THE RUSSIANS – Crashing The Party

Posted on November 10, 2010 by Real Gone

The name Janovitz is almost synonymous with the Boston music scene. Paul Janovitz achieved cult success in the 1990s with his college rock band Cold Water Flat, while his older brother Bill became rather more famous as frontman and chief song writer for alternative rock heroes Buffalo Tom. Their brother Scott has been in various bands too – most notably Dragstrip Courage – in addition to producing records for other bands and being a sideman to Graham Parker.

Scott Janovitz also has a power pop collective, The Russians, which features a revolving cast of collaborators. After a couple of well-received EPs, in 2010’s full-length ‘Crashing The Party’, The Russians deliver a subtle disc that’s full of retro pop/rock melodies, though not always in the usual feel-good power pop mould.

The album opens with a slow number with Janovitz proudly stating ‘The Record’s Over’, where accompanying the downhearted vocal, there are great moments of electric piano, swirling organ and fuzzy guitars. This track name-checks the Beach Boys and references their song ‘Do It Again’, but despite this, is certainly not full of the usual attention grabbing jollity which would often open an album full of 70s pop influences, but the swirling, almost psychedelic vibe could still pull you in. There’s also mention of ‘student demonstration time’, though I’m not sure it’s in reference to the much maligned Beach Boys number of the same name… ‘Not So Loud’ has a bigger hook, though it’s still a world apart from the instant gratification provided by bands like Jellyfish or Farrah, since here, The Russians trade in the usual power pop obsessions with Wings and 10cc, favouring bouncy electronica influences instead. Imagine Brendan Benson meeting with The Cars and then performed by Tubeway Army with a mid-70s glam stomp and you’re about halfway there.

Featuring harmony vocals and chiming guitars reminiscent of Big Star, ‘You Know’ provides one of the stand-out numbers. While those harmony vocals are rather understated, the guitars lend a timeless quality. Granted, the hook may not be as instant as those delivered by The Russians’ most obvious contemporaries, but the approach here is typical of the album’s best moments. It’s a slow-burner of a track which requires multiple listens before the magic becomes obvious. With another stomping approach, heavily treated vocals and a nod to T Rex, ‘Make It Easy’ offers an uptempo rocker. Beneath the slight distortion there are layers of keyboards, a big ‘woo-hoo’ styled vocal, rock ‘n’ roll piano fills and a shameless guitar solo. The distorted elements make the vocal rather hard to decipher, but even so, this track breaks up the more reflective moments of the album rather well, even though it’s one of the more disposable numbers. With a strong focus on acoustic guitars played in 90s alt-rock style, ‘Measure Out Our Space’ shows a more organic side to The Russians. The harmonies used so well on ‘You Know’ make their return – and in doing so, they help this number remain fairly buoyant.

‘Talking To Yourself’ features a bassline which is high in the mix during the verses, but it’s the chorus and instrumental parts which grab the attention, having a very Posies-esque vibe. Since it’s such a great sound, it’s a pity the hook wasn’t a bigger one. The title track has similarly understated moments, as a warm bass line weaves its way through a very 60s arrangement. The laid back vocals here are perfectly suited to the equally laid back groove. The ubiquitous power pop sleigh bells put in an appearance here, but not in a quirky fashion. This is melancholy power pop at its finest – a perfect companion to Oranjuly’s ‘The Coldest Summer’ or Chris Bell’s ‘I Am The Cosmos’.

‘Crashing The Party’ may not be as instant as some power pop releases since, in places, it has a tendency to be downbeat. However, If you’re into the more thoughtful and melancholic approach to power pop, this album should represent a very rewarding listening experience.

November 2010

RAY DAVIES – See My Friends

Posted on November 8, 2010 by Real Gone

Ray Davies is a man who needs no introduction. A national treasure, Ray will always be best known for his 60s work with The Kinks. It’s likely you stopped listening to The Kinks after the release of their ‘Percy’ album in 1971, only to reconnect with them in 1983 when ‘Come Dancing’ became an unexpected UK top 5 hit. Unless you’re a die-hard fan, it’s unlikely you’ve heard any of the albums The Kinks released from 1971 onward, even though they tirelessly plugged on, releasing an album a year for the remainder of the decade. From that point, they sporadically released albums up until as late as 1992.

Outside of The Kinks, Davies has released a handful of solo albums which have earned a cult following (the first of which, ‘Return To Waterloo’ released in 1985 during a break in The Kinks’ schedule). As with those less famous Kinks albums, each of Ray’s solo works have moments of greatness – 2007’s ‘Working Man’s Cafe’, in particular, is a gem.

