Beachwood Sparks have always been on their own trajectory, while also considering the past and future surrounding the elusive eternal now. They were quite the lightning strike in the late ‘90s. The Clarks Wallabees-wearing band were sure exciting to read about in zines like Vendetta during the late ‘90s as they were doing something radically different, but attuned to the times. Some of its members were also said to be DJs (and maybe college students) who played “Lemonade Rock” during the mid-mornings on Loyola Marymount’s KXLU. As with so many other past forward musical movements, Greg Shaw was ahead of the curve and was able to sign them to his Bomp label in 1998.
BAM Magazine-1999
Getting off the Ground
Their self-titled debut album delivered the (Southern Californian) goods, even if it and its Sub Pop imprimatur befuddled many reviewers outside of the Mountain West & the Pacific Coast. The band slighty drifted from their regional rustic canyon good vibrations with the more dense and experimental Once We Were Trees. They completely lost me by the late time of Make the Cowboy Robots Cry. Perhaps they wandered off the trail or reached an impasse on where to take the sound? Although they seemed like the perfect band to be signed next by Warner Records, heading into the direction of the Flaming Lips didn’t do it for me.
At this point, the members splintered off into different projects with varying degrees of success. Farmer Dave and Jimi Hey went on to form the band All Night Radio and released the spectacularly ambitious album Spirit Stereo Frequency. I was fortunate to be able to see them live at Solar Culture on a starlit November night in Tucson. Additionaly, the Tyde always seemed like the natural companion band of Beachwood Sparks until the besotted Darren 4. However, the Tyde has risen again to releaseSeason 5 this year, which could be their best album. Nonetheless, it’s the one that stands out the most for me with its successful attempt at evoking Florida's all-encompassing tropical (healing) vibes and Panama Jack-stylings.
Mountain, Ocean Sun
They cover some varied terrain on Across the River of Stars with each song emerging somewhat stylistically distinct upon multiple plays. Their albums have generally been front-loaded and this one is no exception. They actually excel at the mid-tempo, but fall somewhat flat when they slow things down as their laconic can becomes a bit lethargic.
Defining Moment
Occupying the fitting 4th song position in the lineup, “Gentle Samurai” is a should-be smash hit and perhaps the band’s most captivating song of their career. It’s an unifying statement stacked with harmonies, ‘60s bubblegum pop embellishments and ringing guitars. While still blazing their own trail, the song clearly cross paths with Teenage Fanclub (e.g. “Baby Lee,” "I Don't Want Control of You"), the Quarter After and the Resonars. “Gentle Samurai” is testament to their promise and delivery as a band and this is what I imagined them to sound like before hearing any of their official releases.
As with all their albums, there are some missteps like the incongruous shrill guitar tones of “Gem” and boring “Desert Center'' stretches found under “High Noon." Still, when they do connect they make the summer hits and rolling rock country like “Dophin Dance” for a now mostly vanished world. On a sidenote: When I lived in the Los Angeles area, I would see the Beachwood Drive exit sign along the 101 and imagine the band living in a house up the hill like the Grateful Dead with the Byrds (or Primal Scream) playing non-stop, while I was stuck in work-a-day traffic. Their parting shot, “Wild Swans” brings out a New Order/Peter Hook bass line. By the way, a New Order influence also surfaces on the Tyde’s “Use Them." Across the River of Stars may be a bit of a rough ride and it may be their Dr. Byrds & Mr. Hyde, but it’s who they are. However uneven, it’s encouraging to hear their further sonic explorations along the shifting edges that lead to the vast expanses of the West.
Just three brisk fall months after the group made a significant artistic breakthrough and reached a new summit with the release of their 8th self-titled full-length album of all original songs came the unexpected “retirement” announcement from their lead singer Megumi. As the fifth lead vocalist in the band’s 10 years of existence, Megumi helped usher in a new phase for the group and their overall sound. She had a stage and video presence that commanded attention and vocals that differentiated their most recent recordings from their previous reliable efforts that have already set the standard for female-fronted West Coast ‘60s-inspired sounds from Japan.
