LINDSEY BUCKINGHAM – Seeds We Sow

Following 1992’s ‘Out of The Cradle’, Lindsey Buckingham continued to write new material, but largely stayed out of the spotlight. In the early 00’s he had almost completed a solo album, provisionally entitled ‘Gift Of Screws’, when destiny called and he rejoined Fleetwood Mac. A few songs scheduled for ‘Gift of Screws’ were reworked with Fleetwood Mac and eventually surfaced on their 2003 release ‘Say You Will’.

After touring for that record, Buckingham resumed his solo career and released the intimate acoustic record ‘Under The Skin’ in 2006, followed by a finished, partially different ‘Gift of Screws’ in 2008. As 2011’s ‘Seeds We Sow’ is Buckingham’s third solo release in five years, it marks his most prolific period in some time. It’s a very home-spun recording, with a lot of programmed mechanical elements, but that’s certainly not to say it sounds hurried or remotely slapdash compared to works on which he spent three times longer.

Despite the drum loops, ‘Gone Too Far’ has a pop purity, which with a little tweak would be worthy of inclusion on a Fleetwood Mac disc, with pleading lead vocals and a plethora of backing voices. Musically, it’s much simpler than some of Buckingham’s works, but it stands up well. The vocals alone would carry most of the number, but a few plays in, the unobtrusive guitar solo stands out as being particularly noteworthy, capturing a very clean and distinctive sound. ‘In Our Time’ is a superb off-kilter pop number which Buckingham very much makes his own. Not just with a plethora of finger plucked moments, but the addition of staccato keyboard strings for emphasis hints at the anger of a couple of his ‘Tusk’ performances. Almost a complete opposite ‘When She Comes Down’ is rich with harmony vocals. The music is relatively simple, but Buckingham is acutely aware that a strong hook and stronger vocal will win out. It’s enough to make you wonder how this would have sounded with the embellishment of Stevie Nicks and Christine McVie… [‘Seeds We Sow’ may be rather mechanical on the whole, but even after a few plays, it’s so obvious that most of these songs are vastly superior to those which filled Mac’s ‘Say You Will’, which was let down in part by Christine McVie’s absence].

‘That’s The Way That Love Goes’ is credited as featuring other musicians (everything else is arranged and recorded by Buckingham alone), but even so, it doesn’t sound much more natural than the other cuts. The drums come with a clipped march, the bass only slightly warmer than on other numbers and the keyboards add little interest overall. As expected with a Lindsey Buckingham recording, however, this track is still very much “The Lindsey Buckingham Show” – and frankly, his contributions are almost beyond criticism. His vocal retains exactly the same presence as it has always had -as if barely any time has passed since those drug-fuelled ‘Tusk’ sessions and days of excess – while the music contains a few slightly more angular moments. ‘One Take’ is the album’s most urgent cut, both musically and lyrically. The bass notes rumble as Buckingham settles for a far less showy guitar style. Clanging rhythm chords provide most of the focus, but the two instrumental breaks are where it’s at; each one brimming with fury – a sharp reminder of the man who played the screaming solo at the end of ‘The Chain’. Combined with Lindsey spitting lyrics like “I have no reputation and I’m not on any list / That’s because I got a publicist who covers up the avarice and where I put my fist”, it’s certainly the closest ‘Seeds We Sow’ comes to presenting anything resembling an angry rocker. Placed alongside some of the more refined numbers – particularly those with a strong bias towards finger-picked guitar – stylistically, this feels a little shoe-horned in. On the other hand, it comes loaded with a chorus that’ll stay with you after three or four plays, so it’s still a really great track.

