JEFF LYNNE – Long Wave

One of two Jeff Lynne projects for 2012 (the other being a selection of re-recorded hits from Electric Light Orchestra), ‘Long Wave’ finds the sunglassed, curly haired Brummie paying tribute to those songs he heard on his fuzzy long-wave radio during his younger years.  Despite the age of the chosen songs and the home demo feel to the album, Lynne’s choice of material comes delivered exactly as you’d expect: multi-tracked and then topped off with that compressed drum sound (a la Traveling Wilburys), a sound that makes so much of his work so distinctive.

Lynne’s rummage through the catalogues of a pre-Beatle world results in somewhat of a mixed bag, but he really comes alive on ‘At Last’ – a much covered tune, but most famous in a version recorded by Etta James.  Synthesised string sounds (which surprisingly, do not sound too bad here) meet a stabbing piano in a way that only the period could muster, and even with Lynne’s more modern shine – and the fact that he’s not quite as gifted vocally as some who’ve tackled this tune previously – the power of the song comes through in spades.  Lynne’s noodling, jazzy guitar tones are also a nice touch, of which, perhaps more could have been made.  Against the odds, ‘Beyond The Sea’ also comes out rather well, with sharp, multi-tracked electric guitars replacing the strings to great effect.  Those guitars are a gentle reminder of just one of the many things that made ELO’s best work so enjoyable.  To be honest, ‘Long Wave’ could have used a few more of them… Likewise, the album’s lead single, ‘Mercy, Mercy’, while not presenting anything out of the ordinary for Jeff, comes across with sparkle and it’s obvious he loves this song.  In fact, with its gated snare drum and spirited vocal, it wouldn’t have been out of place on his ‘Armchair Theatre’ disc.

On the surface, Roy Orbison’s ‘Running Scared’ gets a respectful reworking, with Jeff’s vocal still allowing the listener to imagine The Big O crooning his way distinctively through each line.  While Lynne’s voice is perfectly good and stabbed piano and acoustic guitars evoke Orbison’s favoured musical arrangement, a closer listen uncovers something of a disappointment – it’s a pity Lynne didn’t splash out on a full string section as warranted.  His choice of synthesised strings (on this track and a couple of others) just pushes things too far into the realms of “polished home demo”.   Many would suspect that Chuck Berry’s ‘Let It Rock’ would be one of ‘Long Wave’s highlights – and in many ways they’re not wrong, since Lynne’s rock ‘n’ roll influenced numbers were always decent in the past.  As good as his take on Chuck is, though, there’s a sense of the over-familiar and as a result, it lacks the overall enjoyment of Lynne’s own works within that field, whether that be The Wilburys’ ‘Rattled’ or ELO’s ‘Hold On Tight’ et al.

Much more unfortunate, a take on the Richard Rogers tune ‘If I Loved You’ is slow, a tad laboured and so ultimately uninteresting that even Jeff’s lead vocal drags in places.  With an over-reliance of blanket keyboards to replace the string section it begs for, it’s all a bit dirgy.  The only bright spark is a huge guitar chord appearing just once, only then to vanish under the dragging mire of droning keys.  The old crooner within tries his hardest on ‘Bewitched, Bothered & Bewildered’, but the end result is ordinary at best, while ‘Love Is a Many Splendored Thing’ (from the 1955 movie of the same name) turns out a little better.  The rumpty-tumpty way the tune lumbers along suits Lynne’s trademark drum sounds, his guitar adds a few nice jazzy flourishes and – lurking in the back – a piano fleshes everything out.  Most importantly, occasional wordless vocals hint at Lynne’s own musical past with ELO – although, thankfully, he forgoes any use of vocoder!  Despite some okay elements, though, it is not something many would consider a classic Jeff Lynne performance.

Elsewhere, you’ll find reasonable renditions of ‘Smile’ (the Charlie Chaplin penned standard) and The Everly Brothers’ ‘So Sad’ alongside Charles Aznavour’s ‘She’ (a commendable effort which incorporates just enough of Lynne’s own style, but ultimately isn’t a patch on Elvis Costello’s version).   After hearing, it is obvious why each one has been chosen, but the resulting performances are predictable.  As with much of ‘Long Wave’, instead of insisting on playing absolutely everything himself, perhaps Jeff should have hired a few extra musicians to give these performances a little more dimension?