Their 8th album is considered their peak recording for several reasons. Megumi’s entrancing and distinctive vocals definitely played a major role as her slightly icy and distant voice established a different resonance from the start. The album is also a continuation of their refined pop sensibilities, while presenting an overall original sound that is more developed and textured. Megumi’s lead vocals fit well within the group's transitioning sound and this combination captured the attention of world-wide listeners.
Striking Just the Right Sound
For more than 10 years, the sprawling and ambitious group have more than proven adept at handling daunting arrangements and layered vocal harmonies. To start the ‘20s, the Pen Friend Club, with vocalist Yuka Fujimoto, went further into the harmonic heights and depths than ever before by covering such complex pop songs as “Along Comes Mary” by the Association. While there has always been an emphasis on harmonies and melodies, this album also reflects a widened world of influences. The album sets itself apart from their previous releases as it traverses a much larger stylistic range. The ‘60s and the A&M Records aesthetic continue to loom large in their world, but they have opened up their sound to incorporate influences and inflections from further into ‘70s and it works.
Expanding out into the Light & Dark
Besides their usual affinity for the yellow-orange swirl of summer, they incorporate some autumnal hues of forest greens, leafy browns and luminous golds as sections burst into the sunlight and then descend into dusk. The brushed acoustic strums on “Our Overture” signal the new directions they are headed towards as some sunset shadows begin to cast over their sound. By the time of “The Sun is Up,” they have already reached a rugged new musical terrain and a change of scenery. Their escalating musical confidence coupled with slightly burnished guitar tones and tints of raga could even entice listeners of Led Zeppelin III, Second Coming Stone Roses or “The Chain” by Fleetwood Mac. Next, the swift and tuneful “Ketzel” dashes out into the daylight like Zumpano’s “Broca’s Waves,” while their breezy vocals are swept along in the jet stream of Stereolab.
L to R: Yuichi (guitar), Takayuki (drums), Yumi (glocken), Soi (keys), Megumi (lead vocals), Ricca (acoustic guitar), Asako (sax) Rie (bass)
Their first-rate arrangements unfurl an array of sounds, sections and songs that are simultaneously foreign and familiar. Along with this self-titled album being their most original, it's also the most collaborative of all their albums. The group’s leader Yuichi Hirakawa, formally a famous manga artist, has thankfully turned his full attention to music, while handing over some of the musical reins to his bandmates. “Mind Connection” recalls the 5th Dimension and showcases the saxophone solo of Asako Otani. Jazz inflections provided by Otani surface throughout the album. The saxophone effectively works in the context of their music and plays a prominent role propelling the songs in places and embellishing in others. On the languorous and luxuriant “Floating to You” they tend towards the Honeys more than ever, while also evoking Brian Wilson’s “Melt Away," which they previously covered on The Garden of the Pen Friend Club. It makes one imagine their sound if Sean O'Hagan could produce or co-produce one of their future efforts.
Harmonies on the Forefront
“At Least For Me Tonight” is my favorite song on the album as it unfolds to reveal multiple aspects, overlapping harmonies, stellar banjo playing and soft pop influences ranging from Jan & Dean’s Save for a Rainy Day to the Four King Cousins. “At Least for Me Tonight” is also a shining example of bassist Rie Nishioka’s remarkable composition skills along with being the catchiest song on the album.
“My New Melodies” evokes that skip-along feeling somewhere between “Turn Down Day” by the Cyrkle and an early ‘70s TV theme song like “Love Is All Around (Theme Song from The Mary Tyler Moore Show) with a pop factor worthy of Gary Zekley. There’s even a brief “You’re My Best Friend” guitar quote by Queen that works in the overall context. “Jump Over Time” is coated with “Nowadays Clancy Can’t Even Sing” dust. The rustic influence of Buffalo Springfield takes an increased presence on this release. “People in the Distance” is Penkura (as they are sometimes called in Japan) at their folkiest and is somewhat reminiscent of later period We Five with its expansive chorus and horizon-rising harmonies. They are unabashed music fans with many ears towards a wide-variety of sounds and it shows off in this stretch of songs. Be sure to read Tommy Vivian’s comprehensive and insightful liner notes that guide listeners through the dimensions of their sound, along with mentioning the myriad of musical influences on this recording.