It’s with the solo number ‘Rock Away Blind’ ‘Seeds We Sow’ unleashes what is unquestionably it’s most amazing piece. Buckingham’s voice has a pop musician’s purity, and as such is extremely admirable, but looking beyond that, his guitar work is just astounding. His voice compliments a furiously plucked acoustic guitar which is subjected to an appropriate studio shine (and possibly some kind of delay). The blanket of notes is mesmerizing – this is every reason Buckingham is revered as a musician as well as song writer. With this track, he captures the essence and brilliance of that performance of Fleetwood’s ‘Big Love’ (the one featured on ‘The Dance’) on a studio recording. It’s a track which can be played on a loop and never lose any of its sparkle. Similarly, the cover of The Rolling Stones’ ‘She Smiled Sweetly’ – which wraps things up – proves a fantastic showcase for Buckingham’s sounds of wood and strings pitched against breathy vocals. A track so subtle, yet brimming with professional brilliance, this provides a most appropriate ending.

Although this album stretches Buckingham’s work into a couple of new places stylistically and isn’t always as polished as some of his previous outings, his voice retains a heart-warming familiarity which will keep most listeners coming back time and again. And while some musicians would sound cheap surrounded by drum machines and programmed elements, throughout ‘Seeds We Sow’, Buckingham’s song writing runs rings around most and that – combined with his superb voice – is enough to make ‘Seeds We Sow’ a fantastic listening experience.

September 2011

ELIZA CARTHY – Angels & Cigarettes

carthyBeing the daughter of English folk legends Martin Carthy and Norma Waterson (and the niece of Lal and Mike Waterson), you could say that music was very much in Eliza Carthy’s blood. It would also seem natural for her career to explore avenues of traditional (and traditional sounding) English folk music. She gained great praise for her double release ‘Red:Rice’ in 1998 – the first part fusing her folk songwriting with modern drum loops and the second being stripped back, venturing down a more traditional folk route.

Her fourth album (and US debut) ‘Angels & Cigarettes’ presents Carthy at her most commercial; the songs are more in the adult singer-songwriter pop mould than usual, although her folk influences are occasionally present.

The opening number ‘Whispers of Summer’ is largely representative of this album’s shift away from folk music. Eliza’s voice is still very much in the heavily accented folk vein and her gently played fiddle may put in an appearance, but this is tempered by an unobtrusive drum loop and backing vocals whose ‘oohs’ aren’t particulary folky. A far cry from the likes of ‘The Snow It Melts The Soonest’ or the jigs and reels present on ‘Rice’, it feels like one of the album’s folkiest numbers, but it’s barely folk. It’s one of the only times Eliza gets anywhere near her trademark fiddle style and then that’s only a flourish rather than its main feature.

‘Perfect’ is lightweight pop which manages to remain charming due to Eliza’s lilting folky vocal; ‘Fuse’ makes excellent use of strings and Eliza’s voice carries much sadness. ‘Breathe’ is fantastic with its use of piano and Massive Attack style drum loop. The real star here is Barnaby Stradling whose bass playing is superb and adds much needed warmth. ‘Train Song’ is dark and brooding, where the vocals are used to create beautiful harmonies over the strings, in turn used sparingly to create atmosphere. Similarly, the bass-led ‘Whole’ works well due to being very musically understated. The end result is brilliant, but (as with a lot of ‘Angels & Cigarettes’) it’s not necessarily what some Eliza Carthy fans are looking for; it could just as easily have been a Beth Orton number. A cover of Paul Weller’s ‘Wildwood’ suits Carthy’s vocal style very well and is further proof that ‘Angels & Cigarettes’ seemed largely pre-occupied with the idea of being a cross-over album, introducing Carthy to an adult pop audience and hopefully breaking the US in the process.

If you’re not much of a fan of English folk in its purest forms but don’t mind a little creeping in, ‘Angels & Cigarettes’ offers your best entry point into Carthy’s work – and especially so, if you have a passing fancy for Kirsty MacColl or Beth Orton, for example. Eliza’s rendition of ‘Wildwood’ is worth your time alone.