Listen to Lynne collaborating with Tom Petty, Bob Dylan and George Harrison on ‘Traveling Wilburys Vol. 1’ and the spark of various geniuses colliding results in something that sounded like it was fun to be a part.  Similarly, Lynne’s studio expertise on Harrison’s ‘Cloud Nine’ and Petty’s ‘Full Moon Fever’ appears to lift those works to new, sparky levels.  Looking beyond ‘Long Wave’s home-recorded roots, it is full of multi-tracked wonderment from a technical level, but the lack of other musicians means that, in places, it’s lacking a sense of fun – something that no amount of studio understanding could ever replace.

‘Long Wave’ worth hearing for ‘Let It Rock’, ‘Mercy, Mercy’ and a couple of others, but it’s all rather more a labour of love than a musical masterpiece.  Although the more devoted fans will love Jeff Lynne no matter what, since ‘Long Wave’ comes over two decades since Lynne’s last solo effort – and some eleven years since the last completely new work from ELO – the fans deserve much better than they essentially get here.

October 2012

JUSTIN KLINE – Cabin Fever Songs

After releasing two solo EPs dedicated to multi-layered, sun-filled power pop, followed by a third outing of alternative rock (with his band Origami Hologram),  singer-songwriter Justin Kline takes a different tack yet again for his first full length release.

‘Cabin Fever Songs’ is a stripped down affair.  Recorded entirely by Kline alone at home, these thirteen songs feature voice and acoustic guitar, sometimes bolstered by bass and occasional keyboards.  The songs sometimes come from a much darker place.  Where previously Kline was happy to indulge his listeners in a world of candyfloss brilliance, these songs rely on sheer honesty and heartfelt lyrical content far more frequently than before. These are songs the artist felt he just had to write: deeply personal songs, which given the relatively lo-fi recording techniques, can sometimes feel a little bleak.  Stripped of all the bells and whistles which made his previous recordings so vibrant, it’s much easier with ‘Cabin Fever Songs’ to get a handle on what makes Kline’s songs work…or in some cases, not.

‘Nighttime Girl’ has all the hallmarks of Kline’s earlier brilliance, though in this sparser setting, it exposes how simple his songs can be.  Clean acoustic chords back a voice that occasionally sounds a little sugary for such an earnest recording, while a bassline marks time, never really breaking beyond its two note march.  A world of “oohs and ah’s” flesh things out adequately – and in all honesty, are very much needed.  ‘Resurrect With Me’, if anything, is even more simple, relying on a one line hook and not the most interesting of tunes.  The bass’s marching approach returns for ‘Sunday Night Blues’ a three-chord pop song which showcases Kline’s previous gift for a hook, even though this bedroom recording doesn’t do such a potentially great song justice.

‘Your Mystery’ is one of a few numbers where Kline tackles something truly worthy of standing alongside his previous work. Here, a quirky keyboard tune (sounding slightly distorted and off-key) tops a much busier acoustic riff.  Even without full band backing, Kline’s multi-tracked vocal is a ray of sunshine, while a more staccato approach on a hooky chorus allows his previous brilliance to come bursting through.  The woozy ‘His Knives’ works an unfussy melody and riff around a shiny sounding vocal to create something enjoyably intimate – one of a few tracks where the lack of drums isn’t quite as obvious – while on ‘I Already Do’, Kline turns an enjoyable intimacy on its head and unnerves with a truly bleak lyric.  The one-time purveyor of sunshine pop allows a look into his darker side via lyrics such as “there is no way you can act, to expose the life I lack” and “I was marked when I was born and cursed to always mourn / you can’t make me want to die, more than I already do”.  While he admits that these songs were created during a particularly troubled period, it is unlikely anyone familiar with Justin’s earlier releases expected anything quite so cutting.