Westbound
The captivating “Beyond the Railroad” is a straight ahead folk pop number where all their strengths come into focus with echoes of “Say That You Love Me” by Fleetwood Mac sounding in the distance. “You Know You've Heard That Before?” reminds me of Carole King and the City with the baroque ornamentation of a swirling flute. Lastly, the jaunty and sparkling “A Better Day” features intertwined harmonies and one of the best banjo runs I have ever heard to make for the perfect ending. The banjo is employed and executed to near perfection. A holistic and unified experience is achieved with this uplifting and culminating song.
Crowning Achievement
So where does that leave the Pen Friend Club at the end of their biggest year? This accomplished album presents them currently at the heights of their collective powers as it’s the most collaborative, original and sonically varied of all their releases. They demonstrate they are not afraid to venture into some unexpected places and explore unfamiliar territory. The Pen Friend Club lives up to its adventurous promise, while still remaining true to the West Coast sounds with the Beach Boys and A&M Records as their bedrock.
Fortitude and Flexibility
Their 8th full-length album is now a finite chapter in the history of the band rather than a preface on the potential sonic directions this particular iteration of the band would take. The fact of Megumi’s amicable parting does not diminish the quality in the album and may even enhance its allure as from this vantage point is is finite experience marking a particular point in time. An entirely different set of questions are now in effect for the group as obviously lead vocals are not plug and play. However, the band has been in this spot of filling the role of the lead vocalist several times before Megumi. They have repeatedly risen to the challenge of staying true to the best elements of the past and astutely navigating the always changing circumstances that are inherent in the overall cycles of life. The Pen Friend Club will continue to persevere and prevail.
The Pen Friend Club have been soaring over the expanses of West Coast Pop making musical waves across the Pacific Ocean for the past 10 years. Their bass player 西岡利恵 Rie Nishioka has been with the group since its beginning. Music runs throughout Rie's life whether on bass for the Pen Friend Club or leading her ‘60s garage combo named Schultz, playing keyboards for the '80s inspired act DEAR MY FRIENDS or her latest pursuit of playing solo. Stacked on top of all the music, she is also a fine writer and her words on her musical inspirations can be found on WebVANDA.
Further, it’s not everyday we come across a multi-instrumentalist as talented and versatile as Rie. In a way, she is like one of Wrecking Crew session musicians (e.g., Carol Kaye) in her support roles and also similar to one of the Brill Building singer-songwriters (e.g., Ellie Greenwich, Carole King) when she steps forward into the spotlight. Overall, she exemplifies the inspiring Japanese way of combining the aspects and elements of a vanished past with attention to detail and quality to create vibrant and eternal sounds we can hear now. Deeply involved and immersed are understatements when it comes to describing Rie and her music.
Special mention must be made to Patrick of Tokyo's Coolest Sound blog and drummer in Childish Tones feat. Beni Usakura as he made this interview possible through his encouragement, extensive translation and technical efforts to connect the world with Japan.
This interview is presented in alternating and corresponding Japanese & English.
You have been with the Pen Friend Club since its beginning. You play the roles of Carol Kaye/Brian Wilson/Al Jardine with some quite complex bass lines that lay the foundation for the group’s soft pop brilliance and ambitious arrangements.
Tell us about how you got involved with the long-running group who just celebrated their tenth anniversary?