February 2010

THE WINDUPDEADS – Army Of Invisible Men

windupdeadsAlready having had tunes featured on popular US TV shows ‘Gossip Girl’ and ‘One Tree Hill’, Stockholm based band The Windupdeads have already been given a fair amount of exposure in media terms. They’ve also been favourably compared to Radiohead and Muse, though listening to their second full-length ‘Army of Invisible Men’ (released on OK!Good Records), this comparison would appear to be lazy journalism forced by the unnecessary need to pigeonhole the band.

Granted, Richard Olsen may have an early Thom Yorke strain to his vocal style occasionally – and thankfully, he’s not possessed by the hideous untrained wailing practiced by Muse’s Matt Bellamy – but in honesty, that’s about as far as any comparisons go. The Windupdeads lack any of the experimentalism practiced by latter-day Radiohead too (and that’s potentially a good thing) and the bulk of their music settles for a fairly safe brand of rock/pop.

The Snow Patrol/Fray-esque ‘Used Cars’ shows The Windupdeads in a good light, working a memorable chorus around a breezy drum part with lots of understated cymbal work. The verses are tuneful in a radio friendly way, all building to a mid section which features some sharp guitar work which (under layers of studio trickery) never really breaks into a full solo. ’59:1’ begins with multi-tracked vocals and new wave keyboards, and in doing so, promises a great deal. Those vocals eventually make up the bulk of a decent chorus, but the verses themselves aren’t so strong. The drums do little more than mark time and Marcus Von Boisman’s guitars are limited to rhythm work, fleshed out with swirly keyboards (interesting that keyboards would have such presence when nobody is credited for them), over which Olsen delivers a lightweight vocal. It’s a track saved by its chorus; it’s a shame they couldn’t beef up the rest of the arrangement just a little.

Undoubtedly the album’s strongest track, ‘Quiet Down’ has a great intro with multi-tracked guitars and a moody verse with Jonas Westholm’s bass upfront. Olson’s vocals are stylised at first sounding like he’s singing down a telephone, but by the time his full voice is heard, it’s easy to hear where the knee-jerk Radiohead comparisons are coming from. Olsen channels his inner Thom Yorke for a ‘Bends’-era style vocal over a subtle waltz time signature. The Windupdeads certainly sound more assured here – and it’s a style which suits them very well. ‘Blood On Her Hands’ opens with a very mechanical feel which runs through the rest of the track, with Olsen’s heavily filtered vocals taking on a very staccato quality for the verses. Things pick up for the chorus, which utilises a fairly simple hook, but overall, the end result feels somewhat empty.

‘Don’t Let Go’ features another of the album’s best choruses. The musical simplicity – effectively a stomp – gives Westholm’s bass another moment in the spotlight and although the featured guitar solo isn’t brilliant, it’s nice to actually hear one, since most of The Windupdeads’ material doesn’t really offer much in the way of instrumental breaks. The mid-paced ‘Perfection’ makes great use of keyboards in lieu of affording a full string section, before falling away to allow Olsen’s vocal to take a dominant role. By the time the chorus rolls around, he’s augmented by soft backing vocals and chiming guitars all of which have a pleasant quality.

And that’s the word which best sums up The Windupdeads: they’re pleasant. There’s nothing objectionable in what they do, but despite any comparisons to Radiohead and Muse, there’s very little that’s edgy or alternative on show. ‘Army of Invisible Men’ is the work of solid musicians delivering material that sounds like it was made for American television dramas; a band making music for an audience looking for something that gives them more of a challenge than Keane…just.

May 2011

Posted in pop

THE CARS – Move Like This

the cars‘Move To This’ may be the first new material recorded by The Cars since their forgettable swansong ‘Door To Door’ back in 1987, but after a few bars of their 2011 comeback release, it’s like they never really went away. The keyboard bleeps which cut through the main riff of the opening number ‘Blue Tip’ are unmistakably the work of Greg Hawkes and frontman Ric Ocasek’s spiky vocal style is even more distinctive. More impressively, not much of an attempt has been made to change or update The Cars’ signature sound here – ‘Blue Tip’ could have opened a Cars disc in the late 80s.

