
= are you insane? But it NOW! |
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Glenn Tilbrook The Incomplete Glenn Tilbrook Quixotic Records What Are? Records (US) www.glenntilbrook.com
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When you are one half of the most critically acclaimed songwriting team since Lennon & McCartney, it's quite a challenge to break out on your own. You don't want to sound like your former group, but since you were the lead singer, people naturally will make the association. To breathe fresh life into your songwriting while still retaining your identity is quite a feat to accomplish. Glenn Tilbrook accomplishes this and more in his solo debut, The Incomplete Glenn Tilbrook. Sure, once you hear his voice you immediately think of past Squeeze hits 'Black Coffee in Bed,' 'Pulling Mussels (From the Shell),' and 'Take Me I'm Yours.' You may even think, this record sounds just like Squeeze. It does and it doesn't. Here's why. The last couple Squeeze CD's really weren't up to snuff, especially Domino. The writing was good, the playing competent, but it wasn't really inspired. You could almost feel Tilbrook's and partner Chris Difford's apathy throughout that disc. I guess doing the same thing for over twenty-five years can lead you to that. Imagine my surprise when the first chords of lead off track 'This is Where You Ain't' came through the speakers. Tilbrook's vibrance, humour and pathos came through in a big way, not heard since Squeeze's 1989 frank. CD. In addition to this reclaimed joy, are the somewhat experimental 'Observatory,' co-written with Aimee Mann, and 'Parallel World' with their slightly funky feel, they give the listener something new to latch onto while basking in familiar territory. Later on, 'G.S.O.H. Essential' is a very upbeat yet introspective tune dealing with Tilbrook realizing he wasn't happy with Squeeze anymore and his need to move on musically. Not bitter about the break, he lovingly recalls happier Squeeze days with a nod to 'Take Me I'm Yours' during the fadeout. A great tune, despite the (respectful) slam he gives the Monkees. Tilbrook to let his hair down on 'Up the Creek' and 'Interviewing Randy Newman,' so to speak. On the former he experiments with tape loops, drum machines, and even a touch of hip-hop, while his low key humour about his feelings on getting older shines through. Meanwhile, the latter is supposedly a true story about Tilbrook interviewing Randy Newman for British radio. It's so complete in its detail and so accurate about radio, that it has to be true. Plus, included in the bonus tracks, is 'Sunday Breakfast Treat.' Only Glenn Tilbrook could write a great, lilting pop tune with a cooking recipe for lyrics. It amazingly works very well. Musically I can see Squeeze doing these tunes, but emotionally (going on the last couple of albums) I can't imagine them coming close to what Tilbrook has succeeded on his own. If you love music with great melodies, wonderful songwriting, and feelings of joy, complete your collection with The Incomplete Glenn Tilbrook. It's brilliant. Cheers, then! -
Chris Leib |
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The Bears Car Caught Fire Bears Music www.bearsmusic.com |
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You know, it's times like these that make life great. A new Bears album. Why the hubbub? A little history lesson: Back in the early 80's there was an enormously popular band in Cincinnati, Ohio, by the name of The Raisins. Full of fantastic power pop songs that were intricate, amusing, and highly danceable, they released an incredible self-titled album in 1983 (one of my all-time favorite LP's) produced by Adrian Belew (another Cincinnati native). After playing about a billion shows in the Queen City and it's surrounding areas, and, oddly enough, points in Florida, the Raisins were never able to break into the "bigtime." They finally called it quits around 1985. About that time Belew wanted to form a group 'like the Beatles in 1966' and drafted some of his friends from the Raisins: Rob Fetters, Bob Nyswonger, and Chris Arduser. Recording for the PMRC (Primitive Man Recording Company, an IRS Records affiliate), they released their first beautiful pop album in 1987. Rise and Shine followed in 1988, and PMRC folded about ten seconds after this, their second album, was released. A tour or two later the Bears disbanded, leaving Fetters, Nyswonger, and Arduser to form psychodots, who pretty much ruled the Cincinnati area once again during the 90's. Throughout the last decade, Bears fans clamored for a reunion. Finally, 13 years later, their prayers have been answered with Car Caught Fire. Truly a DIY operation, the making of the disc took about four years, recording in Belew's home studio. Distribution is primarily through the band's website, although Not Lame Records has just acquired some copies for distribution as well. But what about the songs? Fetters' trademark cynicism shines through on 'Under the Volcano,' a song he says he wrote one day because he was incredibly happy but could still hear a tiny voice saying 'this too shall pass.' Good way to stay grounded, I guess. 'Mr. Bonaparte' offers up Belew's restrained, sorrowful judgment on those who think the world of themselves and end up very lonely (check out the video on the band's website). Nyswonger still continues to prove that he is an incredible songwriter. 'When She Moves' convincingly portrays what he has called 'beauty in motion' while in 'Caveman' he humourously describes the modern man. The real surprise here is Chris Arduser's writing. Always great, but it's now becoming exceptional. Check out the Beatle-esque 'What's the Good in Knowing' and 'Safe in Hell.' While he sang many tunes of the psychodots catalog, Arduser never sang on a Bears disc. Until now. So, yes, life is exceptionally good at the moment. The only thing that could make it better would be a Bears tour, or even a smattering of regional shows. But with Belew's committment to the King Crimson thing right now, it's doubtful that would happen. But then I thought a third Bears CD was doubtful to happen, too. With this CD, the Bears embark on their role of saving power pop. Let's hope it is a long and prosperous journey. -
