After Mark Olson departed The Jayhawks in the mid-nineties to persue even more roots based music via a solo career and with his band Harmony Ridge Creek Dippers, his co-founder Gary Louris took charge of the band.  ‘Sound of Lies’, ‘Smile’ and ‘Rainy Day Music’ were fine albums, with Louris expanding the band’s country rock repertoire to include elements of classic pop music.  Lots of the Americana roots remained, of course, but without Olson, something was very different.

‘Mockingbird Time’ – The Jayhawks’ eighth studio album – marks the end of an eight year recording hiatus and return of Mark Olson.  It is the first Jayhawks release to feature both founding members in fifteen years. Within a few bars of the opening number ‘Hide Your Colors’, the listener is transported back to The Jayhawks at their peak, and those timeless, rootsy songs which filled the grooves of their 1994 masterpiece, ‘Hollywood Town Hall’.  The vocals may be slightly more weathered than on the early Jayhawks releases, but Olson and Louris sound simply marvellous together, with Olson’s slightly worn folksy tones underpinning Louris’s easily recognisable higher registers.

On the more country side of things, ‘Guilder Annie’ is a superb number, rootsy but never syrupy.  It’s a number full of great harmonies, which once set against an almost waltzing arrangement augmented by a subtle steel guitar, becomes essential Jayhawks.  Also very commendable, ‘Black Eyed Susan’ showcases the acoustic side of the band; while the acoustic vibes are great – and a moody fiddle accompaniment works well – it’s the dual vocals of Olson and Louris which really pull in the listener.  Strong, yet never perfect, their very natural style gives the sense of something recorded in one take.  As the track pulls to a close, the fiddle takes centre stage, playing in a more upbeat style.  Since the music never really breaks from its original mid-paced arrangement, this gives a much needed climax.

The title cut has a sense of fragility, beginning with a slightly jarring vocal complimenting a simple piano line from Karen Grotberg.  At first, it’s a song which appears unsure of itself, but soon, the drums find a place and a steady bass line pulls everything together. By the time you’ve tuned into Olson’s vocal midway, the track really starts to build.  Occasionally the use of accordion can be a little distracting, but the other elements are wonderful. From some rather more passionate vocals, a brief guitar break and Grotberg’s piano – which has a presence throughout – everything is wonderful.  By the close of the number the piano finally finds the courage to add a few lead notes to the mix.  This track may not grab you at first, but after a few spins, the warmth of the arrangement and romanticism within the lyrics will have won you over.  If it doesn’t click with you after a while, let’s just assume you have no soul.

Slightly edgier, Cinammon Love’  brings in a Neil Young style reverbed guitar, over which Olson and Louris lay a dual vocal. On occasion, the lead is placed against a selection of backing voices which appear to be working against the harmony.  The spikier parts of the arrangement are given the perfect counterpart in a chorus which focuses a on much tighter vocal harmony, acoustic guitar and piano.  There’s just the right balance between the smoother moments and the slightly rockier elements. ‘Stand Out In The Rain’ adds an occasional steel guitar to the band’s country rock sound, but due to a slightly louder approach to the guitar on the chorus, things do not ever feel too country.  The guitar is in a similar style to parts of ‘Cinammon Love’, but once again, this never seems intrusive.  While the arrangement is top notch, in terms of song writing, this number is potentially ‘Mockingbird Time’s weakest, due to constant repetition.  Still, everyone’s allowed a creative blip!

Elsewhere, ‘High Water Blues’ provides a strong acoustic stomp, lavish with harmonies and ‘Pouring Rain at Dawn’ is simply gorgeous.  On the latter, the band offer something incredibly understated; twin harmony vocals – with Louris taking the lead – sit well against a shuffling country number with brushed drums and warm bass.

Perhaps the best number of all, however, is ‘Tiny Arrows’, a moody piece which captures both Olson and Louris in their finest voices this time out.  Louris’s higher pitch is given the perfect accompaniment by Orson’s soft melodies, but no matter how great their voices are, it’s the epicness of the music which will have you coming back time and again.  Over a brooding soundscape, the steel guitars cry softly against the acoustic rhythms and the piano has a sense of leading without dominance.  Think of a softer, slightly spacier take of Neil Young’s ‘Cortez The Killer’ and you’ll have about half an idea what this sounds like.  Honestly, this could be one of the finest numbers the band has ever recorded.