The four surviving members – Ric Ocasek (vocals/rhythm guitar), Greg Hawkes (keyboards, bass, backing vocals), David Robinson (drums) and Elliot Eason (guitar/backing vocals) sound as sharp as ever and Jacknife Lee’s production job is as lavish as either Roy Thomas Baker or Mutt Lange’s previous efforts with the band. After ‘Blue Tip’ opens with a keyboard bass augmented by jagged rhythm guitars, Hawkes chimes in with the mechanical keyboard sounds, making this sound like a number which sounds like it could be a ‘Candy-O’ leftover. To balance out the shameless new-wave elements on the verses, the chorus has a fuller sound where Elliot Easton gets to deliver a simple guitar riff. The Cars always had a knack for great hooks and ‘Blue Tip’ has a decent one, but it takes a couple of plays to sink in, since initially it’s a little overshadowed by those keyboard noises and the general excitement of a new Cars record.

‘Sad Song’ utilises handclaps and a rhythm guitar in a way which recalls ‘My Best Friend’s Girl’ and its chorus section riff has echoes of ‘You’re All I’ve Got Tonight’. Both elements are given a dusting down and a new slant though, and here Hawkes’s keyboards have a fantastic full sound, brilliantly complimented by Robinson’s drumming, which has a hard edge without ever becoming aggressive.
A similar mood can be heard on ‘Hits Me’, which showcases the best elements of each of the musicians – Hawkes’s keyboards maintain their retro futurism, while Easton’s staccato guitar style dominates. The slow number ‘Soon’ – in a better, fairer world – would be a number which previously would have been a vocal spotlight for Ben Orr [Orr passed away in 2000 after a battle with pancreatic cancer]. Despite his edgier style, Ocasek manages to rein his voice in a little and deliver a sympathetic, soft vocal. Musically, its simplicity is the key; the rhythm guitars have a lovely ringing sound which carries the tune throughout and Greg Hawkes’s keys offer a few subtle bell noises. He can’t resist an old-school keyboard solo in the middle though; but even then, it sits on the good side of tasteful.

The quirky pop rock workout ‘Free’ has a slightly harder quality, which in places is reminiscent of Ocasek’s 1997 solo release ‘Troublizing’ with its more modern take on a retro sound (but certainly none the worse for that), while it’s occasional stabbing guitar riff tips the hat to ‘Bye Bye Love’ from The Cars’ debut album. The chorus is strong, with Ocasek backed up by Hawkes and Easton on a pleasing backing vocal. ‘Drag On Forever’ has a gentle chug which manages to stay buoyant thanks to a lead guitar part creeping in between the verses, with Easton delivering long, full notes. The whole track is swamped by the sound of Christmas bells, which can seem a little jarring – maybe that was Greg Hawkes’s way of lightening the mood a little… ‘Take Another Look’ is the album’s most lightweight number, harking back to the most commercial moments of ‘Heartbeat City’. David Robinson’s electronic drums underpin a smooth arrangement full of harmony vocals on a very, very Ben Orr-esque number.

It may not be as classic as The Cars self-titled 1978 debut or as over-polished as parts of their 1985 million-selling ‘Heartbeat City’, but ‘Move Like This’ is streets ahead of 1980’s difficult ‘Panorama’ or 1987’s ‘Door To Door’. Original bassist/second vocalist Ben Orr is sadly missed in a couple of places, but the four surviving original members deliver an album which celebrates the past without ever sounding self-congratulatory. Comebacks can sometimes sound forced or stale (especially if that comeback is solely money oriented), but for ‘Move Like This’, there’s no hint of that. The chemistry between Ocasek, Hawkes, Easton and Robinson sounds magical, with their formulaic, somewhat predictable sound often working as a great strength. An album with so much riding on it could have been disappointing, but for long-time fans this is a welcome return and an essential purchase.