Rie: Ten years ago, when leader Hirakawa invited me to form a band, I had no idea that it would be this kind of music or that we would end up continuing this long. As we repeatedly went to the rehearsal studio in the early days, the type of music he wanted to create quickly concretized. He's the one who does the bass line arrangements in the Pen Friend Club. I had always liked some music from the '60s and '70s, but it was a bit different from the Pen Friend Club's musical direction. By being in the band I got to know more music, and playing it was fun. As we did shows and recordings all along, it seemed that 10 years went by quickly, but despite that in the making of our new album I got to participate in creative areas for the first time, and that felt very new and different.
The Pen Friend Clubのメンバーになる前に、西海岸のハーモニーが充実したサンシャインポップサウンドを聴いていましたか？
Rie: The Beach Boysなども少し聴いていましたが、以前はイギリスの音楽を聴くことの方が多かったです。
Were you familiar with West Coast harmony/sunshine pop sounds before becoming a member of the Pen Friend Club?
Rie: I listened to The Beach Boys and others a little, but before that I listened to more British music.
ちなみに、ニューアルバムでは西岡さんが「The Sun Is Up」「At Least For Me Tonight」「People In The Distance」「A Better Day」の作曲を担当しました。「Floating To You」は平川雄一さんとの共作です。
I read that a new Pen Friends Club album has been recorded.
Would you be able to offer any details or descriptions on its direction?
Rie: Our 8th album will be released on Sept. 7, 2022 on the Sazanami Label. The biggest difference with the previous ones is that all songs are originals. Ricca–who plays acoustic guitars and sings backing vocals–and I participated in songwriting. Until now all of the original songs were written by Hirakawa, but this time other members also took part. I believe that the musicality of each one overlaps or brings differences, and I’d be happy if that can bring a new accent.
For the record, Rie composed the music of these songs on the new album: "The Sun Is Up," "At Least For Me Tonight," "People In The Distance" and "A Better Day". She also co-wrote "Floating To You" with Yuichi Hirakawa.
The Pen Friend Club / The Sun Is Up (Official Music Video)
The Pen Friend Club / Beyond The Railroad (Official Music Video)
Schultzというバンド名はどのように思いついたのですか？
Rie: Schultzは綴りは違いますがスヌーピーの作者名からとっています。
How did you come up with the band name of Schultz?
Rie: The name is taken from the creator of Snoopy, although the spelling is different.
Rie: When Schultz was formed it was a band of five female members. As some members had no experience of playing a musical instrument, it was interesting to go to the rehearsal studio and make sound with a sort of garage approach. But then as a member moved to Spain, for a while we stopped making music together. It’s after quite a while that vocalist Haruka Mukai joined The Pen Friend Club, and it’s at that moment that Schultz resumed.
Schultzは「Long Distance Call」「City Looks Still the Same」「I’ve Gone Away」「I Always Say What’s on my Mind」など、オリジナル曲がかなりあるようです。
これらの録音をする予定はありますか？
Rie: 具体的な予定はありませんが、いずれ録音は考えるかもしれません。
Schultz has amassed quite a few originals such as “Long Distance Call,” “City Looks Still the Same,” “I’ve Gone Away” and “I Always Say What’s on my Mind.”
Are there any plans to offer these recordings?
Rie: There are no concrete plans so far, but I might think about recording sometime.
2022年4月24日に開催された「Add Some Music To Your Day」配信イベントでは、西岡さんがキーボードを担当する80年代風バンドDEAR MY FRIENDSがデビューしました。このバンドについてもう少し詳しく聞かせてください。
DEAR MY FRIENDSはレコーディングセッションを行ったり、リリースの予定があったりしますか？
Rie: DEAR MY FRIENDSに関しても、現時点ではレコーディングの予定はなく、ライブを目的として活動しています。
I’m excited to learn more about and hear DEAR MY FRIENDS, which is the “80s styled” band that you play keyboards for and debuted at an installment of the “Add Some Music To Your Day” live streaming event that took place on April 24, 2022.
Has there been any DEAR MY FRIENDS recording sessions and/or recordings slated to be released?