Ray Davies’s 2010 album ‘See My Friends’ is a celebration of his Kinks work, allowing many people who’ve been influenced by him a chance to put their stamp on his songs. In duet with Davies himself, the album features contributions from some musical heavyweights, alongside some potentially more interesting cult performers. While the inclusion of Bruce Springsteen, Bon Jovi and Metallica are guaranteed to help the album shift a few units (or more likely a few iTunes downloads of those individual tracks), kudos must be given to Davies for choosing to work with some less obvious collaborators: it was a surprise to see Pixies man Black Francis and New York indie heroes Spoon on his roll-call of friends.

Naturally, most of the guest performers have played it safely by choosing classic Kinks tunes from the 60s, but there are a couple of exceptions. The first of these opens the album, as Ray Davies teams up with the legendary Bruce Springsteen for a fairly workmanlike run-through of ‘Better Things’ (a track from the 1981 Kinks album ‘Give The People What They Want’). The original version is superb, being an optimistic song driven by a particularly loud drum kit and featuring a brilliant stabbing piano intro. This re-recording is well suited to Springsteen with its slightly bombastic approach. Springsteen’s voice sounds fine on the chorus, but on the verses – where he trades lines with Davies – it sounds huskier than ever and clearly sounds like he’s struggling. Davies’s vocal, on the other hand, features as much wistful charm as ever. Overall, the end result is okay, despite Springsteen not being in the best of voices. [For a superb cover of this number, check out the version recorded by Dar Williams for her 1997 album ‘End of the Summer’.]

The Kinks’ original version of ‘Celluloid Heroes’ is a gorgeous, slightly melancholy affair featuring lavish harmony vocals against a piano-rock base. The recording included here features none of the originals piano greatness, but surprisingly doesn’t suffer for that. Jon Bon Jovi and his right hand man Richie Sambora make this their own; Jon’s voice has real presence and Richie offers some classic sounding, soaring guitar lines. Ray Davies’s harmony vocals round out the sound to make this one of the album’s greatest moments. I have very mixed feels about the version of ‘You Really Got Me’ featured here. I have a great amount of respect for Metallica – and naturally, the original Kinks riff was one they could easily beef up. However, I’m not entirely sure that making it ten times heavier is an improvement. James Hetfield’s distinctive growl feels a little heavy handed too. On the plus side, with the slightly quicker pace the track has been given here, Davies sounds really energized when it’s his turn at the microphone.

After an intro featuring a few bars from ‘Days’, Mumford and Sons lend their folk-rock chops to ‘This Time Tomorrow’, a track originally featured on the ‘Lola vs Powerman’ LP. The original Kinks version is delivered with a stomp and with a heavily accented twang, so it’s a natural choice for Mumford. Davies takes more of a back seat for this number, but Mumford and Sons fans should find plenty of entertainment as Marcus Mumford and Ben Lovett’s raggedy vocals tear through a rather spirited performance of this lesser-known Davies composition. For ‘Lola’, Davies chooses to share vocals with Paloma Faith, who’s old-styled, slightly wobbly voice sounds superb here. The band in turn gives this famous Kinks’ number a rather forthright arrangement, with rumbling bass and a (most welcome) heavy leaning toward the piano. Kinks enthusiasts may be interested to know that Faith chooses the cherry cola line in her vocal, as per the Kinks’ single release, as opposed to the “proper” coca cola line from the original album recording. [It’s still amusing that in 1970 the BBC were more concerned about the song advertising a product than they were about it featuring a man falling in love with a transvestite].

‘Waterloo Sunset’ is one of those Kinks songs you’ve heard so often that it’s become part of our British musical heritage. While The Kinks’ 1967 original will always be the absolutely definitive version, the duet here with Jackson Browne is just superb. Featuring Davies, Browne and two acoustic guitars, the intimate nature of this recording captures both musicians in great form. With absolute professionalism, hearing Davies in close harmony with Browne just highlights what a beautifully written and arranged number ‘Waterloo Sunset’ is. While ‘Long Way From Home’ was never really one of my favourites, Ray’s duet with alt-country performer Lucinda Williams is somewhat dreary. I must confess, I’m not a fan of Williams’s heavily affected, drawling voice and the pace of this track just makes it worse. Her voice is really high in the mix too, almost drowning Davies out in the process.