Fans of The Jayhawks will undoubtedly welcome their return, and rightly so, since ‘Mockingbird Time’ is remarkably consistent.  After a few listens, these songs will feel almost as familiar as those songs the band recorded nearly two decades previously, proving The Jayhawks are still among alt-country’s finest, no matter how long between releases.

September 2011

The previous album from Murfreesboro, TN’s The Great Affairs (2010’s ‘Ricky Took The Wheels’) wasn’t a cast iron classic, but featured some great rootsy pop/rock tunes nonetheless.  During the first half of 2011, Great Affairs frontman Denny Smith turned his time towards other projects, including work his other band fORMER.   In between recording sessions for a fORMER LP, Smith and co recorded a handful of acoustic based numbers, which are presented on this EP.  While Smith is quick to point out this doesn’t necessarily mean the end of The Great Affairs forever, ‘Happy Endings’ is designed to provide a little closure for the first part of their career.

Whereas ‘Wheels’ showcased a mix of acoustic works and upbeat rock sounds from The Great Affairs’ repertoire, this EP is mellow – it’s six numbers concentrating more on the band’s acoustic rock and alt-country elements.  And since the previous full-length’s strongest parts were often its most laid-back, this release really shows the guys on top form.

‘Sick For Love’ sets the mood for most of the EP with its twin acoustic guitar framework.  Although it’s the solid rhythmic qualities providing the song’s main thrust, the featured solo (also acoustic based) has a timeless air.  These elements, when mixed with Smith’s slightly raspy voice, make this number comparable to The Faces in a rather melancholy mood.  ‘If I Know You’ doesn’t do much to change that said mood – but in honesty, it doesn’t need to.  There’s more of a harmony vocal than before (one which, perhaps, could have been a bit stronger), but the unfussy, Connells-esque arrangement is decent enough. ‘Stay Pretty’ features some top-notch slide acoustic/dobro work, while Matt Andersen’s basslines provide some great musical flourishes.  As is often the case, you’ll have heard similar stuff from various other Americana/acoustic bands, but even so, The Great Affairs more than hold their own here.  The superb arrangement makes it ‘Happy Ender’s best number – and it’s up against some strong competition.

For those looking for something with a more instant chorus, ‘Wild One’ is a track which more than supplies.  With a very memorable hook and vocal harmonies, this number would already be a strong one, but the addition of some electric guitar leads (very much in the country rock mould) really round out the sound.  It’s a shame the vocal seems to have been subjected to autotuning (purely for effect) on a couple of lines, but not to an extent it would spoil an otherwise great track. ‘See The Stars’ features another good mix of acoustic and electric guitar work, this time the electric leads come with a subtle ringing quality.  Musically, it’s great and should please all but the most stubborn fans of this kind of roots rock.  The songwriting doesn’t grab instantly, though, but a few plays in the pleasing melodies on the chorus start to stand out.  In contrast, ‘Bird on a Wire’ is definitely the EP’s rockiest number, since the acoustics are joined by an electric lead throughout.  Patrick Miller’s work is often sympathetic to the softer qualities of the music – his leads occasionally no more than punctuation – but by the track’s end, he can’t hold it in any longer.  During this rock-out moment, the band cut loose a little and Miller turns in a solo which would befit The Black Crowes, The Quireboys and their ilk.  It’s missing the good-time pub-rock piano, but even so, it’s a great number which sounds like it would work well within a live setting.

And so, after two full-length releases, these six songs close the door on the first part of a career.  If you liked ‘Ricky Took The Wheels’, chances are, you’ll really like ‘Happy Ender’.  If this is goodbye – at least for now – those who are likely to miss The Great Affairs have been given a superb parting gift.