The relationship once explored in ‘Triangle’s ‘Alison, We Cannot Be Friends’ is revisited and explored from a different viewpoint on a particular high point, ‘Alison, I’m Here’.  Where as previously Kline was adamant that he and the Alison in question had no more to give each other, on the slightly wistful acoustic sequel, he reaches out to the imagined heroine.  A gorgeous finger-picked guitar has a slight McCartney-esque approach and is impeccably delivered, but it’s this songs bittersweet melody and dual vocal which gives it a most enjoyable quality.  It’s easy to imagine both songs bookending a compilation of Kline’s best work, should such a release ever appear.   Just as enjoyable, the jangly ‘Carol Lynn’ is classic Kline: with an upbeat vocal and buoyant melody, this number is a great acoustic pop workout, underpinned by a ‘Strawberry Fields Forever’ inspired mellotron accompaniment.  Looking beyond the sugary, happy melodies, Kline takes on the role of untrustworthy narrator, delivering the song’s brilliant kick in the teeth via a lyric that forewarns of Carol Ann’s bad streak.

Although the songs are deeply personal and rather candid, ‘Cabin Fever Songs’ is an underwhelming beast at times.  If you’re a listener who values tunes over lyrical content, the relative lack of variety within this album may become quickly apparent…and it probably wasn’t meant for you anyway.  Long standing fans may find some of the songs are in danger of sounding a little unfinished, but if this is the case, don’t worry too much; as Kline says himself of ‘Cabin Fever Songs’: “It might not be for everyone…it may even be a letdown to some”.

If after a few plays you’re still listening, feeling there’s something here, but still finding yourself looking for that moment where everything clicks, try thinking of this as a collection of songs instead of a fully formed “album”.  At first, avoid listening from end to end:  dip in and out and it works far better.  If, after that, you’re still not convinced, just remember one thing:  Justin doesn’t necessarily care if we like these songs or not, they just needed to shared.  Sharing one’s art can be a wobbly experience, but the stark honesty and cathartic edge at the heart of these ‘Cabin Fever Songs’ may appeal to some.

Listen via the widget below and send Justin a few bucks if you can.

August 2012

LIZ WOOD – Into My Own EP

Most of this second EP from Connecticut-based singer-songwriter Liz Wood moves away from the adult pop style that provided the basis of her debut release.  It’s darker tone was inspired by the end of a five-year relationship and finds Wood looking inside herself, moving through the various emotions associated with such a shake-up.  As if to resemble a sense of rebuilding, two of its four songs have a very stripped down feel.

‘Ruin’ is sharp and a little bitter. Backed by a simple acoustic riff, Wood rings emotion from every line, exploring a relationship where someone else “called the shots”.  As the song progresses, slightly discordant electric guitars round out the sound while mechanical rhythms add a real edge.  The tension is wound throughout, but essentially at the heart of the piece is Wood’s anger and insistence that she is not at fault; her delivery of the feeling that “you fucked up not me” providing the track’s main hook and central point.  She could not have picked any less a subtle jumping off point, but it’s a very strong opening statement.

‘Hanging On’ and ‘Can’t Hide’ are very intimate, featuring just Wood’s voice and piano. The former has a lovely light tune, reminiscent of Tori Amos and so many other chanteuse pianists.  Although less spiteful, a fantastic vocal, fuelled by another deeply personal lyric, makes it, perhaps, Wood’s best number this time out.  Whereas ‘Hanging On’ has a questioning tone, ‘Can’t Hide’ finds Wood in a position of strength, emotionally, vocally and musically.  Again, the piano arrangement is smooth, lending a great backdrop to Wood’s innermost thoughts with great results.

‘Fall Again’ provides a sharp contrast to the other three tracks, presenting Wood fronting a whole band and in a more optimistic frame of mind.  The drums have a real presence throughout, but they never completely overshadow Wood’s guitar lines which keep the tune motoring.  Wood’s vocal, meanwhile, is the strongest element here; her wordy performance straddles a fine line between strength and that previous vulnerability, showing a strong influence from the wonderful Lisa Loeb – something particularly obvious in her wordy delivery.  In terms of overall feel, this has far more in common with Wood’s previous self-titled EP. “Let me fall for you again and I will sink under your skin”, she sings, “no regrets”.

Given the strong feelings that rise to the fore within relationships (both during and in their aftermath), Liz Wood could have likely blessed the world with a full album’s worth of emotional outpourings.  As it is, the EP format is very effective: the shorter running time never makes it feel like she is labouring her point lyrically, while musically, its three distinctly different styles present a broad range of the artist’s talents.   While not the most uplifting of listens – understandable, given those circumstances in which the songs were born – this is a terrific release.