Rie: Regarding DEAR MY FRIENDS, so far there are no plans of recording, as the goal is to perform live.
DEAR MY FRIENDSというバンド名はどのように思いついたのですか？
Rie: 名付けたのは私ではありませんが、曲名からきているそうです。
How did you come up with the band name of DEAR MY FRIENDS?
Rie: It wasn't me who chose the name, but it seems that it was taken from a song title.
DEAR MY FRIENDSにはSchultzのメンバーも参加されていますか？
Rie: Schultzでサポートをお願いしている2人のメンバーはDEAR MY FRIENDSでもあります。
DEAR MY FRIENDSの方は私が中心人物ではなく、3人が結成していたところに加入しました。
I’m also curious if Schultz shares any members with DEAR MY FRIENDS?
Rie: Two of the support members of Schultz are also in DEAR MY FRIENDS.
I am not the main person in DEAR MY FRIENDS, three others had already formed it and I joined.
DEAR MY FRIENDS (L to R) Bookie, Monko, JinJin, Rie
DEAR MY FRIENDS
■Monko ：Guitar, Vocals
■Bookie ：Bass, Backing Vocals
■JinJin ：Drums, Backing Vocals
■Rie ：Keyboards, Backing Vocals
Schultz and DEAR MY FRIENDS have the same bassist (Hiroyuki Anabuki), and Schultz's guitarist (Atsushi Jinno) is the drummer in DEAR MY FRIENDS.
Could you share more insight on your solo repertoire?
Are you planning to record as a solo artist? Also, do you have any plans to continue live as a solo performer?
Rie: Regarding my solo performance, it was for the other day’s event (Add Some Music to Your Day-April 24, 22). All of the songs were covers, and I chose songs different from the band’s, ones of music that I listen to usually. I played Buffalo Springfield, Grateful Dead, Jim Croce, Cowboy, and Brewer & Shipley. So far I haven’t planned to play solo regularly or do recordings, but I’d like to play again when there’s an opportunity similar to last time’s “Add Some Music To Your Day.”
Buck Owens and His Buckaroosの曲をレパートリーに含めることを検討しましたか？
Rie: Buck Owens And His Buckaroosはソロのレパートリーには入れませんでしたが、以前にSchultzで「Above & Beyond」をカバーしたことがあります。カントリーはSchultzの音楽性には異色でしたが私はこの曲がとても好きです。
Have you considered incorporating any Buck Owens and His Buckaroos songs into your set repertoire?
Rie: I haven’t put Buck Owens and His Buckaroos in my solo repertory, but previously in Schultz we played a cover of “Above & Beyond.” Country didn’t match with the musical style of Schultz, but I like this song very much.
現在の曲のレパートリーは、西岡さんがWebVANDAに定期的に寄稿している記事と連動することが多いようです。例えば、The Rising StormとThe Enfieldsについて書かれていましたが、「I’m For Things You Do」（The Enfields）と「Bright Lit Blue Skies」（The Rising Storm）がSchultzのセットリストに登場しました。
Your current repertoire of music frequently coincides with your writing projects which regularly appear on WebVANDA. For example, you wrote overview pieces on the Rising Storm and the Enfields. Songs by these groups, the Enfields’ “I’m For Things You Do” and “Bright Lit Blue Skies" by the Rising Storm have appeared in your setlists for Schultz.
Following this same pattern, will there be Seals & Crofts songs in your solo set?
Rie: On WebVANDA, I write about things that I like or have interest in, so this naturally goes along with the songs that I cover. I didn’t play Seals & Crofts last time.
What type of music did you listen to as a youngster?
Rie: I don’t come from a family of musicians, and personally I only started rather late to listen to music. In my early teens I listened to hard rock, and in my late teens I often listened to blues.
What made you want to become a musician?
Rie: As I went on pursuing the things I wanted to do, music has taken a bigger part of my daily life, but it isn’t my profession.
I saw that you have an affinity for the children’s television show Sesame Street?