June 2011

Any band that mentions The Black Crowes in their bio are likely to get my attention. In the case of Tennessee’s Great Affairs, bassist Matt Andersen “only needs his Black Crowes bootlegs to survive”. The Great Affairs may cull their sound from various rootsy sounding bands, but on this second album ‘Ricky Took The Wheels’, it’s not really the Crowes who are the over-riding influence. You’ll certainly hear traces of the Black Crowes moments within the album’s twelve cuts, but no more than you might hear an influence from the latter day work of Replacements or any other number of semi-acoustic/jangly retro outfits.
None of the tracks on ‘Ricky Took The Wheels’ are particularly groundbreaking, but within its grooves, Smith and co offer twelve songs of familiar pop/rock which stand up well to repeated listens.

‘Feels Like Home’ opens the album with a decent upbeat number, full of retro jangling guitars. The music recalls ‘Don’t Tell a Soul’ era Replacements, with its great chiming chords occasionally overlaid by slide guitar. The music may have a familiar ring, but Denny Smith’s slightly ragged vocals ensure they don’t sound like clones of Minneapolis’s favourite sons. Part of the main opening riff from ‘Inside Your Head’ resembles The Black Crowes number ‘Remedy’, but that’s as far as any real influence goes. For the verses, The Great Affairs settle on a funky groove. Smith’s vocal performance is well suited to the arrangement and Andersen lends an unobtrusive harmony vocal where required. Its punchy approach makes it one of the album’s stand-outs. With a mid-paced delivery, ‘No Heart Left To Hold’ showcases The Great Affairs in a very comfortable musical setting. With uncomplicated acoustic guitars and the return of the slightly countrified slide, The Great Affairs deliver a great piece of roots rock, which, although lacking a big hook, has a very pleasing sound, with Patrick Miller’s electric guitar work providing the best feature.

‘Good Flyin’’ begins with a rumbling bass intro from Andersen, soon accompanied by a few unfussy guitar chords. Anchored by Tim Good’s basic drum pattern, this is a snapshot of The Great Affairs in a more moody setting. While the bass carries the greatest presence during this number, it’s the occasional guitar fills which create it’s best musical moments – the retro bluesy tone calls to mind a slight Hendrix influence, but more discerning listeners may hear an influence from Audley Freed, (particularly from his work on the first Cry of Love disc, ‘Brother’). The Great Affairs follow this relative aggression with a track which is almost the polar opposite: ‘You’ll Never Know’, has a strong acoustic base, and with the acoustics overlaid by subtle electric twangs, this provides a really intimate moment for the album. A hushed, slightly cracked vocal from Smith only highlights the fragile nature of the song; it’s a great number, on which, the reserved performances from all concerned should be applauded.

The stomping nature of ‘You’re Not Funny’ comes with a sharp edge and a sneer which would befit Tommy Stinson’s Bash & Pop (whose sole album is a great mix of Stones fixated material with a hint of attitude borrowed from New York Dolls). The twin guitar attack from Denny Smith and Patrick Miller is instantly attention-grabbing, and the song barely lets up over the course of its four minutes. I’m a sucker for trashy rock ‘n’ roll ethics – and like that aforementioned Bash & Pop disc, this more than fits the bill. ‘Bastard Son’ captures The Great Affairs rocking out in a retro way, it’s mix of acoustic and electric guitars creating a sound which evokes the classic rock/pop of The Connells during their more upfront moments. It features one of Smith’s best vocals; he sounds perfectly at home fronting this simple, gently rocky arrangement. Once again, it’s nothing you won’t have heard before with regard to this particular musical niche, but it’s played very well. For guitar playing highlights, the finger-picked acoustic work on ‘My Apologies’ is recommended listening. This low-key number rolls along with the intricate guitar work taking the lead, as the band’s rhythm section take a back seat. As with the album’s other quiet moments, Smith’s vocal style finds a sympathetic place within the arrangement.

On the whole, while this album may not sound wholly original, it has plenty of heart. The Great Affairs show a high level of enthusiasm and have the ability to pen decent tunes. if you own albums by The Connells or any similar semi-acoustic rock/pop bands, ‘Ricky Took The Wheels’ could be for you.

Visit The Great Affairs here.

November 2010