August 2012

BRYAN FERRY – These Foolish Things

By the summer of 1973, Roxy Music had released two fantastic, groundbreaking albums mixing pop and glam rock with a heavy dose of experimentation to produce an art-rock sound which sounded quite unlike anything heard before.  The second of those albums, ‘For Your Pleasure’ – released in March 1973 – captured the early Roxy’s most avant-garde side at its peak.  With Roxy’s career barely out of the starting blocks, frontman Bryan Ferry began work on a solo career.  His first album, ‘These Foolish Things’ – a covers record – was released in June of that year.

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ERIN PASSMORE – Downtown EP

Although billed as an EP, with near half an hour’s playing time, this eight song release from Canadian singer-songwriter/multi-instrumentalist Erin Passmore is almost as long as some early/mid 60s albums (and an equal length to an countless number of punk discs). Mixing elements of adult rock/pop and a few jazzier overtones, on her solo debut, the sometime member of Rah Rah presents a slow burner of a disc that has an almost epic feel in places.

The eight tracks cover a full range of sounds, between upbeat rock tunes and more understated vocal led pieces.  The lead track ‘Downtown’ is tough yet very tuneful, placing Passmore neatly into a radio-friendly rock pigeonhole.  Lead guitars add a fair amount of fuzziness to a punchy arrangement over which the vocals are strong and very assured.  In some ways, this is a very accessible entry point into this EP, but Erin Passmore offers other far more interesting musical arrangements and ideas.    With her lead vocal soaring above a selection of instrumental brilliance, ‘Into The Woods’ is one such number.  Beyond those vocals, the drums lay down a laid-back beat, the guitars add a retro twang, undercut by occasional piano and a bottom layer of subtle brass.  It really is a kitchen-sink type arrangement that takes a fair number of spins before you’ve discovered all of its best qualities…but it’s absolutely worth investing time in.

In contrast, ‘Sad Song’ is rather bleak: a drum heartbeat and a feedback drone pave the way for bursts of electric piano, over which Erin offers a personal and rather biting lyric. Chopping between full band sections and moments of sparseness, as her vocal teeters against a spasmodic drum line, this track’s striking nature makes it one of the EP’s choice cuts, even though it could also be considered the release’s most challenging. ‘Fall’ also sounds like it’ll explore Passmore’s softer side at first, as her voice first appears accompanied by a simply struck piano chord.  And then, the tune takes a brilliant and unexpected turn: with the addition of busyish drums and a distorted guitar, it becomes a rather dark and aggressive piece.  While it is musically strong, it’s often the heartfelt lead vocal which makes the track great.  The mismatched nature between music and voice provides an unsettling tone, resulting in something unexpectedly cool. [If you really get into this, then checking out Erin Passmore’s label-mate Rebekah Higgs is also time well spent. While they are not always stylistically that similar, Higgs’s ‘Odd Fellowship’ also occasionally sets out to catch the listener off-guard with a combination of strong vocals and interesting musical arrangements.]

On the similarly introspective (but much smoother) ‘Married’, Passmore really excels.  The sparingly used guitars are atmospheric, allowing a tinkling piano to lead the way on a light-sounding tune.  Passmore’s lead vocal style – moving, as it does, between a low register and (gently) passionate delivery – sounds just lovely, especially on the chorus section where her repeated line of “hold me close, I’m tired darling” emerges from the speakers with an almost lullaby/nursery rhyme quality.  The gentle mood continues through ‘Rock The Boat’, a beautifully arranged track which pitches another very enjoyable lead vocal performance against a gentle choir of backing vocals. While Passmore’s very natural tones sit upfront, the warmth of the whole arrangement shouldn’t be overlooked: gentle jazz drum fills and a strong backing vocal arrangement really flesh out the complete picture.  As Passmore’s lead voice builds to a climax, the piece ends abruptly and unexpectedly.

The title cut aside, the ‘Downtown’ EP often teases the listener by working its magic slowly; but once it’s got you, that’s it.  Between the cinematic soundscapes and Passmore’s natural delivery, it’s a release with plenty of charm.

July 2012