While I knew Sesame Street had versions all over the world, I didn’t previously know of its long run and strong influence in Japan or the NHK version of セサミストリート Sesamisutorīto.
Rie: I started watching Sesame Street to learn English, but I liked that musicians do sessions with the characters. It was the reason I began listening to Elvis Costello.
Rie: In terms of Japanese bands, I have known many good bands by being part of the same event. Childish Tones’ lively and fun ambiance is lovely, and their distinct sound with low sustain has an atmosphere similar to Thee Milkshakes. I also love The Secret Meanies’ songs and sounds that have a dry and nostalgic feel.
I have recently been listening to a lot of Eiichi Ohtaki 大滝詠一 (“The father of City Pop”). Thanks to YouTube, his music has just started to become better known in the United States in the past 5 years.
How do you feel about the Pen Friend Club being one of the contemporary bands included in the exciting City Pop Movement?
Rie:Personally I don’t know much about City Pop, but sometimes The Pen Friend Club gets described as City Pop. It’s interesting how a different facet of the band may stand out depending on the listener’s musical taste.
From an overview perspective, Hot Off the Press is a wonderful 1974 anomaly fed from the mainstream tributaries/currents of the Lovin’ Spoonful and the ‘70s Beach Boys, along with some distant echoes of pop-era Don and the Goodtimes, New Colony Six, and from around the bend “Blew Mind” Hardtimes. Moving beyond the banks and inland, the City & Western harmonies of Moby Grape, Buffalo Springfield, Spur and the Everpresent Fullness stretch over the old territorial frontiers.
The extraordinary thing here is there was no particular reason for this extinct sound in the "lost years" of the early ‘70s. Whether you hold the perspective that that the floor suddenly came out from under 1968 world, along with concomitant music scene, due to the rough waters or if things just slowly sunk into the inevitable major slump, this record carries forth the Wilsonesque tradition of extending the sunshine dreams and healing music of the mid-‘60s into the harsh early ‘70s. The continuing story is that News with its convergence of steel guitar with harmonies created a distinctive American sound, once heard only in rarified circles, that has endured over the shifting currents of time.
Who Wants Yesterday's Papers? Hot off the Press is not simply a nice, somewhat underrated, cul-de-sac into escapism like Flash Cadilac and The Continental Kids’ Sons Of The Beaches album. The album is not only suspended in time, but the unfolding music, at times, has a suspended in air quality. After spinning through the noise of the dial on “Radio Blahs,” the noise is cast aside and the signal is found in the song “Loser” with its interlocking parts driven by a steel guitar, propulsive percussion and ascendant melodies converging and diverging in unexpected, but magnificent directions. By the time of the call and response, new vistas and unification are reached and everything fits together like the design of a ‘67 Mercury Cougar. With their flourishing arrangements and melodic magnetism, were News holdovers or holdouts for the mid-sixties sounds? Or were they simply unabashed believers in that magic that the Lovin’ Spoonful once sang about. “Oh La La” is as sparkling and remarkable as spotting one of those Peter Max-ish Uncola signs still hanging in one of those out the way and trapped in another time rural towns. This is sound the Beach Boys were looking for throughout most of the ‘70s. Next, “Farmer’s Daughter” comes charging out of the gate in full force spurred by the big soaring spirit of Moby Grape blazing over some deep Grass Roots tangled under explosed sections of some pizzicato'ed “Pipeline.” They truly find the hidden door to 1967 on this one.