Power pop legends Big Star recorded a storming version of ‘Till The End of the Day’ in the early 1970s as part of the sessions for their ‘Third/Sister Lovers’ album. Here, Chilton has been given the opportunity to perform that classic Kinks number alongside Davies. Naturally, Chilton’s delivery sounds supremely confident. The band are suitably punchy too: the drums loud and energetic, the organ work (although low in the mix) comes in heavy swirls. In addition, an angular guitar solo and a couple of complex bass runs help recreate the energy of the early Kinks sound. If you’re a Chilton enthusiast and like the Big Star rendition of ‘Till The End of the Day’ from ‘Third/Sister Lovers’, you won’t be disappointed. As a rather sad footnote, Chilton passed away a few months before the release of this album. While his death was far too premature, I’m sure he would have been delighted at being one of this album’s featured guests.

A take on ‘Dead End Street’ with Amy MacDonald is best described as ordinary. While the bar-room piano is quite fun, generally, little has been done here to add anything to the original performance. The warmth of the recording just doesn’t have the same vibe as the Kinks’ trebly 1966 recording and a spoken exchange between Davies and MacDonald at the close of the song is guaranteed to grate after a few listens. I can’t help but think this could have worked out better with KT Tunstall instead…

Since The Kinks’ 1965 single ‘See My Friends’ has a droning, psychedelic vibe (often credited as being one of the first releases to incorporate Indian raga sounds), it’s a perfect vehicle for the alternative rock band Spoon, whose own work features a strong basis of jangly vibes and lo-fi quirks. With lots of reverb, Britt Daniels’s vocal meshes with Davies’s against a wall of ringing guitars. The musicians involved choose (rather wisely) to play things as faithfully to the original as possible. Nothing here sticks out as being exceptional, but if you’re a fan of Spoon, you’ll probably want to check out this collaboration. During ‘This Is Where I Belong’, the guitars chime and the drum provides a solid backbeat. Black Francis’s very distinctive vocal is the main feature here, but he’s offered suitable backing harmonies from Davies. Factor in the slabs of organ work and this is very well suited to Black Francis, the sound here very much in keeping with the more rootsy styles he experimented with in the mid-’00s.

Ray Davies’s voice is the only real saving grace with regard to a re-working of ‘David Watts’, featuring Californian indie-rock band The 88. While the great piano part from the original is given plenty of volume in the overall mix, when combined with staccato guitar work and the general oomph The 88 insist on playing with, it’s really tiring. [For the definitive cover version of this, look no further than The Jam’s respectful version from 1978]. Following The 88, ‘Tired of Waiting’ sounds incredibly…tired. Snow Patrol’s frontman Gary Lightbody joins Davies here and while the track is tackled at a similar pace to the Kinks original, it just seems to sag under the weight of Gary Lightbody’s uninspired vocal.

While ‘All Day and All of The Night’ is a Kinks number familiar to all, it’s 1981 semi-reworking ‘Destroyer’ will possibly not mean a lot to many of you. In an attempt to be edgy in a post-punk way, Davies reworked ‘All Day…’s influential riff into a song which features a partly spoken word delivery. The level of anger on that original recording of ‘Destroyer’ may have sounded a little unnatural in the hands of The Kinks, but reproduced here as a duet between Davies and Smashing Pumpkins mainman Billy Corgan, it sounds great. Corgan’s guitar work concentrates on the simple chord pattern and his loud, nasal vocal style is an effective contrast to Davies. Davies, in turn, when delivering the spoken word parts, sounds better here than he had back in ’81. Corgan replaces the original pre-chorus from ‘Destroyer’ with the famous lyrics from ‘All Day and All of the Night’ to create a very effective medley, ending the disc on a high note.

As you may expect given the selection of featured performers, ‘See My Friends’ is a mixed bag. In some places, it sounds more like an album of people covering songs by The Kinks as opposed to an album of Ray Davies performing duets. In that respect, it’s almost certainly been geared to entertain fans of the guest performers rather than fans of Davies himself. There’s nothing wrong with that, of course. If those listeners enjoy this album, that’s great. If it means they get exposed to Davies’s songs and then choose to explore The Kinks’ back catalogue…even better.

See the official EPK for the album here.
See Ray with Mumford & Sons on ‘Later…With Jools Holland’ here.
See Ray interviewed by Jools Holland here.
See Ray talking about the album on BBC News 24 here.

November 2010

THIN LIZZY – Thin Lizzy

Posted on November 5, 2010 by Real Gone

Thin Lizzy’s debut LP is a curious affair. The original group, comprised of Phil Lynott (vocals/bass), Eric Bell (guitar) and Brian Downey (drums) were supposedly conceived as a power trio – a hard rock format which had gained popularity in the late 60s with the likes of Cream – yet very little from their 1971 self-titled offering reflects that. It’s not weak, by any means, but overall it’s more ‘trio’ than ‘power’ and musically, much of it bears little resemblance to the band Lizzy would later become.