May 2010

MARK BACINO – Queens English

bacinoMark Bacino’s first two albums, ‘Pop Job: The Long Player’ and ‘Million Dollar Milkshake’ are fantastic records. Simple as that. Both releases are chock-full of infectious hooks which stick in the head for days. ‘Million Dollar Milkshake’ could possibly be one of the greatest ever power pop albums ever.

Bacino’s third release, 2010’s ‘Queens English’, presents somewhat of a departure from his earlier bubblegum/power pop sound, presenting him in more of a singer-songwriter guise. It’s not as easy to get into as his first two albums and doesn’t always have such a feel-good quality, but its real life vignettes are more than endearing. ‘Queens English’ is named after the New York borough of Queens and the spirit of New York runs through each of the album’s tracks in the same way a seaside towns name runs through a stick of rock. But while Bacino’s other albums have a rock-candy sweetness, ‘Queens English’, is a mixture of sassiness and introspection. Sure, there are a few moments of his usual infectious pop, but it’s a record which definitely sees him branching out.

For fans of Bacino’s straight up power pop sound, ‘Muffin In The Oven’ and ‘Angeline & The Bensonhurst Boy’ do not disappoint. ‘Muffin’ – a song about being excited/nervous about a pregnancy – comes across as a mix of Jellyfish playing Billy Joel. Ron Zabrocki’s electric guitar leads are nicely played – in fact the whole track is impeccably arranged – but the greatest elements come from the meted horns, mellophone sounds and a simple ‘do do do’ hook – the kind Bacino knows will get in your head. ‘Angeline’ makes great use of horns once again, while the upbeat arrangement really captures a great mood, while Bacino himself delivers a confident, breezy vocal performance.

In a style never present in Bacino’s previous work, ‘Bridge and Tunnel’ has a slow sureness, with an upright bass marking time over a classy string arrangement. Bacino’s vocal is clear as he delivers his ode to the outer boroughs of New York – Brookyn, Staten Island, Bronx and Queens, where “the butt of all the jokes are the wheel and spokes of the city”. The New York quality of this song is so strong, it’s impossible to avoid. Had Randy Newman written it, it would be destined for a movie (either a montage or end credit placement, it really doesn’t matter). The same could be said for ‘Happy’, which sounds like a Randy Newman composition for children. On the surface, its shiny optimism is charming and works well thanks to great use of piano and Franch horn, but as with much Randy Newman-esque stuff, there’s a sarcastic streak below the surface. A similar rumpty-tumpty approach sits at the heart of ‘Who Are Yous?’ where Bacino delivers a similarly simple tune and hook…but then, who said great tunes had to be complex?

‘Queens English’ also features a couple of very personal moments where Bacino recounts moments with his young son. ‘Camp Elmo’, telling a tale of life-changing events a new baby brings, utilises a similar piano simplicity as heard on ‘Happy’ and could be seen as a little twee; however, ‘Ballad of M & LJ’ – a pure celebration of being a father – is far stronger, particularly in the cheekiness of its lyrics, especially the suggestion that Mark and Lee Joseph “might eat three ice cream cones and listen to The Kinks when mommy’s not home”. The work of Ray Davies, a small child + a giant sugar rush…sounds like a fun day.
To balance out the more personal, softer aspects of the album, the title track presents Bacino in a rockier mood than ever before. A tough power pop guitar riff drives the number, while the simple hook of “speakin’ the Queens, speakin’ the Queens” is one of the album’s most instant and direct. The seventies edge of the riff has an almost glam rock feel and a rock ‘n’ roll piano thrown into the mix just adds to the general frivolity. At just under two minutes, it makes its exit almost as quickly as it arrived.

While ‘Queens English’ often retains Bacino’s gift for penning two and three minute gems which never labour their point, it’s not as instantly gratifying as ‘Pop Job…The Long Player’ or ‘The Million Dollar Milkshake’. Stylistically, it shows Bacino maturing as a songwriter and it’s only after repeated spins that its semi-autobiographical nature provides a very rewarding listen. Stick with it – you won’t be disappointed.

www.markbacino.com
www.dreamcrushmusic.com

April 2011