Who Loves the Sun…Not Everyone? Overall, “Misty Day,” reminds me of leaving 1981 Daytona Beach at sunset, and looking down the beach as miles and miles of traffic was leaving the day. All seemed connected by the good vibes and active day not etched into redundant routines or divided up trying to get obligations done. It also reveals the path of working towards some notion of leisure that can be futile as scooping sand in face of the lapping tide. Further, the song serves as a reminder of the relinquished sense of wonder resulting from being removed from the experience of rising & setting sun and out being truly out of step with nature. The incandescent song floats and veers into realms evocative of the best Strawberry Alarm Clock. The steel guitar meander like the coastal 101 while the climbing harmonies cut through the marine layer and reveal the trinity of Mountains, Oceans and Sun. The fact that this unfolding song, full of contrast, leans more towards the ‘Clock than the “Ventura Highway” of America is probably the major reason News never made a breakthrough to 1974 mainstream listeners (who were only on the verge of reaccepting the “Endless Summer” packaged Beach Boys). Accordingly, the recording industry followed suite and the album only received nominal interest from Epic Records. The seagull sounds in the intro and fade are like flashes of ’60s lightning on the cluttered horizons of '70’s.
You Can Always Go Downtown? “Easy Street” and the entire album for that matter contradict the academic origins of this band based around Yale University in New Haven. Frequently, albums emanating from Higher Education sound over-contrived in their “progressive” attempt to achieve high art. Actually, it sounds years and miles removed from the academic milieu (in its worst tied-down incarnations), The band’s sensibility, ingenuity and approach does not sound studied or measured, it just sounds right. The playful “Easy Street” has a West Coast vibe all over it that belies both their Ivy League and the Northeast origins while also transcending that dated “good-timey” sound. The CD format allows for “Easy Street” to flow smoothly into the more cerebral “Pine Tree Heaven.” In this jaunt out to the rural routes, the album hits its pinnacle and reaches the possible peace and clean air you get in a mountain town enwreathed in trees away from the heat reflecting sprawl of the flatlands. The topography evoked comes off more as the human scale Smokey Mountains than the towering Rockies. In a way, the song chronicles the move of seekers from the downtown to the downhome. Still, “Pine Tree Heaven” does not present a clean and easy break and laments when “Downtown” both as a locale and a song used mean something—something hopeful. This is just one of the many nods to a higher profile group or song from this low to no profile group. These references are kept in check and work in the context of the songs without being corny or hagiographic.
Postflyte “One Night Stands” and “Angie” turn down the brain wattage and tries to out bar rock CCR, the Stones, Brownsville Station or even Ron Loney-era Flamin' Groovies, but it does not really work. These missteps present an entirely different sounding band, with "Angie" being the superior of the inferior songs. “New York City” ends the proper album on a subtle and jazzy note taking a low rent “Light My Fire” excursion. The song is proficient, but lacks the Byzantine vibrancy of the said comparison. However, the song is a true grower and one hears new aspects of it with each listen. Two previously unreleased songs are affixed to the proper album. The brief instrumental “Dynamic Radio Spot Bed” actually sounds somewhere between a 5D Byrds backing track and Index. A demo of “Misty Day” closes out the album. Characteristic of most demos, this doesn’t have the lift off or the dimensions of the full spectrum album version. Still it’s endearing to hear the brittle as stucco quality of this practice run.
Sunshine Dreams, Indeed Yoga Records and Riverman Music (Korea) have been providing an important countercurrent in the reissue scene by opening artist-authorized doors to‘70s private press albums that listeners (without a fat wallet and surplus time) could only previously read about in The Acid Archives. With its distinctive overlay of steel guitar intertwined with majestic harmonies, News could have been forerunners of a new movement, but got lost in shuffle between the critically sanctioned Cosmic Americana of the Flying Burrito Brothers, the cult of Gram Parsons and the popular commercial radio friendly sounds of America and David Gates/Bread (who do have their pop moments). Aspects of Hot Off the Press could have been said to anticipated the desert boots/ Calming Seas scene led by the Beachwood Sparks, Brother Brian bands like the Heavy Blinkers, the earnest & plaintive and melodic Volebeats and most recently in the realized rustic Americana of Fleet Foxes. However, this album was buried very deep at the turn of the last century to make any type of correlation. Hearing this inspired album for the fist time is 2011 is like an Asian zig-zag bridge allowing for a new perspective on 1974, while expressing the timeless hope in something better.