Despite most of the material not sounding much like classic Lizzy, it’s clear, even here, that Lynott is a charismatic frontman, an emotive vocalist and superb bassist. All of which are qualities which have a strong presence during ‘Honesty Is No Excuse’, a mid paced, soulful number. Lynott’s vocal delivery sounds like a man making an honest plea, with his voice almost cracking on the longer notes. While his bass work on this track is never flash, it’s got warmth, pinning the song down but never becoming intrusive. ‘Eire’ and ‘The Continuing Saga of The Aging Orphan’ are very fragile: ‘Eire’ features some simple bass playing from Lynott, while colourful guitar flourishes from Bell push what would’ve been a simple folk tale into folk-rock territory. During ‘Aging Orphan’, Bell and Downey are reduced to little more than backing for Lynott’s vocal, which is full of sadness.

‘Ray-Gun’ and ‘Look What The Wind Blew In’ are outright rockers, which are surprisingly enjoyable. ‘Ray-Gun’ showcases bluesy electric work from Eric Bell. The main groove is provided by his wah-wah riff, over which Lynott plays an incredibly funky bass. It’s one of the only moments where the three guys get close to the typical power trio style. ‘Look What The Wind Blew In’ feels simpler; it has a looser groove which ends up feeling a little messy, especially on the chorus, where Lynott chooses a smooth vocal style which doesn’t suit the tune…and then uses that to sing something which doesn’t really scan properly. ‘Return of the Farmer’s Son’ also demonstrates the band’s rock side. Brian Downey’s drum fills are excellent; Phil’s bass and vocals are aggressive and Eric’s blues-rock soloing gives the piece a decent edge. If Lizzy had looked towards this blues-rock style more instead of concentrating on a non-specific blend of psych, folk and blues, this would have been a very different record indeed. (Although, it clearly didn’t always work: ‘Remembering Part 1’ attempts to get tough, but ends up rather muddled).

‘Diddy Levine’ is a track that showcases the range of styles played by the original three-piece line-up in just over seven minutes. The verses are wordy and wistful, there are acoustic folk stylings, but as the song progresses, a hard rock riff develops. While there’s nothing wrong here, its folk elements aren’t as good as some of the album’s other gentler moments and any attempt to rock out doesn’t match the excitement generated by ‘Return of the Farmer’s Son’.

Thin Lizzy followed their debut with ‘Shades of a Blue Orphanage’, an album which showcased Lizzy’s growing confidence. That confidence manifested itself in a set of songs which showcase a slightly broader set of influences. As a result, the album feels rather unfocused. This second album also sold poorly. However, by the beginning of 1973, with two non-charting albums to their name, Thin Lizzy’s fortunes were about to change.

[A remastered version of ‘Thin Lizzy’ features bonus tracks culled from the Irish ‘New Day’ EP and another non-album single, ‘The Farmer’. Also included are overdubbed and remixed versions of four of the debuts songs – all of which were previously available on the 1979 Decca compilation ‘The Continuing Saga of the Ageing Orphans’.]

January 2010

HOCKEY NIGHT – Keep Guessin’

Posted on November 3, 2010 by Real Gone

Listening to this second album by Hockey Night, it seems almost inconceivable it was released on Lookout! Records, a label best associated with punk bands. The slack-vocalled indie rock cool found within these album’s grooves is far more in keeping with Matador Records – and in particular the latter-day works of Pavement. The influences here are really strong, not just musically; Paul Sprangers’s vocal is a dead ringer for Stephen Malkmus.

I’d like to spend more time than I have time choosing musical moments which stand out, but the truth is, these guys have no originality in their sound; there’s nothing here you’ll ever listen to and say ‘oh yeah, that’s the Hockey Night sound’, as everything sounds so much like ‘Brighten The Corners’/’Terror Twilight’ era Pavement. The comparisons are unavoidable, so much so, I have moments listening to this album where I forget it isn’t them.
If you can get past that, surprisingly, ‘Keep Guessin’’ has charm.

‘For Guys’ Eyes Only’ has a sunny feel, ‘Tubin’ has some decent, but quite twee guitar work and and what sounds like a trumpet overdub, and ‘Grim Break’ has a certain pleasure in its discordance. There are elements within ‘Cooperation’ which are stand out a little more. There guitars are faster and slightly more garage rock during the first half of the song, complete with occasional handclaps. I’d hoped it would present something which would break away from the rest of the Pavement-obsessed material; but during the second half, things slow slightly, the guitars change to longer notes with slight vibrato and the bits where it gets very slack are so clearly influenced by material like ‘Transport is Arranged’.