Brewster |
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Mary Delaney American Detox Orangestar Records www.marydelaney.com
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Back in the 60's, there were many songs that dealt with the political and social changes that were going on in society. Then the 70's came along and everything was about excess and the music had very little, if any, social commentary. In the 80's, the closest we came was Sun City, apartheid, the starving in Africa and the hungry in America. Outside of that, there was really was nothing to protest or fight about. Maybe the threat of nuclear war in the early part of the deacde, but that didn't last. And the 90's were pretty much the same. It appeared that the revolution that was preached about in the 60's went the way of the buffalo. Now it's the 21st century. What's there to fight for and rally against you may ask? Mary Delaney has the answer. Singer, songwriter, poet, and performance artist, Delaney was the former lead singer of Atlanta band Water for Angels. For her solo career, to quote Delaney's presskit, she incorporates 'rave, industrial, and hip-hop grooves to create her own brand of socially conscious and sometimes controversial music.' What's controversial? Issues ranging from AIDS awareness to homelessness; from drug addiction to hate groups to Gay Rights; all are presented with a vigor that is rarely seen nowadays, in this world of saccharine-coated, corporately-created, bland-as-rice-cakes boy bands and girl groups. On American Detox, Delaney's debut CD, she approaches these issues as if she's on a mission: to sensitize the masses to the plights of others and to spur people into positive action in order to make a difference in society. With the use of trip-hop beats and ambient effects, she successfully demonstrates her intensity about these issues in 'Spoken,' the third track on the disc. A story-song about people who are discriminated against by the populace, intentionally or intentionally, Delaney details their plights without identifying who they are. By leaving them nameless she effectively illustrates that any one of us, at any given time, could be homeless, afflicted with AIDS, addicted to drugs, and left abandoned by society. Heavy
stuff, for sure. But if you want your music with some bite to it, some
social relevance, then pick up this CD. Your view on the world may never
be the same again.
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Post Office Fables in Slang Spade Kitty Records www.postofficemusic.com |
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Sometimes really good music comes out of nowhere and blindsides you. With no warning comes Post Office, bringing a breath of fresh air to power pop. Hailing from Chicago, this talented quartet (Stephen Becker, Jeff Greaves, Jerry Morrow, and Larry O. Dean) blend touches of the Shoes, the Plimsouls and the Kinks into an original collection of catchy, well-crafted pop songs. Kicking things off in fine fashion is the kitsch-ily titled 'Deliver My Letter,' a radio-friendly tune that sets the tone for the rest of the CD. And I swear I hear a Rutles influence (!) on 'Awake Again' during the bridge, at about the 3.55 mark. If you listen closely, you can detect a nod to 'Piggy in the Middle' by the pre-fab four! Intentional? Maybe. Cool? Very! Another homage is handed out during the great 'Semiprecious Stone,' a song about an awkward teenager who escapes the dullness of their adolescent years and blossoms into a beautiful person. A nice, sentimental, catchy tune. And anyone that namechecks XTC's Colin Moulding is alright with me. While sounding highly original Post Office also resembles late 70's power pop, a la Off Broadway, the Records, and the Pezband. Fans of this kind of music will find much to like about this disc, whether it is the love letter to 'Susan Faludi' or the metaphorically-laden, psychiatrically-tinged pop of 'Pillows'. It's like visiting a old friend who's living in an entirely different place. Fables in Slang is a very enjoyable CD. It's not gonna change the world, but it will help make it a nicer place for a while. -
Dennis Blandford |
1/2
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Larry O. Dean Sir Slob Zenith Beast
Records
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It's rare when a member of a local or independent band decides to release a solo album. Especially so close to the release of his band's latest effort. Just goes to show that their is support of independent musicians. Every major artist that's done this (Paul McCartney's solo debut and the Beatles' Let it Be; Aerosmith's Night in the Ruts and Joe Perry's first album) has been a result or cause of their band dissolving and lots of infighting. That's why it's nice to see Larry O. Dean's solo career operating in conjunction with, not opposed to, his band Post Office (see review above). Sir Slob is Dean's latest collection of songs that for some reason or another didn't fit into the scope of what Post Office is doing. And that's okay. Upbeat tunes like 'King of Close Enough', with its amalgam of the Plimsouls and R.E.M. and lead off track 'Time to Kill' that could be a close cousin of the dB's and the Replacements spark this CD with an energy that is not seen too often on 'I'm-making-a-solo-album-but-staying-with- the-group' CD's. Deeper subject matter is touched on in 'God Owes Us Nothing,' which covers conflicts of faith and trying to come to grips with it. 'Lies Return' is about trust betrayed and what goes on when you try to get it back. And 'Tail Wagging the Dog' details the lives of two people and how they deal with the more mundane aspects of their relationship. Just about something fro everyone on Sir Slob. Tuneful introspection the Midwestern way, courtesy of a truly talented artist with vision. Very good, indeed. - Kate Gordon |
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