On the whole, most of the songs on ‘Keep Guessin’’ could’ve fit in with Pavement’s ‘Terror Twilight’ material and the influences are so obvious. Being a big Pavement fan, I should hate this record in principle. Yet somehow, despite its largely plagiarised faux slackness, there’s a lot here to love.

January 2010

THE GENUINE FAKES – The Striped Album

Posted on November 1, 2010 by Real Gone

The Genuine Fakes are four guys from Sweden who share a love of skinny ties, moustaches, classic power pop and 90s indie-rock. In 2008 they were featured on ‘Beautiful Escape: The Songs of The Posies Revisited’, a sprawling triple-disc Posies tribute album containing a whole bunch of artistes you’ve likely never heard of, bar Ken Stringfellow, Joe Skyward and Jon Auer (that’s not at all arrogant to contribute tracks to a tribute release for your own band, is it chaps? [/sarchasm]).

For their debut full-length ‘The Striped Album’, The Genuine Fakes have created something which fuses that love of The Posies with Fountains of Wayne and a touch of Weezer, ensuring a listen which is not short on memorable hooks.

After an intro name-checking the band (an approach which reminded me of Mike Viola’s release with The Major Labels, at least in concept if not delivery), ‘The Promise’ lays most of The Genuine Fakes’ cards on the table straight away. The guitars create a wall of sound which is very Posies influenced; during the verses, Joey Fake’s crystal clear, slightly sugary vocal gets time in the spotlight, coupled with Morty Fake’s lively bass. If there’s anything which sets The Genuine Fakes apart from their similar sounding influences and contemporaries here, it’s the accompaniment from Tommy Fake, whose organ work has a slightly old fashioned quality. ‘Something New’ follows suit featuring huge jangly guitars, upfront bass and slabs of organ. Under a busy arrangement, it’s worth keeping a close ear on Morty – his bass work is very intricate, providing The Genuine Fakes with a necessary quirkiness under their otherwise fairly unrelenting wall of sound approach.

‘When Reality Hits You’ is a little simpler. A big drum sound drum sound drives the verses, but it’s the hooky chorus which aims to pull you in with multi-layered backing vocals which occasionally hint at ELO (never fashionable, I know, but power pop wouldn’t be the same without them!). Vocally, the call and response style chorus of ‘I Don’t Want It’ provides a standout moment – it certainly highlights the band’s knack for hooks, even if their arrangements can be a little full on.

After a typically crashy intro, ‘C’mon Linda’ has a spiky quality where Johnny Fake’s drumming is uncomplicated, but works well against Joey’s accompanying chords. The verses, in this respect, seem quite spacious compared to some of the band’s material, but once with multi-tracked rhythm guitars kick in on the chorus and bridge sections, they revert back to their not-so-subtle approach. As you may expect, the end result is still rather more Posies-meets-Weezer than Jellyfish or Silver Sun, but it’s certainly one of the band’s best numbers. The sugary qualities and unashamed woo-hoo’s present throughout ‘Star’ really drive home the classic power pop influences in The Genuine Fakes’ sound. The chorus harmonies are tight, the drums are solid (occasionally the cymbals are a little overdone, but there are enough layers and hooks here to distract you from those) and the swirls of keyboards have a sense of urgency.

‘Whatever Comes Your Way’ – the six minute epic which closes the album – captures The Genuine Fakes in a slightly more restrained mood. The jangly elements are still up front, but it’s all a little more relaxed (at least to begin with). For the closing instrumental part of the song, the crashing cymbals make their timely return, coupled with chiming guitars and another slab of organ (For those paying attention, you’ll spot this as being the same piece of music which provides ‘The Genuine Fakes’ intro). If there’s a slight downside to ‘The Striped Album’, it would be the lack of variety within the material – most of it comes at full pelt with little respite from the chiming guitars and crashing drums. However, listening to each song individually, there are absolutely no weak numbers here.

If the promise of catchy hooks thrown against a wall of sound is just not enough for you, ‘The Striped Album’ also includes a brilliant cover tune: Beyoncé’s ‘Irreplaceable’ appears in a great power pop arrangement. Morty Fake’s bouncy, upfront bassline provides a musical high point, while the vocals on the chorus are superb, making for a very infectious performance – and one which runs rings around the empty, mechanical approach of the original.

If you’re a fan of Fountains of Wayne, The Posies, ‘Be a Girl and ‘Bagsy Me’ era Wannadies or other similar types of jangly pop/rock, check out The Genuine Fakes – despite its lack of subtleties, ‘The Striped Album’ should appeal.

October 2010